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The Valkyrie, Opéra de Rennes

On a là un des Siegmund les plus héroïques entendus depuis longtemps: la voix est belle, jeune, claire, et quel style, quel puissance de feu! C’est l’américain Donald Litaker. Quand il ouvre la bouche il nous embarque, comme m’avait embarqué à la fin de sa carrière l’encore magnifique James King. Je n’ai pas d’autre référence pour décrire cet art révolu que nous an offer Litaker ce soir culminant dans un “Wälse”, grand, subjuguant, tenu, pure, envahissant.

Here we have one of the most heroic Siegmunds heard in a long time: the voice is beautiful, young, clear, and what style, what power of fire! This is the American Donald Litaker. When he opens his mouth he transports us just as I was transported at the end of the career of the still magnificent James King. I have no other reference to describe this revolution that Litaker gave us this evening culminating in "Wälse Cry": grand, subjugating, sustained, pure, and invasive.
February 16, 2013, ODB-Opéra


C’est un Siegmund de haut volée qu’elle trouve en Donald Litaker. Dès le rècit du premier acte, avec son timbre magnétique et son exemplaire diction, son superbe engagement et sa belle musicalité, le tenor américain emporte l’adhésion. The chant le rôle avec une vaillance et une endurance ...
07/02/2013, Emmanuel Andrieu, Concertonet.com-The Classical Music Network


… Une execution rigoureuse et soignée, immédiatement soutenue par des chanteurs de qualité. On notera à ce propos la prestation irréprochable de Donald Litaker, éclairant de son expérience et d’une voix puissante.
02/08/2013 Thierry Martin, unidivers.fr


... un théâtre intérieur vibrant, pour une Walkyrie touchante, d’une émotion de la proximité que les grands plateaux peinent souvent à conserver. Le Wotan de Willard White est égal à lui-même: charbonneux parfois dans le timbre ou la diction, mais d’une présence magnétique. Face au Siegmund tonique de Donald Litaker-au ténor d'emission haute et intense, bien tenue
February 13, 2013 Chantal Cazaux, L’Avant-Scène Opéra

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Elektra (Egisthe), Opéra de Nice, Production Theater Mariinsky, conducted by Michael Güttler, directed by Jonathan Kent

L’Egisthe de luxe de Donald Litaker qui impressionne par sa prestance physique et vocal.
May 22, 2011, B. Cormier, Forum Opera, Le Magazine de l’Opéra et du Monde Lyrique


Opera gala with works by Mozart, Donizetti and Verdi together with Daniela Bruera (soprano) and the Estonian National Symphony Orchestra, Tallinn (Estonia), led by Nikolai Aleksejev

The American tenor Donald Litaker is really a very good musician. His singing style and the way he nuanced are far more than just a specialty. Particularly noteworthy here is Idomeneo's aria Fuor del mar, which was sung very spirited and beautifully ornamented ... In Pagliacci's Vesti la giubba the singer uses the opportunity to sing in the great Verisimo style and to present the character of the role masterfully and heartbreakingly ... a very exciting and particularly worthwhile evening.


Salome (Herod)
Kennedy Center, Washington, D.C.

As Deborah Voight’s final antagonist, Herod, Donald Litaker’s agile yet robust tenor voice excels in portraying the king as a rough but henpecked husband and stepfather whose own sexual weaknesses are deftly manipulated by Salome and by his wife, Herodias, sung in a marvelous fluid and catty mezzo by Jane Henschel.

The tenor Donald Litaker interpreted an interesting King Herod, full of decadence, and is as well skilled as his compatriot Kenneth Riegel who is, in my opinion, the best Herodes on disc under the direction of C. von Dohnanyi (Decca).

Donald Litaker and Jane Henschel were wonderful as the depraved royal couple Herodes and Herodias. Their quarrels were so true to life (even if much of that compliment goes to Strauss) that people laughed in recognition of familiar domestic disputes. Character is much more than voice alone in these roles - Litaker and Henschel had both.

Donald Litaker as Herodes and Jane Henschel as Herodias came across as monstrous precursors to those bickering elderly television couples you used to hate in the 70ies sitcoms, yet such was the intensity of their singing that the characters took on individual and tragic dimensions.

