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319 Broadway N, #201
Fargo, ND 58102




"...and the strong, ringing, Italianate voice of the terrific Joshua Kohl as an Amleto who’s the archetypal angry young man of Italian opera." - The Washington Post

"Most characters have good soliloquy moments, but the title role is a star maker, to which OperaDelaware's Joshua Kohl brought a hard-to-match standard of unself-conscious charisma. He was all you'd want in a spoken Hamlet, but with a gleaming, mid-weight tenor voice that filled all vocal nooks and crannies."
- The Philadelphia Inquirer

"Amleto (Hamlet) was sung by tenor Joshua Kohl, whose thrilling rendition of Hamlet’s central soliloquy, “Essere o non essere! (To be or not to be!),” brought down the house. The role demands an exceptional singing and acting to power the Prince’s tempestuous trajectory, and Kohl delivered a characterization of both heft and heartbreak." - The News Journal, DelawareOnline

"First and foremost I must report that tenor Joshua Kohl was a tremendous Amleto (Hamlet). Beautiful singing throughout, powerful stage presence, gripping characterization are just some of the accolades I could shower on this gifted young singer. The aria after the ghost of his father implores Amleto to avenge his murder was a wonder." - Taminophile

"Joshua Kohl gave a star-making performance, tireless to the last, intimate and passionate. He bounded about the set in Amleto’s “antic” moods, with lyric, wooing phrases for his duets, and he’s slim and easy on the eyes." - parterre box

"Tenor Joshua Kohl was as valiant and sensitive a Hamlet as anyone could hope for." - Newsworks

"Especially noteworthy were Joshua Kohl assaying Hamlet with heartfelt and beautifully wrenching Italianate sound, expressing his indecision and conflict." - The Opera Critic

Edgar - Baltimore Concert Opera (2016)

"In the title role, tenor Joshua Kohl revealed a firm technique and dynamic phrasing." - The Baltimore Sun

Ariadne auf Naxos - Seattle Opera (2015)

"Carfizzi doubled as Truffaldino, but Joshua Kohl’s focused Brighella was the comic quartet’s standout." - Opera News

La Bohème - Opera Southwest (2015)

"When the scene turns to the two principals, tenor Joshua Kohl and Canadian soprano Emily Dorn provide the romance of youthful hope. [...] Kohl gives a warm and appealing first act aria, the music that permeates the opera. The frozen garret quickly becomes a nest of smoldering, young love." - Albuquerque Journal

H.M.S. Pinafore - Knoxville Opera (2014)

"Kohl's tenor voice was as clear and crisp as brisk air on the North Sea." - Knoxville News Sentinel

The Mikado - Hawaii Opera Theatre (2014)

"Joshua Kohl, as leading young lover Nanki-Poo, has a wonderfully full, clear tenor that was a joy to listen to in whatever he sang..." - Honolulu Star-Advertiser

L'elisir d'amore - Knoxville Opera (2014)

"As the naïve bumpkin Nemorino, who is helplessly in love with Adina, tenor Joshua Kohl was the vocal standout of the evening. The clarity of his voice throughout his range was impressive and satisfying, as was his surprising power at moments of lovelorn anguish. Dramatically, he was quite successful in creating an appealing and sympathetic character, as well as showing the conflict between passivity and romantic determination. Needless to say, he made the opera's signature aria, "Una furtiva lagrima," exceedingly memorable, as it should be." - MetroPulse

"A country boy named Nemorino, sung to buffoonish perfection by Joshua Kohl, falls hopelessly in love with a wealthy landowner named Adina, sung by the sexily coy Stefania Dovhan." - UT Daily Beacon


"And Joshua Kohl as Alfred, Rosalinda's paramour, has a clarion tenor that would make anyone swoon with passion." - Your Observer


"Joshua Kohl was a brazen Nanki-Poo, with an excellent lyric tenor voice that features truly honest high notes." - The KC Independent


"Tenor Josh Kohl portrays Lt. B.F. Pinkerton with a boyish enthusiasm that may, to some small degree, mitigate his atrocious behavior towards his Japanese wife Butterfly. His tone is robust and focused throughout. And though this should always be a secondary criterion in casting principal operatic roles, he cuts a handsome and dashing figure as the sexually appealing young officer. The innocent love play between the two that closes the first act (on stage, that is) is quite touching."
ABQ Journal


"Joshua Kohl's Edgardo added a handsome presence to the duo — a most attractive pair of lovers. Kohl's bright, brilliant tenor was stunningly effective..."
- Opera News

"Kohl offered a brilliant, fiery performance in the second half of the show, thrillingly sung with plenty of slancio and squillo." - Opera News


"[Kohl's] voice, deliciously lyrical and emotionally nuanced, offered a beautiful timbre..." - Opera Now

"Kohl’s singing revealed the fullest emotional range of the principals — joy, rapture, rage...” - Albany Times-Union


"Tenor Joshua Kohl conveyed the roasting swan’s plight with poignancy and humor.” - In The Spotlight


"Kohl’s voice soars with passion, and his youthful good looks are perfect for the role." - The Tennessean


"Kohl is a magnificent tenor who totally throws himself into this tortured role." - The Saratogian


"Tenor Joshua Kohl's brief stage time as Macduff provided an energetic spark. During "Ah, la paterna mano," his voice soared, unrestrained and emphatic, as he vowed to free the oppressed peasants." - Opera News

"But it is the tenor vocals of Macduff, which are provided by Joshua Kohl that really steal the show. Kohl’s solo is late into the opera, but when he opens his mouth to sing after his family has been killed, and Scotland is on the brink of destruction and its people are dressed in rags and despair, chills travel up the spine and you are lost in the enchanting spell that Kohl vocally weaves." -

"Joshua Kohl nearly steals the show with his impassioned portrayal of Macduff. The young tenor brings a jolt of urgency to every scene he's in, and the aria in which Macduff expresses his grief over his family's murder is arguably the emotional high point of the evening." - The Salt Lake Tribune

"At times, moments of tenderness surprise and are all the sweeter for their appearance, most notably when tenor Joshua Kohl’s Macduff sings with exquisite sadness of the loss of his wife and children to the tyrant’s bloodthirsty sword." - Salt Lake City Weekly


“Josh Kohl played Frederic with youthful grace and used his focused, ringing tenor to superb effect.” – Cleveland Plain Dealer


“While all OLO leads show vocal promise, clarion-voiced tenor Josh Kohl, a 2007 semi-finalist in the Met’s National Council Auditions, merits particular praise for a glorious, relaxed performance as Adam (the “Vogelhändler” himself).” – Opera News