Press
Madama butterfly - Musiktheater im Revier, Gelsenkirchen (2022)
“Ihr zur Seite stand in der besuchten Vorstellung der amerikanische Tenor Joshua Kohl als Gast vom Theater Freiburg, der mit einem ganz hervorragenden Tennor glänzen konnte. Dass seine Rolle als absoluter Unsympat angelegt ist, er sich im ersten Akt an den Prostituerten erfreut und keinen Wert auf die Gefühle seiner japanischen Ehefrau legt und er sich im dritten Akt feige davonschleichen will, steht zwar im Gegensatz zum Glanz seiner Stimme, aber Kohl bringt auch diesen Part des überheblichen Amerikaners glänzend auf die Bühne.”
“She was assisted in this performance by the American tenor Joshua Kohl as a guest from Theater Freiburg, who was able to shine with an excellent tenor. The fact that his role is designed to be absolutely disliked — he enjoys the prostitutes in the first act, doesn't value the feelings of his Japanese wife, and he wants to cowardly sneak away in the third act — is in contrast to the shine of his voice, but Kohl also brings this part of the arrogant American brilliantly to the stage.”
Madama butterfly - Theater Freiburg (2022)
“Ein Pinkerton hat es daneben nie leicht. Doch Joshua Kohl lässt in seinem Spiel aufscheinen, dass es durchaus auch so etwas wie eine Entwicklung – wenigstens ein Begreifen – gibt. Und mit Bewunderung lauscht man seinem virilen, facettenreichen Tenor, der den Macho-Yankee in seinem "Dovunque al mondo lo Yankee" stimmlich ebenso überzeugend verkörpert wie den Operettentenor, der mit seiner "Addio"-Arie im Schlussakt mit vokaler Grandezza und Geschmeidigkeit nach Gefühlen sucht. Ein starkes Paar – ein starkes Ensemble.”
“A Pinkerton never has it easy next to Butterfly. And yet Joshua Kohl shows that there is also something like a development - at least an understanding. And one listens with admiration to his virile, multifaceted tenor, who vocally embodies the macho Yankee in his "Dovunque al mondo lo Yankee" just as convincingly as the operetta tenor, who with his "Addio" aria in the final act with vocal grandeur and suppleness searches for feelings. A strong couple - a strong ensemble.”
“Der amerikanische Tenor Joshua Kohl als B.F. Pinkerton spielt glaubwürdig und entwickelt sich stimmlich sowie menschlich im Laufe des Abends von der noch etwas unsicheren Yankee-Arie bis zum starken „Addio“ zusehends. Im Duett „Vogliatemi bene“ harmonieren die beiden Stimmen hervorragend.”
“The American tenor Joshua Kohl as B.F. Pinkerton acts credibly and develops both vocally and dramatically over the course of the evening, from the still somewhat uncertain Yankee aria to the strong "Addio". In the duet "Vogliatemi bene" the two voices harmonize perfectly."
Manon - Theater Freiburg (2021)
Opernwelt
“Joshua Kohl spielt diese Studie eines einer Frau Verfallenen großartig, nicht als Heißsporn, sondern als melancholischer Liebhaber - ein Verlierertyp. Nicht jedoch in stimmlicher Hinsicht. […] meistert Kohl die schwierige Partie mit souveränem lyrischen Gestus, sicherer Voix mixte und differenziertem Tenor.” - Alexander Dick
“Joshua Kohl plays this study of a decayed woman wonderfully, not as a firebrand, but as a melancholic lover - a loser type. But not in a vocal sense. […] Kohl copes with the difficult part with outstanding lyrical gesture, secure voix mixte, and differentiated tenor.”