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Jeanne d’Arc au Bûcher (Honegger) Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia, Parco della Musica, Rome, conducted by Antonio Pappano, directed by Keith Warner

... of all those involved, first and foremost is the high tenor Donald Litaker to mention an extraordinary interpreter of numerous roles, most notably that of Bishop Pierre Cauchon, President of the Inquisitorial Court.

Paulo Isotta, Corriere Della Sera

Opéra de Montpellier, head of Emmanuel Krivine

Donald Litaker campe un Porcus ténorisant à souhait et théatrâlement très efficace.

Basilique de Saint-Denis (Paris), headed by Kurt Mazur

Donald Litaker was particularly effective in the different roles as the cynical bishop Cauchon Porcus and the mocking clerk.

The expressive mocking of the tenor Donald Litaker what outstanding.


Berlioz La damnation de Faust, Beethoven Academy Orchestra Krakow. Head of Wolfgang Seeliger, Darmstadtium

Donald Litaker presents itself in the mammoth part of Faust with a present, luminous tenor height and differentiated, equally radiant and softly modeled tones.
November 1, 2011, Albrecht Schmidt, Echo Online

Real Orquesta Sinfónica de Sevilla e Coro Nacional de España, conducted by Pedro Halffter, together with Iris Vermillion (Marguerite) and James Johnson (Méphistophélès), Teatro de la Maestranza, Seville

Donald Litaker was a Faust with an excellent balance between the heroic and the passionate romantic. "Where do I find the meaning of life" was prayed painfully.

Juan María Rodríguez, El Mundo

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The Corregidor (Wolf)
Liederhalle Stuttgart

Wolf wanted a title hero who would quickly change from hero to play and lyrical tenor. Donald Litaker offered a masterpiece of vocals, design and gestures.

He kept the enormous possibilities of his tenor together with his grandiose facial expressions so much under control that his singing consistently made the listener want more.

Handel hall, hall

Of the numerous soloists, Michelle Breedt (Frasquita) and dominated Donald Litaker (Don Eugenio), richly considered by the score, vocal with a variety of nuances and, above all, convincingly setting the stage in terms of facial expressions, gestures and relationship building.


The Magic Flute (Tamino)
Opera Pretoria (South Africa)

A line-up of exemplary musicians has come together here (undoubtedly at a terrible cost), a line-up with an instinct for Mozart in their bones. Donald Litakers Tamino is just as good as his international reputation: powerful voice, perfect style, captivating drama.

In this production we have mature singing actors with the imported singers: They sing the text with feeling. The Anglo-Saxons call something like this "word painting". And nobody does that first-class than the American Donald Litaker. He's just fabulous.

Prince Tamino becomes the American tenor Donald Litaker and Papageno sung by the Austrian baritone Christian Bösch. Both men have exceptional articulation and diction.

Donald Litaker Tamino was a noble, passionate fighter, whose dramatically soaring tenor voice could become absolutely convincing and supple to the point of delicious euphony.

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The Abduction from the Seraglio (Belmonte)
Opéra du Rhin, Strasbourg

The American tenor has a beautiful, stately appearance, a brilliant voice, good voice placement, warm timbre, lightness and a sense for nuances Donald Litaker leave a strong impression due to the not at all bland characterization of the Belmonte.

Two worlds: the well-known of true love, the other that of barbarism. The first is from "Belmonte" Donald Litakers embodied, with a pure voice and a conviction that is just as audible as his feeling.

Belmonte was from Donald Litaker given: a tenor with a round, sonorous voice and courageous playing.

This is an exquisite game that plays with the famous and radiant of Donald Litaker (Belmonte) sung aria “Konstanze, dich wieder-zuehen” begins.

Donald Litaker (Belmonte), whose singing was connected with a courageous game and sensitivity ...

I mainly have the tenor's voice Donald Litaker valued as Belmonte.

The Belmonte of Donald Litaker with the beautiful timbre of a lyrical tenor, with youthful dignity and the spontaneity of the game ...


Don Giovanni (Don Ottavio)
Opéra du Rhin, Strasbourg

The line-up was homogeneous as far as their youth was concerned, but the Mozart style emerged mainly through the Don Ottavio von Donald Litaker to days.

Awarded as an excellent lyric tenor Donald Litaker Mozart accents to the highest degree for Don Ottavio.

The tenor Donald Litaker is a Don Ottavio of great finesse.

Don Ottavio in particular will be remembered for his great purity of sound.

