REVIEWS |
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“Kristian Benedikt is not only an expressive tenor, but also an actor, who credibly shows the way Cavaradossi changes from a flattering artist into a responsible person, when the crisis in society demands that of him.”
(Helsingin Sanomat, 5.11.2007)
"...his Don Jose is very suggestive. In his vocal part as well as in the line of the personage he is creating, dramatics smothers lyricism, therefore we can see Don Jose a little different from the usual one. I should say, he is rather Othello having descended from G.Verdi's score, for his rage suddenly becomes violent and at once spills cruelly and uncontrollably.“
(Seven Art Days, 27.11.2009)
"Eleazar participates in almost all the scenes and ensembles of the opera; the solo episodes in 2 act and the aria in 4 act are rather long. From the point of view of the voice, this part could hardly be ascribed to a concrete type of tenor voice, because its performance requires various possibilities. Kristian Benedikt has got all of them. All the time his voice sounds in all the registers as well as on the scale of the volume of the sound very well (the same quality is demonstrated in frequent peaks of the higher register). One cannot see any efforts of a special performance: the character's behaviour, mimic, the nature of movements are dictated by the situation and the state, whose content is expressed in the most lucid way by the timbre of voice,by its volume, by the articulation of a phrase, and by other peculiarities.“
(Seven Art Days, 4.3.2011)
"...the part of Othello brought a resounding success to the tenor. The artist is very temperamental; his voice is strong and steadfast. He is a true tenore di forza! In previous years in more lyrical parts the artist's temperament sometimes would skip over the character's emotional limits, but for the part of Othello his vocal and spiritual structure ideally suited.
(The Texture of Arts, 25.3.2011)
„I am sorry not to have heard more of the Lithuanian heroic tenor Kristian Benedikt, who pushed hard in the Esultate outburst in the choral opening of Otello. With the OdM Chorus and Orchestre Métropolitain in hearty form, this made a stimulating start to the program.“
(The Montreal Gazette, 01.12.2013)
„On peut aussi parler de découverte à propos de Kristian Benedikt, ténor lituanien entendu dans trois scènes différentes d'Otello. L'homme réunit la masse physique, la voix de stentor (plus forte que belle) et l'allure fruste du général maure que la jalousie pousse à tuer son innocente épouse. Il a littéralement incarné et hurlé le personnage devant nous. Pourtant impeccable partout, le chef aurait dû suivre de plus près ses rubatos.“
(www.lapresse.ca, 02.12.2013)
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