“Joshua Kohl ist ein stimmlich souveräner Partner der Mainguené […] und bestens disponiert seine große Arie in der Kirche präsentiert…”
“Joshua Kohl is a vocally excellent partner with (Solen) Mainguené […] and presents his great aria in the church with the best disposition…”
Flight - Seattle Opera (2021)
“As the young married couple, Tina and Bill, who are hoping to put some spice back into their relationship, Karen Vuong and Joshua Kohl brought a practised ease to the couple's sniping at each other with Kohl showing deft comic timing with the 'wrong trousers' sequence.”
Hulda - Theater Freiburg & Naxos (2021)
“When Swannhilde is joined by Eiolf in the same act for C'est mon amour and Ah! sur ton sein je me repose (tracks 6 and 7, respectively) you hear music that is ravishing wherein both Ms. Park and Joshua Kohl sing splendidly. In fact Kohl may well be the finest singer in the opera and thus the greatest vocal strength on this recording.”
“Joshua Kohl makes an attractive, suavely elegant Eiolf…”
Das Lied von der Erde - Theater Freiburg (2020)
“Dazu leisteten die beiden Vokalsolisten Anja Jung (Mezzosopran) und Joshua Kohl (Tenor) einen wesentlichen Beitrag, die ausdrucksstark und emotional agierten. […] Kohl verfügte über eine vor Kraft strotzende Stimme, die einem Heldentenor mit leicht metallischem Timbre gleich kam. Bei sicherer Aussprache strahlte er auch kammermusikalische Empfindung aus und konnte neben opernhaft-wagnerischem Einsatz auch lyrisch wirken.”
“The two vocal soloists Anja Jung (mezzo-soprano) and Joshua Kohl (tenor) made a significant contribution to this, acting expressively and emotionally. [...] Kohl had a voice bursting with strength, which was like a heroic tenor with a slightly metallic timbre. With a sure pronunciation, he also radiated chamber music sensation and, in addition to being opera-like and daring, could also have a lyrical effect. ”
“Nach einer bewegenden Aufführung des Werkes durch das Philharmonische Orchester Freiburg unter Fabrice Bollon mit den hervorragenden Solisten Anja Jung (Alt) und Joshua Kohl (Tenor) gibt es im durch Corona-Angst etwas lückenhaft besetzten Freiburger Konzerthaus langen Beifall. [...] Joshua Kohls Tenor besitzt genügend Strahlkraft, um sich gegenüber dem Tutti zu behaupten. Häufig setzt Mahler die Stimme als zusätzliche Orchesterfarbe ein – da braucht es ein gutes Standing.”
“After a moving performance of the work by the Philharmonic Orchestra Freiburg under Fabrice Bollon with the outstanding soloists Anja Jung (alto) and Joshua Kohl (tenor), there was long applause in the Freiburg concert hall, which was somewhat sketchy due to corona fear. [...] Joshua Kohl's tenor has enough radiance to assert himself against the full orchestra. Mahler often uses the voice as an additional orchestral color - it requires powerful singing.”
The Turn of the Screw - Theater Freiburg (2019)
“Joshua Kohl singt den Prolog und interpretiert Peter Quint. Sein strahlender Tenor ist auch in leisen Stellen immer verständlich, sein Intonation und Diktion makellos, seine schauspielerische Leistung überzeugt.”
“Joshua Kohl sings the Prologue and Peter Quint. His shining tenor is also in soft moments always understandable, his intonation and diction flawless, his acting skills absolutely convincing.”
SWR
“…mit einem hervorragenden Tenor Joshua Kohl…”
…”with an outstanding tenor Joshua Kohl…”
“Seine hell timbrierten, verschlungenen Linien sind echte Kostbarkeiten.”
“His bright timbre, entwined lines are genuine treasures.”
“…ausgezeichnet gesungen und gespielt von Joshua Kohl…”
“…excellently sung and played by Joshua Kohl…”
O-Ton
“…darf er seine Stärken als Peter Quint voll ausspielen und begeistert stimmlich wie darstellerisch.”
“…he can fully exploit his strengths as Peter Quint and inspires both in voice and acting.”
