Don Giovanni │ Leporello │ Wiener Staatsoper
„Peter Kellner, who is already experienced in this production, really blossoms at his side and gives what is probably his best Leporello. The registry aria is multifaceted, filled with admiration, envy, respect and contempt.”
-onlinemerker.com
„Ensemble member Peter Kellner is ideally cast. An excellent decision was made with the Slovakian bass singer. There is no discussion about Peter Kellner’s vocal qualities anyway – it is beyond any doubt. In terms of acting, he also fits in perfectly with the crazy punk attitude of his master’s completely crazy servant.”
-klassik-begeistert.de
Don Giovanni │ Leporello │ Opera de Rouen
„Accustomed to Mozartian roles, Peter Kellner impresses as Leporello. He is excellent in his histrionics in the catalog aria, but also throughout the opera, notably through the accuracy of his singing and his stage performance. This role fits him like a glove. His voice is of rare breadth.”
– premiereloge-opera.com
Le nozze di Figaro │ Figaro │ Wiener Staatsoper
„Peter Kellner impresses with his volume.”
-cult.news
„The same could be said of Peter Kellner’s Figaro, a baritone who gave lightness to his character both vocally and acting, the most dedicated in this aspect of the cast. You can’t put buts either in his departure by saying goodbye to Cherubino, Non più andrai, or in his complaints about his wife in Aprite un po’ quegli occhi.”
-planeamagazine.com
„In the title role, both in terms of singing and acting, Peter Kellner is a young, dynamic, witty and, not least, in love Figaro, who is believed to be able to outwit his master Almaviva.“
-bachtrack.com
„Peter Kellner, a welcome addition to the ensemble roster, was a convincing Figaro both vocally and physically; his energy on stage cannot help but to charm.”
-bachtrack.com
Don Giovanni│ Leporello │ Theatre des Champs-Elysées
„A very nice surprise was the indescribable and fabulous Leporello by Peter Kellner. What a voice! With astonishing richness, lively phrasing and a magnificent presence, we rediscovered and appreciated this character with his incarnation. We encourage our readers to follow him, you will never be disappointed, Peter Kellner is an exceptional singer.“
-classiquenews.com
Die Zauberflöte │ Papageno │ Wiener Staatsoper
Peter Kellner as Papageno is a vital, likeable outdoorsman who attracts attention with his funny comments and actions. In Leiser & Caurier’s production, he is the comedic centerpiece, who already shows in his appearance, when he fights his way through the rows of audience to the stage, that he has behavioral problems in the truest sense of the word and that he will enjoy this award with relish. He is also the last person to appear on stage during the final applause. Another indication of his position in the applause rankings. To demand a little more restraint from him would be absurd. Above all because he approaches what he does brilliantly and is extremely entertaining.”
-onlinemerker.com
Cosi fan tutte │ Guglielmo │ Wiener Staatsoper
„As Guglielmo, Peter Kellner impressed with his agile baritone and courageous acting, just as he did as Figaro.“
-bachtrack.com
Wigmore Hall│ Recital
„Peter Kellner took time off from performances to present his debut song recital at Wigmore Hall last weekend, with the Vienna-based pianist Pedro Costa. For a young singer – currently a member of the Vienna State Opera ensemble – it was bold and challenging programme. It included Schumann’s Belsazar, Heine’s telling of the Belshazzar’s Feast story and the writing on the wall: the six Lenau settings of Op 90, with the somber, quasi-liturgical Requiem; and Dvorak’s 10 Biblical Songs, Op 99. . Kellner’s impressive dark bass and linguistic advantage – his Czech sounded idiomatic, though I can’t vough for that – created a strong sense of a visionary, religious mission. Hu judged the acoustics well, having appeared here in the 2017 Wigmore Hall International Song Competition, and clearly mad a strong impression on the venue’s director, John Gilhooly. He sang the entire programme, admittedly only an hour long, without resourse to the music or words, and is clearly a vivid communicator. Dvorak’s songbook is masterly, but the Czech language presumambly discourages international singers from tackling it. Kellner and Costa projected its prayerful devotions with evangelistic zeal. Even better was his beautifully sung Tchaikovsky group, with the famous (translated from Goethe) None but the Lonely Heart at its centre and the flamboyant Don Juan’s Serenade dashed off with flourish as an encore. Kellner can’t return too soon.„