ACCLAIM
La Boheme, Opera San Jose 2017 Lucia di Lammermoor, Opera San Jose 2016 Tosca, Opera San Jose 2015 "Tenor Kirk Dougherty was plaintive and appealing, especially in Act III's "E lucevan le stelle." - Charlise Tiee, San Francisco Classical Voice Carmen, Anchorage Opera 2015 Madama Butterfly, Anchorage Opera 2014 Die Zauberflöte, Opera San Jose 2015 "The vocal soloists inhabited their roles with vitality. Tenor Kirk Dougherty was a handsome Tamino.” - Georgia Rowe, San Jose Mercury News "Tenor Kirk Dougherty's singing was clear and strong." - Joshua Kosman, SFGate Where Angels Fear to Tread, Opera San Jose 2015 "His scenes are superb, with penetrating moments of self-recognition, honest friendship, love, and disappointment. Dougherty sang with lusty, boyish charm." - Richard Scheinin, San Jose Mercury News "Kirk Dougherty played the dilettante brother to the hilt, keeping life at arm's length. He sang in a clean tenor." - Adam Broner, The Piedmont Post Moses, American Symphony Orchestra 2014 'Tenor Kirk Dougherty made a particularly appealing vocal impression as Aaron; his voice is clear, warm and steady, filling the hall with expressive lyricism. He is able to generate considerable power without forcing and to develop a nice ping to the tone as the music rises higher. His big aria ("I go to the gates of Hell") in the oratorio's third part was the vocal highlight of the evening; as the text turns to pleading with Moses for forgiveness, Mr. Dougherty found a wonderful melancholy colour in his tonal palette, making me think what a very fine Lenski he might be. The aria even has a little 'cabaletta' which the tenor dispatched with élan.' Philip Gardner, OBERON'S GROVE Lucia di Lammermoor, Anchorage Opera 2013 La Nave, Teatro Grattacielo 2012 "Most of the other solo roles are comparatively small, though by no means easy, and were generally very ably filled, Ashraf Sewailam, who sung the part of Orso Faledro, Basiliola’s blinded father, and Kirk Dougherty, taking three of the minor roles, being particularly outstanding." operatoday.com The Poisoned Kiss, Bronx Opera 2010 Fra Diavolo, Bronx Opera 2011 |
Il Trovatore, Sarasota Opera 2014 'As applied to Il trovatore, DeRenzi’s no-cuts-in-Verdi policy – one I heartily applaud – initially brings to mind the tenor and how he will handle both verses of “Di quella pira.” Rigoletto, Opera San Jose 2014 "His voice has a pleasing foundation and lilt...he stepped up to deliver a ringing rendition of 'La donna e mobile,' the Duke's sexist anthem." Richard Scheinin, San Jose Mercury News "Kirk Dougherty as the Duke of Mantua, is suitably attractive and charismatic, singing his role with a tenor's panache - soaring and powerful when hitting the high notes, seductive and silky when wooing, and gleeful in the famous demeaning aria "La donna e mobile." Paul Myrvold, myrvoldstheatrenotes.com Moses, American Symphony Orchestra 2014 'DeLuna and Manrico, brilliantly captured by tenor Kirk Dougherty, drive the action from peaceful gardens to battlefields. Heroic action, not love, gives Dougherty his best moments as he rises in pitch and fever over a distant blazing pyre and a suspended high note at the end of Part III.' Herald Tribune Otello, Castleton Festival 2013 The Poisoned Kiss, Bronx Opera 2012 Die Zauberflöte, Tri-Cities Opera 2012 Lucia di Lammermoor, Tri-Cities Opera 2012 Madama Butterfly, Tri-Cities Opera 2011 Les Contes d'Hoffmann, Tri-Cities Opera 2011 La Traviata, Tri-Cities Opera 2010 Gianni Schicchi, Tri-Cities Opera 2010 The Three Pintos, Bronx Opera 2010 "Tenor Kirk Dougherty sang sweetly in the lovely strophic piece, with commentary from Gaston and his servant Ambrosio, in which Don Gomez expounds on his love for Clarissa and wins them to his cause...." George Loomis, MusicalAmerica.com L'Elisir d'Amore, Tri-Cities Opera 2010 |