“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, 2006)

“...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, 2006)

“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, 2005)

“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, 2005

“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, 2005)

“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, 2004)

“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, 2002)

“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, 2002)

“Lehmann’s lyrical phrasing was a pleasure.” - Andrew Thompson, Winnipeg Fress Press on Mozart’s Requiem (Winnipeg Philharmonic Choir, 2001)

“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, 2001

“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, 2001)

“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, 2000)

“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, 2000)

“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 (1998)