Opernwelt
“…ein ausdrucksstarker, zart lyrischer Tenor: Joshua Kohl…”
“…an expressive, tenderly lyrical tenor: Joshua Kohl…”
Falstaff- Theater Freiburg (2019)
“Joshua Kohl interpretierte Fenton mit seiner klaren Stimme und spielte überzeugend den in Nannetta verliebten jungen Mann. Sein strahlender Tenor gefiel.”
“Joshua Kohl interprets Fenton with his clear voice and convincingly played the young man in love with Nannetta. His radiant tenor is pleasing. ”
Hulda- Theater Freiburg (2019)
“Mit ihr wie auch dem Tenor Joshua Kohl als heldisch glänzendem Eiolf kann Freiburg zwei starke Sängerpersönlichkeiten aus dem eigenen Ensemble aufbieten.”
“With her as with tenor Joshua Kohl as the heroic shining Eiolf does Freiburg have two strong singer personalities in their own ensemble.”
“Joshua Kohl verbindet als Huldas Liebhaber Eiolf große Strahlkraft mit leuchtenden Farben.”
“Joshua Kohl connects with his great, radiantly powerful, and bright shining colors as Hulda’s lover Eiolf.”
“Aus dem durchweg bemerkenswerten Sängeraufgebot ragen die bis ins Heldische reichenden tenoralen Qualitäten von Joshua Kohl als Eiolf hervor, zu dem sich Hulda hingezogen fühlt.”
“Out of the consistently remarkable line-up of singers, Joshua Kohl's tenoral qualities, reaching into the heroic, stand out, and Hulda is drawn to them."
“Auch wenn er der Stentorpartie, mit Tenor Joshua Kohl hervorragend besetzt…”
“Joshua Kohl is perfectly cast with his powerful voice.”
“Der junge amerikanische Tenor erweist sich auch mit dieser Partie als ein Hoffnungsträger seines Fachs: ganz klar im Ansatz, mit sauberer Diktion und einer sicheren Höhe singt Kohl diesen als UN-Offizier dargestellten Eiolf.”
"With this role, the young American tenor is also a beacon of hope in his field: Kohl's singing has clear intonation as a UN officer, with a sparkling diction and a secure top.”
“Joshua Kohl verbindet als Huldas Liebhaber Eiolf große Strahlkraft mit leuchtenden Farben.”
“As Hulda's lover Eiolf, Joshua Kohl combines great radiance with bright colors.”
Eugen Onegin - Theater Freiburg (2018)
“Wirklich ausgezeichnet macht sich der Amerikaner Joshua Kohl als Lenski, seine Tenorstimme ist schön und berührend, sein Spiel überzeugend.” - Opern Magazin
(“Truly outstanding is the American Joshua Kohl as Lenski, his tenor voice is beautiful and touching, his acting powerful.”)
Angels in America - Theater Freiburg (2018)
"Das gilt auch für die ganz exzellenten Solisten. Robin Adams singt den Prior mit konturenreichem, durchschlagskräftigem Bariton; ganz facettenreich ist Joshua Kohls Tenor als sein Partner Louis." - Badische Zeitung
("This also applies to the very excellent soloists. Robin Adams sings the Prior with a full-bodied, punchy baritone; Joshua Kohl's tenor is as multi-faceted as his partner Louis.")
