Gershwin music gets performance it deserves from Reading Symphony Orchestra

"that beautiful performance, and the soloists - pianist Simon Mulligan, in a return visit after 17 years; soprano Julie-Ann Whitely Green; and bass-baritone Kevin Deas - couldn't have been better chosen...The second half was devoted to excerpts from "Porgy and Bess," with Deas and Green portraying the title characters, as well as Clara, Serena, Jake and Sportin' Life, in a memorable performance that made me wish I could see them starring in the entire opera."

Susan L. Pena, Reading Eagle
Review: PostClassical Ensemble’s ‘Deep River: The Art of the Spiritual’ at the Washington National Cathedral

"What was crystal clear from the start, however, was the powerful impact of Kevin Deas, bass-baritone soloist, upon the entire presentation."

Ramona Harper, DC Metro Theater Arts
'Porgy and Bess' Celebrates the Tenacity of Black America

"If you missed the recent performance at The Music Center at Strathmore of George Gershwin’s opera “Porgy and Bess” and featured an all-Black cast in the major singing roles, you missed a jewel of a concert."

D. Kevin McNeir, Washington Informer
‘Porgy’ and ‘Simon’: Two works trying to fold black experience into Western canon

"What theatrical verve came across was thanks to the soloists. Director Michael Bobbitt’s spare yet effective staging created more than a whiff of Catfish Row, and drew three-dimensional characterizations from the strong soloists, even in formal concert dress...

With his elegant delivery and gently rolling bass-baritone, Kevin Deas emphasized the basic decency and civility in Porgy."

Anne Midgette and Joe Banno, The Washington Post
Mozart’s Last Symphonic and Choral Utterances

Highlights of the Tuba mirum section of the Sequence were the successive solo stanzas by bass, tenor, mezzo, and soprano; Steven Lundahl was the trombone soloist in resonant partnership with Kevin Deas.

Virginia Newes, The Boston Musical Intelligencer

“Mr. Keene had a superb Jesus in the bass-baritone Kevin Deas.”

James E. Oestreich, The New York Times
Reading symphony Orchestra rousing in program of Dvorak Americana

"Deas, who has garnered international acclaim for his portrayal of Porgy in Gershwin’s opera “Porgy and Bess,” was a superb speaker, with a delivery that rang with drama and conviction. His singing was marvelous, with an exceptionally compelling rendering of “Swing Low, Sweet Chariot,” sung a cappella, and the hymn “Goin’ Home,” accompanied by the RSO. I would have loved to hear him sing more."

Steve Siegel, The Morning Call
Spirituals become slow art in well-meaning concert

"A lot of the heavy lifting was given to Kevin Deas, a redoubtable bass-baritone with a strong but not overly resonant voice who was able to lend a homespun, direct flavor to much of what he sang."

Anne Midgette, Washington Post
Boston Baroque’s successful return to ‘Agrippina’

“Kevin Deas’s Claudius had both tonal depth and good comic instincts.”

Jeremy Eichler, Boston Globe
Horowitz And Beckerman Offer A Fresh Look At Dvorák

“In the Hiawatha Melodrama, Kevin Deas intones the text with impressive authority, and sings Goin’ Home beautifully.”

David Hurwitz,
Beloved conductor retires spectacularly
"Soprano Jonita Lattimore sang with brilliance yet heartfelt depth, while baritone Kevin Deas had an authoritative as well as deeply moving delivery."
Jim Lowe, Barre Montpelier Times Argus
Kansas City presents powerful "Messiah"
“Deas was outstanding. His rich voice was as clear and precise as it was resonant, and his musicianship was evident in the effortlessness of his communication with Lockington. His first piece, ‘Thus saith the Lord,’ is a difficult and dynamic one, but Deas’s sparkling technique and the group’s masterful communication brought them through the tricky piece with ease, a quality common to each of his subsequent pieces.”
Karen Hauge, KC Metropolis
Outstanding Oratorio
"Kevin Deas’s bass sound was that magical combination of rich, clear, and full that projected well without compromising the quality of a single note, no matter how low or how brief. His first solo piece, 'Thus saith the Lord,' was dramatic and powerful, especially when contrasted with the slower 'But who may abide' which followed. But it was Part III’s 'The trumpet shall sound' which was the highlight of Deas’s performance. Singing from memory, Deas used straight tone to great effect in order to imitate the sound of the trumpet, and executed the grandiose over-dotted rhythms handily."
Karen Hauge, KC Metropolis
Mozart's Renovations to Handel's 'Messiah'
"The bass Kevin Deas balanced stentorian delivery with smooth legato phrasing."
Anthony Tommasini, New York Times
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