The Don Ottavio was convincingly designed by Donald Litaker. He sang precisely and mastered the difficult coloratura parts with wonderful bel canto. A Mozart interpreter who will still be heard from.

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So fan tutte (Ferrando)
Opéra du Rhin, Strasbourg

Donald Litaker Masterfully portrayed the role of Ferrando, endowed with a noble and perfect tenor organ.

The tenor is definitely remarkable: a rare bird that one has been looking for in this Mozart shop since the retirement of the Canadian Léopold Simoneau (in our eyes this is the most beautiful homage one can get to the American tenor Donald Litaker can give).

The tenor Donald Litaker (Ferrando) fulfills our wishes completely, but without forgetting Sénéchal in this role, where in the poetic aria "Un aura amorosa" he "tinkered" delightfully with the head voice.

Donald Litaker (Ferrando) is a young American tenor with a warm, expressive voice, full of power and just as full of charm and finesse.

... a fiery Ferrando (Donald Litaker), who had no problem with the height. The two Americans are excellent singer-actors.

Donald Litaker found gripping accents and fulfilled our wishes with his flexible and radiant singing.

Donald Litaker is getting better every year. With him we found an inspiring Ferrando.

The Ferrando of Donald Litaker possesses all the charm of a lyrical Mozart tenor, he also practices an astonishing style of singing, in which the tone is not expressed in waves like the baroque singers who were surprised by the classical style.

Donald Litaker Ferrando sang with esprit and real courage in using his voice.

Both Americans, signs of ease, naturalness and perfect vocal technique, as is typical for the new generation of American singers. Donald Litaker and the baritone ... as Ferrando and Guglielmo are both Mozartian and very commedia del arte.

The two rascals Ferrando and Guglielmo are Americans. First observation: your excellent vocal health. Both of them testify to an excellent education that has borne its best fruit. The tenor knew how to take advantage of his first aria “Un aura amoroso”, just as he knew how to defeat the second aria.

Finally the tenor gave up Donald Litaker with a cheerful clear voice the Ferrando additional profile.

The American Donald Litaker in the role of Ferrando: an effortlessly singing Mozart tenor.

The Ferrando Donald Litakers, who phrased nicely, also came out in a rude manner.

... lively, playful illustration to the limits of the possible.

Musically tasteful phrasing, very appealing.

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The Song of the Earth (Mahler)
Kennedy Center, Washington, D.C.

The two superb vocal soloists accounted for much of the concert’s power. tenor Donald Litaker proved unflinching in cruelly high passages and provided a brilliant range of inflections as he limned the verses. Thomas Hampson, one of today's star baritones ... yielded great satisfaction.

The tenor Donald Litaker what a surprise! He sang excellently in the style of the famous Jon Vickers. His singing is polished and stylish and really touches the emotionalism of Mahler.

Litaker who, like Hampson, is an American who lives in Europe (and teaches in Germany as well) had no trouble at all filling the Kennedy Center Concert Hall. He brought just the touch of performance to the first “Trinklied”, making it clear that this was not a happy drinking song, but one coming from a drunk who is at the nadir of his cycle. "Dark is life, is death" now has more meaning that if I had listened to the song on a CD a hundred more times.

Concertgebouw, Amsterdam

The Amsterdam Concertgebouw is one of the top addresses in the musical world. It is an honor to be able to play in this wonderful hall. Donald Litaker, the fabulous American tenor, threw himself vehemently into the "Trinklied", showed pleasure in the delicate chinoiseries in the song "Von der Jugend". A heroically weighted tenor with an astonishing ease in the voice guidance ...

After the words “Ewig, Ewig”, there was a deep silence in the almost sold-out Concertgebouw. Then the cheers broke out. Standing ovations as a reward for this performance.

Théâtre des Champs-Elysées, Paris

Donald Litaker fait une entrée imposante avec le Chant a boire de la douleur de la terre, ce qui lémpêche de monter ensuite progressivement en puissance comme il le faudrait lors de l’évocation inquiétante du singe hurlant au clair de lune sur une tombe.

Palais des Sports, Bordeaux, France

Parody Madame de Sévigné on peut dire que Donald Litaker possé de la voix la plus étonnante, la plus surprenante, la plus merveilleuse, la plus miraculeuse, la plus triomphante, la plus étourdissante, la plus inouie ... enfin une voix qui fait crier miséricorde à tout le monde! Et une présence qui électrise toute une salle!

