Pedrillo, one of the Pasha’s captives and a resourceful fellow indeed, is also a light lyric tenor role, ably sung by Michael Kuhn, a singer totally at home on stage, with exemplary dramatic timing and one who continuously delighted the audience with his physical comedy. The voice has a beautiful line and rich core of sound.
-The Independent, 10/18
"...faithful friend Lazaro (Michael Kuhn, a sweet-voiced, good-natured tenor) laments that he must leave Arenas behind in the bolero-like "My Heart Will Always Feel the Space"
-Miami Herald, 3/17
"...and in the duet between Arenas and his friend Lázaro. This was one of the musical highlights: as Lázaro, sung with smooth, elegant tone by the tenor Michael Kuhn, says goodbye to Arenas over a pulsing, restless accompaniment in the orchestra, the music modulates and deepens as Arenas joins in."
-South Florida Classical Review, 3/17
"After the dreamy overture intensified onto the opening sickbed scene, the chemistry between Madore and Kuhn was solid; Kuhn’s tenor was expressively flawless. His uplifting “I Got My Visa” at the Port of Mariel rolled into a duet with Madore, their baritone and tenor voices blending impeccably."
-Miami Art Zine, 3/17
"In the role of Lazaro, Michael Kuhn gave one of the most moving performances of the evening. Also a light tenor, Kuhn's voice has a different color to it than Abreu's and he was one of the most convincingly passionate singers on stage."
-Edge Media Network, 3/17
"...and most praiseworthy, bright-toned Michael Kuhn, a very human, ineffably sad Lazaro. The scene in which he administers poison to a willing Reinaldo to end the dying man's suffering was another emotional high point."
-Pittsburgh Post-Gazette, 3/17
"...but special mention to Kuhn’s sweet tenor most often found in 19th Century classics but equally plausible as a 1990s resident of Manhattan."
-Florida Theatre on Stage, 3/17
"Lithe and assured, Kuhn has natural stage presence for days and a reedy, powerful voice that has overtones of smoky clarinet that fills intimate Lambert Hall. He's one of those few artists the audience can “read” from the back row. His Eisenstein is polished, soignee and hot to trot. "
-Houston Press, 9/16
"Michael Kuhn’s magnificent and distinct tenor voice is especially welcome in solo lines.”
-US 1, 6/16
However, we must make mention of Jessica Madoff as Desiree, Wayne Hu as Mr. Egerman, Lara Treacy as Petra, and Michael Kuhn as Mr. Erlanson – powerful singing voices and rich, textured performances."
-Out In Jersey, 6/16
"The men in this Ancient Roman tale were dressed plainly, vaguely Mediterranean in their sandals, except for the Male Chorus (a part originated by Peter Pears), which found Michael Kuhn dressed like Frank Sinatra in suit and fedora. His tenor was clear and robust, as was his physicality; his backwards summersault, at one point, was the most impressive physical feat in a very active production."
-Opera News, 12/15
"...tenor Michael Kuhn utterly undermined her as a creepy hipster Male Chorus. As his glassy guylinered eyes feasted on the opera's array of human suffering, his laser-bright tenor hinted at a sociopath's smug self-regard...Mr. Kuhn is an artist of almost terrifying magnetism."
-New York Observer, 12/15
"Michael Kuhn, who sang the Male Chorus, has a suave, delicious tenor, more romantic in texture than the signature Peter Pears hoot."
-Parterre Box, 12/15
"...Michael Kuhn sang with force and acted with authority as the Prodigal Son..."
-Opera News 9/15
"One of the highlights of the show, though, was Michael Kuhn as the Padre performing "To Each His Dulcinea." Kuhn also stood out with April Martin (Antonia) and Molly Jane Hill (Housekeeper) on "I'm Only Thinking of Him," one of the funniest moments in the performance."
-Boulder Daily Camera, 7/15
"Among the minor roles, all effectively cast, tenor Michael Kuhn distinguished himself with many agreeable phrases as Alfonso’s factotum, Rustighello."
-Parterre Box, 4/15
"Fans braved a snowstorm nearly to fill the Mulroy Civic Center’s Carrier Theater for the opening night of Stephen Sondheim’s Sweeney Todd (February) because they wanted to hear big voices in those familiar, if blood-curdling roles. Bass-baritone Kyle Albertson’s Sweeney and mezzo Jennifer Roderer’s Mrs. Lovett rewarded the dangers of driving, as did tenor Michael Kuhn’s Tobias."
-Syracuse New Times, 12/13
"The Gerdine Young Artists reliably filled out the smaller roles, with the sweet-voiced Alexis Aime and Michael Kuhn especially affecting as the pair of strolling lovers"
-Opera Today, 7/13
"Michael Kuhn was well suited for the role of Tobias and navigated his way through the treacherous patter of “Pirelli’s Miracle Elixir” masterfully. His performance of “Not While I’m Around” had moments of tenderness that occasionally shone brilliantly."
-Syracuse Post Standard, 2/13
"His early patter song enjoys a kind of Gilbert & Sullivan brilliance, but his “Not While I’m Around” overflows with sweetness in the midst of a show characterized by darkness and sharp edges."
-Syracuse New Times, 2/13
"...Michael Kuhn’s Remendado added to the ensembles and crowd scenes, which were well handled by Barlow."
- Opera News, 9/12
"Providing their own able assistance are Shirin Eskandani and Jennifer Caraluzzi as Carmen’s gal pals Mercedes and Frasquita, respectively, Nikolas Wenzel as proprietor Lillas Pastia, and Thomas Gunther and Michael Kuhn as small-time smugglers Dancairo and Remendado, respectively."
-Ladue News, 5/12
"...tenor Michael Kuhn (Remendado) sang stylishly and securely."
- Opera Today, 6/12
"...the gorgeously clear and colorful tenor of Michael Kuhn as the (more or less) romantic lead Biscuit Slim"
- The Boston Musical Intelligencer, 4/12
"In that context, let us say that Michael Kuhn as Candide and Jennifer Caraluzzi as Cunegonde matched their senior colleagues... Kuhn sang with a strong beautiful tenor and was the goofy ingénue Candide to perfection. And, we’d like to know, how many of us can toss off a male ingénue goofball?"
-The Boston Musical Intelligencer, 3/11
"Further, the timbre of her voice was well matched with Kuhn’s tenor. In the second act finale, when Pamina and Tamino’s lines join in a brief duet, the audience got a glimpse of the bright future awaiting both of these singers."
-The Boston Musical Intelligencer, 11/10