Kurt Lehmann

Experience the enchanting performances of tenor Kurt Lehmann across various platforms.

Journey of Kurt Lehmann

Explore the remarkable journey of tenor Kurt Lehmann. Immerse yourself in his biography filled with rich experiences and notable achievements.
Captivating Performances and Gallery
  • Dive into a stunning photo gallery and enjoy audio and video performances showcasing Kurt's extraordinary vocal talents in opera and on the concert stage.
Media Reviews and Repertoire
  • Read various media reviews about Kurt Lehmann and view his extensive repertoire, highlighting his diverse performance history.

Biography

Tenor Kurt Lehmann has been hailed as “…one of Canada’s most dependable tenors. He has the money notes and clear, clean, romantic delivery.” His international career has taken him to one of the world’s leading concert halls - Carnegie Hall in New York City for Verdi’s Requiem as well as engagements with most major Opera companies and Symphony Orchestras across Canada, into the United States and Europe. His career includes over 30 Operatic roles, 22 Concert Works and countless Viennese, New Year Eve’s and Gala concerts. Kurt Lehmann Also served as Artistic Director for Opera Saskatchewan. He was in Winnipeg for Penderecki's Seven Gates of Jerusalem, which was attended by the composer and recorded by CBC Radio for broadcast. Mr. Lehmann had many other performances recorded by the CBC including Beethoven's 9th for Orchestre Symphonique de Quebec, as well as a new role as Flamand in Strauss’ Capriccio for Pacific Opera Victoria, Dialogue of the Carmelites with Calgary Opera, A Glen Gould Studio recording of Vezina's Le Laureat. Of particular note in the summer of 2007 was his debut engagement at Glimmerglass Opera, New York as the violin-playing Orpheus in Offenbach’s ORPHEUS IN THE UNDERWORLD. Mr. Lehmann was selected for this role after a continent-wide search for lyric tenors who were also virtuoso violinists. Another highlight was his performance in a Royal Winnipeg Ballet production of Handel's Messiah. His most dominant roles of his career were Pinkerton in Madama Butterfly, Rodolfo in La Boheme, as well as Verdi’s Requiem and Beethoven’s 9th on the concert stage. Kurt was a trained swordsman and had the audience gasping in his stage combat scene’s in operas such as Romeo and Juliet, and Lucia di Lammermoor. Past seasons include 3 appearances with the Dallas Opera in Turandot, La Traviata and Ermine, Tamino in Mozart’s DIE ZAUBERFLÖTE for Opera Lyra Ottawa, Alfred in DIE FLEDERMAUS, Prince Edwin in Kalman’s DIE CZARDASFÜRSTIN for Toronto Operetta Theatre, Ottawa’s National Arts Centre Orchestra Strauss’ DER ZIGEUNERBARON with Franz Paul Decker on the podium. For l’Orchestre symphonique de Québec, he was tenor soloist in ELIJAH and sang the part of John in Victor Davies’ REVELATION. He was engaged by the Toronto Symphony for a work written and conducted by Bramwell Tovey and performed at the symphony’s “Last Night at the Proms” concerts at Roy Thompson Hall. Mr. Lehmann has also performed with the Pecs Symphony Orchestra of Hungary for a gala concert in Italy. A protégé of the legendary soprano Virginia Zeani, Mr. Lehmann also studied in Italy at EPCASO (Ezio Pinza council for American singers of opera) as well as with the Florida Grand Program for advanced role preparation in New York City.

Photo Gallery

Repertoire

OPERA ROLE COMPOSERCandide Govenor/Ragoski/ Berstein VanderdendurThe Rape of Lucretia Male Chorus BrittenLinda di Chamounix Carlo DonizettiLucia di Lammermoor Arturo DonizettiOf Mice and Men Carlson FloydThe Taming of the Shrew Lucentio GianniniRomeo et Juliette Tybalt GounodDead Man Walking Howard Boucher HeggieThe Czardas Princess Prince Edwin KalmanCountess Maritza Tassilo KalmanThe Merry Widow Camille De Rosillon LeharThe Magic Flute Tamino MozartCosi Fan Tutte Ferrando MozartDialogues of the Carmelites Chevalier de la Force PoulencLa Boheme Rodolfo PucciniMadama Butterfly Pinkerton PucciniTurandot Pong PucciniLa Rondine Rugerro PucciniOrpheus in the Underworld Orpheus OffenbachErmione Pilade RossiniThe Gyspy Baron Barinkay Strauss J.Die Fledermaus Alfred Strauss J.Daphne Leukippos Strauss R.Capriccio Flamand Strauss R.Eugene Onegin Lenski TchaikovskyIl Trovatore Ruis VerdiOtello Cassio VerdiLa Traviata Gastone VerdiLa Traviata Alfredo VerdiLe Laureat Paul VezinaDer Vampyr Georg Marschner
CONCERT WORK COMPOSER 
Symphony No. 9 BeethovenMass in C BeethovenSaint Nicolas BrittenRequiem BrucknerRevelation Victor DaviesRequiem FaureMessiah HandelDie Jahreszeiten HaydnJudas Maccabaeus HandelThe Creation HaydnSongs of the Earth MahlerElijah MendelssohnSt. Paul MendelssohnKroenungsmesse MozartRequeim MozartMass in C minor MozartGates of Jerusalem PendereskiMass in Eb SchubertMass in G SchubertFor a Fist Full of Gilders Bramwell ToveyRequiem Verdi