Káťa Kabanová - Seattle Opera (2017)
“Maya Lahyani as the rebellious Varvara, Joshua Kohl as her beau Kudrjas and Stefan Szkafarowsky as Boris’ ill-tempered uncle all delivered fine work.” - Queen Anne News
The “Katya” comprimario roles were well-cast throughout, led by the Maya Lahyani as Kabanicha’s free-spirited daughter Varvara and Pennsylvania tenor Joshua Kohl as her intellectual boyfriend Kudrjas. … Kohl was an appealing Kudrjas, who pursues Varvara while helping create an erotic mood for Katya’s fateful meetings with Boris. Neither Kudrjas nor Varvara have sympathy for either Kabinicha’s old ways nor Katya’s belief in the need for punishment for mortal sin.” - Opera Warhorses
“The supporting couple, Israeli mezzo-soprano Maya Lahyani (a former Seattle Opera Young Artist) as Varvara and American tenor Joshua Kohl as Kudrjas, were younger and more carefree in their attitudes and behavior. Their duets were lighter and more romantic and their music more Italianate. Their singing was fresh and joyous. They were very successful as the polar opposites of the triangle of Katya, Boris and Tichon.” - Classical Voice
“Maya Lahyani played the role of Varvara with a light-hearted and free-spirited nature that provided some relief from the heaviness of Katya’s situation. It also meshed wonderfully with Joshua Kohl’s Kudrjas. The duets that featured the two lovers (Varvara and Kudrjas) were exceptionally well sung.” - Northwest Reverb
“They are also fortunate in the rest of the cast. The thoughtless young lovers Varvara and Kudrjas are taken in both casts by Maya Lahyani and Joshua Kohl in rather genre-generic musical-comedy second-couple fashion, but both sing very well…” - Opera Today
RIGOLETTO - BALTIMORE CONCERT OPERA (2016)
"Joshua Kohl’s tenor voice is spot-on as the licentious Duke of Mantua. His command of the character is evident in every note. Fearlessly tackling notes that would give a lesser vocalist the shivering fits, he’s skillful and accomplished. The best-known piece of music from the production is undoubtedly “La donna è mobile.” Kohl does a fine job with it, even though I was holding my breath to see if he would hit that infamous high note that comes just before the end of the piece. He not only hit it, he nailed it to the gilded ceiling. The audience cheered for that, and he deserved every kudo." - MD Theatre Guide
THE PIRATES OF PENZANCE - KNOXVILLE OPERA (2016)
"Frederic, the pirate apprentice, terrifically sung and performed by Joshua Kohl..." - Knoxville News Sentinel
"The roles of Frederic and Mabel were sung by tenor Joshua Kohl and soprano Claire Coolen. Both had those endearing qualities necessary for Gilbert and Sullivan: crisp English diction accompanying a strong, gorgeous voice." - Knoxville Mercury
AMLETO - OPERA DELAWARE (2016)
"...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
DIE FLEDERMAUS - SARASOTA OPERA (2013)
"And Joshua Kohl as Alfred, Rosalinda's paramour, has a clarion tenor that would make anyone swoon with passion." - Your Observer
THE MIKADO - LYRIC OPERA OF KANSAS CITY (2013)
"Joshua Kohl was a brazen Nanki-Poo, with an excellent lyric tenor voice that features truly honest high notes." - The KC Independent
MADAMA BUTTERFLY - OPERA SOUTHWEST (2013)
"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
LUCIA DI LAMMERMOOR - DAYTON OPERA (2012)
"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
RIGOLETTO - OPERA SARATOGA (2012)
"[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
CARMINA BURANA - HARTFORD SYMPHONY ORCHESTRA (2012)
"Tenor Joshua Kohl conveyed the roasting swan’s plight with poignancy and humor.” - In The Spotlight
LA TRAVIATA - NASHVILLE OPERA (2011)
"Kohl’s voice soars with passion, and his youthful good looks are perfect for the role." - The Tennessean
CARMEN - LAKE GEORGE OPERA (2010)
"Kohl is a magnificent tenor who totally throws himself into this tortured role." - The Saratogian
MACBETH - UTAH OPERA (2009)
"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." - examiner.com
"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
THE PIRATES OF PENZANCE - THE OHIO LIGHT OPERA (2007)
“Josh Kohl played Frederic with youthful grace and used his focused, ringing tenor to superb effect.” – Cleveland Plain Dealer
THE BIRDSELLER (RECORDING) - THE OHIO LIGHT OPERA (2007)
“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