Engaging Kristian Benedikt, who already sang Otello in Vilnius, Modena, Piacenza, Cagliari, Ekaterinburg, Brisbane, St. Petersburg, München, Santiago and Basel, proved to be a real gain. The Lithuanian has a dark-timbred Heldentenor that does not only belt out the “Esultate” with brilliant victory, but lets us hear Otello's tortured soul already. Benedikt is endowed with almost neverending vocal resources, capable of enormously passionate attacks, recalling the legendary Ramón Vinay with his highly intensive, nervous outbursts of dark glowing sound. But he doesn't show off, instead he is using his vocal powers to highlight only particular moments of the piece, often reducing to mezzoforte and piano to reveal Otello's inner tremble.

(Kleine Zeitung, Nachtkritik von Ernst Naredi-Rainer, OTELLO Graz, 13.2.2015)


The scenic intensity would not have been so thrilling without increasing musical support. Lithuanian tenor Kristian Benedikt is capable of furious outbursts as well as intimate piano-singing – a moving portrait of Otello, vocally and in terms of stage-presence.”

(Frankfurter Allgemeine Zeitung, 3.12.2014)


A thrilling intimate play takes place in the vast, empty space of the stage. Bieito has a splendid cast going to its' limits. Otello's jealousy as portrayed by Kristian Benedikt is an act of self-destruction. Audible breathing and convulsions going through his body are signs of his damaged mind. Being in charge of a clearly focused tenor with almost neverending vocal resources, he is able to deliver all choleric outbursts of this driven man.”

(Badische Zeitung, 3.12.2014)


Kristian Benedikt is an ideal Otello. The tenor is endowed with a powerful voice, precise height and baritonal depth, he poignantly embodies Otello`s delusion, vulnerability and violence. He is virtually living Otello.”

(Basellandschaftliche Zeitung, 1.12.2014)


With C-sharp-“Esultate!” Otello cuts into the chorus longing for peace and prosperity. And for the first time the audience gets to admire the vocal power and precision of Lithuanian tenor Kristian Benedikt.”

(Baseler Zeitung, 1.12.2014)


…Lithuanian tenor Kristian Benedikt. An Otello with turbocharger for the high notes and terrific in his rage. ”

(, 1.12.2014 [Radio])


With Lithuanian singer Kristian Benedikt Basel Opera has a guest with a resounding and secure tenor-voice, capable of all the high notes. ”

(SWR 2, 1.12.2014 [Radio])


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.

(, 02.12.2013)


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)


...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)


“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)


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