Das perfekt aufeinander abgestimmte Solistenensemble führt der kanadische Tenor Joseph Kaiser als Peter Grimes großartig an. Er spielt den in die Enge Getriebenen perfekt und versteht es hervorragend, die unterschiedlichsten Emotionswerte seiner Rolle durch Klangfarben zu intensivieren und mit einer breiten Palette von Tönen, vom heldentenoralem Zupacken bis zum fast verstummenden Flüstern, zu gestalten – eine meisterhafte Leistung. Ein Opernabend, den man sich nicht entgehen lassen sollte!

[The perfectly balanced ensemble is lead by the great Canadian tenor Joseph Kaiser as Peter Grimes. He plays the demented character perfectly and possesses an outstanding ability to express the most varied emotions. With a wide range of timbres and tones, from the great heldentenor down to the almost inaudible whispers – this was a masterful performance. An evening at the opera that should not be missed.]

Nachwrichten, Michael Wruss

The voice of tenor Joseph Kaiser is an instrument of finer quality than any listener might ever have hoped to hear in Bernstein’s music for François, the unknown variable of sorts in A Quiet Place’s family equation. First Junior’s lover and then Dede’s husband, François is the outsider who, despite his close involvement in their affairs, is able to discern the family’s shortcomings. Casting Kaiser in the rôle astutely intensifies the contrasts among François and both Junior and Sam, his higher, leaner timbre sounding almost fragile in comparison with the voices of his in-laws. In his every utterance in Act One, Kaiser is anything but feeble, however, his agile, attractive voice dominating the angular writing with ease except at the extreme top of the range, where effort is audible. Those hints of effort are put to apt dramatic use: like the family into which he inserted himself, François falls victim to his own insecurities, portrayed by Kaiser with touching verisimilitude. This is implicitly evoked in François’s Act Two aria ‘I’ve been afraid,’ passionately sung by Kaiser as a genuinely self-searching expression of endearment.

The tenderness that often glows in Kaiser’s vocalism calms the tempestuous egos that explode in the opera’s charged atmosphere. There is an alluring Mozartian fluidity in his account of the Act Three aria ‘Dear Loved Ones,’ the reading of Dinah’s suicide note that was originally assigned to Junior and is here the song of a Twentieth-Century Idamante brokering a delicate peace. Fulfilling his destiny as the catalyst for reconciliation and healing, Kaiser’s François launches his aria ‘Stop! You will not take another step!’ with the conviction of exasperation, but the sense that he is at last being heard softens the steel of his delivery. As the shared lover of troubled siblings, François is a character who can seem calculating and opportunistic, but, singing with gleaming tone and sincerity, Kaiser infuses François with nobility that figuratively provides the quiet place in which the drama achieves resolution.

Voix des Arts, Joseph Newsome


Joseph Kaiser is recognized by audiences for his beauty of tone, intelligence of programming, and innate sense of style and elegance.  He is internationally acclaimed as one of the most gifted artists of his generation and enjoys success in opera, oratorio, and concert throughout North America and Europe.

This season the Montreal native returns to the Canadian Opera Company to sing the role of Lensky in a new production of Eugene Onegin directed by Robert Carsen and conducted by Music Director Johannes Debut as well as to the Bayerische Staatsoper reviving the role Steva in a Barbara Frey production of Jenůfa under the baton of Simone Young.  Joseph Kaiser joins Houston Grand Opera for the world premiere of The Phoenix by Tarik O’Regan and John Caird led by Music Director Patrick Summers and sings the role of Loge in Das Rheingold for the first time at the Teatro Real in a production by David Pountney with Principal Guest Conductor Pablo Heras-Casado on the podium.  On the concert stage Joseph Kaiser joins the Boston Symphony Orchestra and Christoph Eschenbach for Beethoven’s Ninth Symphony, sings his first American performances of Fidelio with Robert Spano and the Atlanta Symphony Orchestra, and joins Gustavo Dudamel and the Los Angeles Philharmonic for Mahler’s Eighth Symphony.

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Last season Joseph Kaiser returned to the Metropolitan Opera for the Company premiere of Thomas Adès’ The Exterminating Angel directed by Tom Cairns with the composer on the podium and he assayed the title role of Mozart’s Idomeneo in a return engagement at the Opernhaus Zürich in a new production directed by Jetske Mijnssen led by Giovanni Antonini.  Concert performances included Stravinsky’s Oedipus Rex at the Baltic Sea Festival conducted by Esa-Pekka Salonen, Bernstein’s A Quiet Place with Kent Nagano and the Orchestre symphonique de Montréal (recorded and released commercially on Decca), and a recital program at Carnegie Hall accompanied by Thomas Adès at the keyboard.

Joseph Kaiser garnered critical acclaim for his first Peter Grimes in a new production by Christof Loy at the Theater an der Wien conducted by Cornelius Meister and for the title role of Oedipus Rex at the Festival d’Aix en Provence in a new production by Peter Sellars conducted by Esa- Pekka Salonen.  Other highlights of the recent past include Martinů’s Juliette at the Opernhaus Zürich directed by Andreas Homoki and led by General Music Director Fabio Luisi; performances at the Opéra national de Paris in Eugene Onegin in a Willy Decker production conducted by Vasily Petrenko and in Strauss’s Capriccio in a production by Robert Carsen conducted by Music Director Philippe Jordan; at the Royal Opera House, Covent Garden in a new Sir David McVicar production of Salome under Philippe Jordan’s baton (commercially available on DVD) and a return in Die Zauberflöte directed by Sir David McVicar and conducted by Sir Colin Davis; as well as numerous Metropolitan Opera appearances including in Jenůfa, Roméo et JulietteDie ZauberflöteSalomeCapriccioA Midsummer Night’s Dream, and Rodelinda.

Additional opera credits include the title role of Messager’s Fortunio in a new production at the Opéra Comique under the baton of Louis Langrée, Arabella at the Bayerische Staatsoper, Alceste at the Wiener Staatsoper, The Passenger at Houston Grand Opera and Lincoln Center Festival, The Aspern Papers for Dallas Opera, Adriana Mater at the Santa Fe Opera, and Iphigénie en Tauride at the Canadian Opera Company.  Joseph Kaiser has been presented by the Salzburg Festival in new productions of Handel’s Theodora directed by Christoph Loy and conducted by Ivor Bolton as well as of Eugene Onegin directed by Andrea Breth and conducted by Daniel Barenboim (both commercially available on DVD).

Concert highlights feature performances of Schumann’s Das Paradies und die Peri with Sir Simon Rattle and the Philadelphia Orchestra, Bruckner’s Te Deum with Daniel Barenboim and the Orchestra and Chorus of Teatro alla Scala, Bruckner’s Mass No. 3 in f minor with Marek Janowski leading the Rundfunk-Sinfonieorchester Berlin, and Berlioz’s Requiem under Marek Janowski with the combined forces of the Tonhalle- Orchester Zürich and the Orchestre de la Suisse Romande as well as with Donald Runnicles both with the Atlanta Symphony Orchestra and the Berliner Philharmoniker.  He has sung Beethoven’s Ninth Symphony with Christoph Eschenbach and the National Symphony Orchestra, Alan Gilbert and the New York Philharmonic, Kent Nagano and the Orchestre symphonique de Montréal, and with Andris Nelsons and the Boston Symphony Orchestra among many others.


Idomeneo, Opernhaus Zürich


Peter Grimes, Theater an der Wien


Eugene Onegin, Salzburger Festspiele


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