Media Reviews

Lehmann wisely left his powerhouse operatic voice at the door for a refreshingly modest rendition of Et in spiritum sanctum. His more demure delivery suited the movement perfectly and he was at his most musically elegant.” - Gwenda Namerofsky “Kurt lehmann as Ruggero is proving to be one of Canada's most dependable tenors. He has the money notes and clear, clean romantic delivery.” - Classical 96.3 FM - Paula Citron “Kurt Lehmann is a singer that you know is going to nail whatever he sings. His honey toned tenor voice is always a pleasure to hear, displaying a beautiful ease and fluid expressiveness even in his top-most register.” - Holly Harris, Winnipeg Free Press (Stories that Sing, Manitoba Opera Gala) “...it was Lehmann who had the audience in the palm of his hand during his aria in the second act, one of the best moments of the night.” - Naomi Lester, The Times Colonist “...the brief but crucial encounters between Iiago and Cassio were very well handled and had the dramatic weight to do their job of driving the tragedy along. ” - Wayne Gooding, Opera News(Opera Ontario, OTELLO) “Lehmann’s voice and easy charm likely made more than a few ladies in the audience swoon. His solo aria Grüss mir mein Wein particularly showed off his lyrical and smoothly textured voice, as he easily handled the upper register without strain or effort. Flawless diction and a gracious presence only added to a wonderfully strong performance.” - Holly Harris, Winnipeg Free Press (Salute to Vienna, Winnipeg Symphony Orchestra) “Tenor Kurt Lehmann had the incredibly physically taxing part as John. He was astonishing. How he reached again and again for the very summits of tessitura was a marvel.” - Hugh Fraser, Hamilton Spectator “Kurt Lehmann has a great time as hero, Barinkay, he sang confidently and with great charisma and charm.” - Robert Mitchell, CBC Radio One “Kurt Lehmann…whose sound was rich and delicate at the same time.” - Robert Harris, Globe and Mail on Kalman’s COUNTESS MARITZA (Toronto Operetta Theatre) “Kalman’s soaring songs ask a lot from voices, yet both Beeler and Lehmann made them sound as easy as a campfire round.” - John Teraud, Toronto Star on Kalman’s COUNTESS MARITZA (Toronto Operetta Theatre) “Kurt Lehmann, who performed the role of Camille…is a tenor who rose above the limited dramatic constraints of his role. Every time he appeared, he lit up the stage.” - Lucia Unrau, Lima News, Ohio on Lehar’s THE MERRY WIDOW (Lima Symphony Orchestra) “Ein neuer Stern am Musikhimmel - Tenor Kurt Lehmann... ...Gleich nach den ersten Takten von Franz Lehars (“Dein ist mein ganzes Herz”) wurde mir bewusst, dass der Tenor Kurt Lehmann eine blendende Karriere vor sich hat. Der gut aussenhande, hochgewachsene junge Mann (“drop dead gorgeous”) überzeugt mit seiner wunderbaren sonoren Stimme und Ausdrucksfahigkeit.” - Rosemarie Meyer, Deutsche Press (Viennese Holiday Concert, Orchestra Toronto) “Kurt Lehmann’s smooth lyric tenor was well suited to the role of Blanche’s brother.” - Kenneth DeLong, Calgary Herald on Poulenc’s DIALOGUES OF THE CARMELITES (Calgary Opera) “Kurt Lehmann was a most satisfying Alfred, especially as he wove bits of La Traviata into his musical wooing of Rosalinde.” - David Green, Leader Post on Strauss’ DIE FLEDERMAUS (Opera Saskatchewan) “Lehmann’s lyrical phrasing was a pleasure.” - Andrew Thompson, Winnipeg Fress Press on Mozart’s Requiem (Winnipeg Philharmonic Choir) “Kurt Lehmann’s lyric tenor graced Lucentia’s elegant melodic lines with a seemless arc of golden sound.” - Robert Jordan, Vancouver Sun on Giannini’s TAMING OF THE SHREW (Vancouver Opera) OPERACanada“Kurt Lehmann was a tall, dark and handsome Alfredo, with the ardent vocal lyricism of a truly smitten - and most persuasive - suitor.” - Robert Jordan, Opera Canada Magazine on Verdi’s LA TRAVIATA (Pacific Opera Victoria) “Kurt Lehmann’s Arturo has enough ardor and tenor’s brio to qualify him as the romantic hero.” - Lloyd Dykk, Vancouver Sun on Donizetti’s LUCIA DI LAMMERMOOR (Vancouver Opera) “The male lead, which is to say, the Pinkerton character, will be performed by Winnipeg tenor Kurt Lehmann, who in Deedrick’s opinion, is possessed of ‘such a wonderful charm on stage, that half the job is already done for him’.” - Nick Miliakas, Leader Post on Puccini’s MADAMA BUTTERFLY (Opera Saskatchewan) “Die Rolle des Liebhabers Camille übernahm der uns schon bekannte Tenor Kurt Lehmann. Seine ausgezeichnete Stimme und sein schauspielerisches Talent komplimentierten ihm den ganzes Abend." - Renate Achenbach, Kanada Kurier on Lehar’s DIE LUSTIGE WITWE

Audio and Video Samples

Eugene Onegin - Lenski (Russian)
Verdi's Requiem- Ingemisco (Latin)
Che gelida manina - La Boheme (Italian)
The Merry Widow - Lehar (English)
Mattinata -Leoncavallo
Che gelida manina - La Boheme (Italian)
Addio fiorto asil- Madama Butterfly (Italian)
Ideale - Tosti (Italian)

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Contacts
Tenorkurtlehmann@gmail.com
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