To parody Madame de Sévigné one can say that Donald Litaker possesses a voice that is the most extraordinary, the most prodigious, the most surprising, the most marvelous, the most miraculous, the most triumphant, the most stunning, the most unprecedented ... finally a voice that cries compassion and mercy for all the
world. And a presence that electrifies the entire hall!

Liederhalle Stuttgart

Donald Litaker inspires through his youthful and vigorous emphasis, the suppleness and flexibility of his singing, and with a tenor voice that strongly tends to "Heldentenor" in all registers. In his singing are overwhelming examples of unrestrained sensual pleasure and profoundness.

Opéra Berlioz, Montpellier

L’héroisme déployé par Donald Litaker surprend moins qu’un allemand surveillé et qu’une interprétation souvent inspirée. Son chant d’ivrognerie peut se comparer sans pâlir à celui de Wunderlich, c’est assez dire.

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Beethoven, IX Symphony
Orchester National de France, Kurt Masur
Théâtre des Champs-Elysées

Donald Litaker was the outstanding tenor of all I have heard in live concerts of this symphony by Bernstein, von Karajan, Haitink and others.

The solo quartet harmonized splendidly, with the clearly declamatory and enthusiastic tenor deserving a special star.

Meistersängerhalle, Nuremberg

The vocal competence of the magnificent hymnists has not been heard in the Meistersingerhalle for a long time! The four excellent soloists joined in the maelstrom of joy. The heroic tenor of Donald Litaker, which even the powerful wind attack could not harm.

Deutsche Kammerphilharmonie Bremen, headed by Paavo Järvi. The bell, Bremen

The solo quartet, on the other hand, is flawless: Christiane Oelze, Petra Lang, Donald Litaker and Matthias Goerne give their last. Paavo Järvi and the Kammerphilharmonie have now audibly reached “their” ninth. After the final chord, the tension in the audience was released in an almost collective exhalation. The applause hardly wanted to end.

Benjamin-Gunnar Cohrs, Weser Courier

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Liszt Faust Symphony, Choeur et Orchester Philharmonique de Monte-Carlo,
Head of Nicolas Brochot, Grimaldi Forum Monte Carlo

Liszt's score is played live by the Orchester Philharmonique de Monte Carlo under Nicolas Brochot, completing the work of Jean-Christophe Maillot in all its beauty. The finale is just overwhelming.The choir and orchestra are tenor Donald Litaker accompanied and here the emotions start to fly and the last scene literally outshines the stage. A breathtaking ending that moves you to tears ...

Nathalie Orvoën, Actualité de Monte Carlo et Monaco


Mahler 8th Symphony ("Symphony of a Thousand")
Kennedy Center, Washington, D.C.

tenor Donald Litaker had a clarion sound for the most part of Doctor Marianus, the redeemed soul of Faust.

Hard-working tenor Donald Litaker communicated the text compellingly.

Special price goes to tenor Donald Litaker who sang Dr. Marianus sweetly yet brilliantly.

Among the men, supple-voiced tenor Donald Litaker stole the show.


Berlioz Requiem
Palau de la Música de Valencia

… Filling the stage with 140 musicians from the Orquesta de Valencia, the Unió Musical de Llíria and the Sinfónica del Mediterráneo, with 122 Choristes from Orféon Donostiana and with the tenor Donald Litaker, who is considered the most celebrated singer of Berlioz of this era. Presented was an interpretation rich in colors, full of atmosphere, and full of soul. It is not in vain that this same work has been conducted in La Scala di Milano, in Prague and in London.


Dvorak Requiem
Teatro Real, Madrid

The tenor Donald Litaker was very present and motivated. In the Lacrimosa he developed on stage renewed energy and brilliance.


Verdi Requiem

... Above all, the tenor of Donald Litaker and the bass by R. Scandiuzzi liked. Mr. Donald Litaker is a tenor of great range and great purity. He has a voice without wrinkles. Already from "Kyrie" on it sounded to heaven.

If it weren't for the powerful, dramatic tenor of Donald Litaker, this performance would have been half as impressive.

Had great vocal dominance Donald Litaker already in the "Kyrie" - use with "Have mercy". It was not humility but convincing drive.

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