Schaunard in La boheme with New York City Opera. Matthew Burns as Colline.

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“Baritone Kyle Pfortmiller, as the King, was called on to do some actual puppeteering himself, moving the feet of the pint-sized body that used his own head and a hidden puppeteer's arms. Pfortmiller sang heartily, matching the exaggeration of the big-headed, small-brained, stunted-body potentate with bright facial expressions that stayed on the tasteful side of muggery.”
JOANNE SYDNEY LESSNER, Opera News
Pagliacci Kyle Pfortmiller's throbbing vibrato and hearty sound made Silvio's strain of naïve intoxication for Nedda plausible.”
Robert Carreras, Opera News
“New York baritone Kyle Pfortmiller gave a bravura performance in the role of Figaro. His bronzed tone rattled the rafters during “Largo al factotum” and shocked the audience during the aria’s most tongue-twisting passage with a special talent that should remain a surprise. Mischievous, playfully narcissistic and always one step ahead or the rest, his charismatic presence enhanced every scene.”
Robert Coleman, Salt Lake Tribune
“You could hardly ask for a better Figaro than Kyle Pfortmiller, who not only has a rich, strong voice, but also brings a charming style and panache to the character.”
Carma Wadley, Deseret News, Salt Lake City, UT
“Soon, though, it picks up as Figaro (Kyle Pfortmiller), barber and general busy-body, makes his appearance. Pfortmiller really is the star and salvation of the this production. He never strains of voice, fills the theater with ease, and lets his face tell half the story. He obviously enjoys the role.
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Jay Wamsley, USU Statesman
“Kyle Pfortmiller unfurled a sit-up-and-take-notice baritone and beautiful legato line in Valentin’s aria from Gounod’s Faust.”
Lawrence Budman, South Florida Classical Review
“Kyle Pfortmiller as Maximilian - was strong of voice, beautiful of form, and quite fetching in his little bit of cross-dressing vaudeville.”
Arthur S. Leonard, Leonard Link
“Well-earned nod to Kyle Pfortmiller for throwing himself whole-hearted into silly Maximilian, who at one point pretends to be a buxom courtesan.”
David Finkle, TheaterMania.com
“Only one of the performers was entirely satisfying on the second night of the run, when I saw it: Kyle Pfortmiller’s characterisation of Maximilian was as humorously narcissistic as it should be, a clear demonstration that the piece can work when it’s put in the right hands, and his voice was consistently excellent when both singing and speaking.”
Dominick McHugh, MusicalCriticism.com
“Kyle Pfortmiller sang with a fine, robust baritone as Maximilian.”
George Loomis, The New York Sun
“Baritone Kyle Pfortmiller’s Count was impressively three-dimensional.”
Mark Stryker, Detroit Free Press
“In the role of the brilliant, yet notably quiet, Thomas Jefferson, is Kyle Pfortmiller. With a nice stage presence, the gravitas needed to play Jefferson is especially present any time Pfortmiller opens his mouth to sing.”
Erica Hansen, Deseret News
“Pfortmiller’s performance of Higgins brought a soul to a character that can come off as excessively rude, unfeeling and harsh. When he and Eliza fought after the Embassy Ball, she gives her ring back to him, one that had been his gift to her that she says she doesn’t want anymore. Higgins pulls his hand back to throw the ring and Eliza panics that he will hit her. Pfortmiller’s Higgins is near tears as he exclaims that he would never hit her, but it’s she who had struck him to the heart. The reaction of Pfortmiller’s Higgins is so strong and heartfelt that it’s heartbreaking to anyone in the audience. A similar moment comes when Eliza tells Higgins she is leaving him for good, and afterwards Higgins tells his mother, “She’s gone,” in so heartrending a tone as to leave any onlooker feeling the pain of his loss as deeply as he does. Pfortmiller’s Higgins is a sympathetic character who leaves the audience rooting for him despite — and maybe even a little bit because of — his flaws. We feel his pain that he has fallen for a woman and doesn’t know how to keep her.”
Michelle Garrett, Deseret News, July 20, 2012
“Kyle Pfortmiller is equally memorable in the role of Valentin, the brother of Marguerite. Even on a stage literally crowded with talented ensemble singers, Pfortmiller’s baritone voice was absolutely dominant. Now in his fourth season with UFOMT, Pfortmiller is thankfully becoming as familiar to local audiences as he is to those of the Metropolitan Opera in New York City.”
Charles Schill, The Herald Journal, July 20, 2012
“Marguerite’s brother Valentin was sung thrillingly by baritone Kyle Pfortmiller, who also has leading roles in "Kiss Me Kate" and "My Fair Lady, whose aria "Avant de quitter ces lieus," sung before leaving for battle, was the opera’s vocal highlight. Then his riveting act four singing astonished as he condemned Marguerite with his dying breath.”
Robert Coleman, Salt Lake City Journal, July 13, 2012
“But at UFOMT, it was baritone Kyle Pfortmiller whose compelling performance brought down the house. Pfortmiller comfortably inhabits the irascible professor, performing with credible accent, brisk pacing and rhythmic sing-speak in songs like "Why Can’t the English?" and "I’ve Grown Accustomed to Her Face." His transformation through three festival leading roles (Valentin in "Faust," Fred/Petruchio in "Kiss Me Kate" and Higgins) was remarkable — each vastly different from the other.”
Robert Coleman, The Salt Lake Tribune, July 14, 2012
“As her husband, the baritone Kyle Pfortmiller was powerfully effective, capable of glib smoothness in the cabaret-style number “They Will Love You” and of summoning terrifying pathos in a climactic scene in which he falls victim to the violence he has wielded.”
CORINNA da FONSECA-WOLLHEIM, New York Times JAN. 7, 2016
“For Kyle's NY Professional Directorial debut - The technical and creative team deserve kudos for the beautiful production--especially Stage Director Kyle Pfortmillr (Sic), Scenic Designer James Fluhr, and Lighting Designer Mary Ellen Stebbins. Many a truly striking visual image was struck with a very simple set and lighting that seemed not terribly elaborate but truly effective. One of my favorite visual touches was a vase on a small table that remained on stage through every scene. It began the show with several camellias, but Violetta drew one camellia for each scene as a token of her love, leaving the vase (and Violetta?) empty at the end”
Taminophile August 15, 2016
“Kyle Pfortmiller, as the mellifluous-sounding and good-looking Count Almaviva, was outstanding both as singer and actor.”
Dina Winter, Grosse Point News