Philip sings Figaro in Dunque io son from Il barbiere di Siviglia at the Jeunes Ambassadeurs Lyriques Gala in Montreal, November 2019. With Florence Losseau!

Here's what the press has to say...

Entradas- Square Dance - Miami City Ballet

“The first work of the evening’s program was “Square Dance.” Contributing to the communicative effectiveness of the new staging was Montana Levi Blanco with costume designs. Rudi Goblen punctuated new command voices marinated in Spanglish, and the Miami-based British-Canadian baritone Philip Kalmanovitch served as the caller.

There were no changes in the demanding choreography, which the dancers executed efficiently while the music, too, is well known. Still, it was Kalmanovitch -tall and charismatic- who earned absolute recognition. From his first appearance, his beautiful voice and gentle approach to the role he created the connection of “Square Dance” with the Miami audience.

At first, there was an occasional doubtful smile, but once he shouted “¡fuácata!” -a Cubanism that imitates the sound a coup makes- there was no turning back. The Arsht Center was alll his, and he was there to share it with the dancers.”

-Orlando Taquechel, Artburst Miami, May 2023

The Road of Promise - Orchestra Miami

“Philip Kalmanovitch’s robust baritone was monarchical indeed as Solomon, his top range resounding clearly in a lyrical solo.”

-Lawrence Budmen, South Florida Classical Review, February 2023

The Music of Mana-Zucca - Orchestra Miami

“Kalmanovitch sang with clear diction, beautifully sustained phrases, and seamless transitions through his vocal compass. He is a well-rounded performer who conveyed the emotional essence of each song with convincing musicality.”

-Inesa Gegprifti, South Florida Classical Review, November 2022

AIRBORNE - Orchestra Miami

“Philip Kalmanovitch’s baritone was firm and resonant in several episodes.”
”Kalmanovitch displayed an old-school theater baritone, bringing conviction to the bombardier’s pean to his beloved back home.”

-Lawrence Budmen, South Florida Classical Review, April 2022

Threepenny Opera - City Lyric Opera

“The image cleverly revealed itself to be a selfie video, which was then transmuted to a laptop and thence to six video monitors perused by Peachum (Philip Kalmanovitch, emphatic in tone and diction).”

-David Shengold, Opera News , November 2020

2019 Gala des Jeunes Ambassadeurs Lyrique - Théâtre Lyrichorégra 20

“On a aussi apprécié l’interprétation solide et incarnée de la mezzo Florence Losseau (Rosine) et du baryton Philip Kalmanovitch (Figaro), extraite du Barbier de Séville. Une très belle voix pour elle, un vrai acteur pour lui.”


-Michel Joanny-Furtin, Ludwig van Montréal, November 2019

Le bal masque - Festival d'Art Vocal de Montreal

"Philip Kalmanovitch, comédien autant que baryton, défendait ensuite l'insupportable Bal masqué de Poulenc et y montra beaucoup de métier."

-Claude Gingras, La Presse, August 2013

Dead Man Walking - Opera de Montreal

"Also noteworthy [was] the insouciant but sympathetic Philip Kalmanovitch as the motor cop."

-Earl Arthur Love, ConcertoNet.com , March 2013

Faust - Opera de Montreal

"Philip Kalmanovitch, enfin, apporte de l'éclat au rôle effacé de l'étudiant Wagner."

-Claude Gingras, La Presse, May 2012

"The casting was superb, featuring four young talents that came up through the Atelier Lyrique...baritone Philip Kalmanovitch, who brought joy to the stage totally out of proportion to his minor part."

-Lev Bratishenko, Rover Arts, May 2012

Le nozze di Figaro - Opera de Montreal

"Philip Kalmanovitch was a memorably comic Antonio."

--Robert Markow, Opera, January 2012

"Dans les rôles secondaires, on retiendra surtout Aidan Ferguson en Marcellina bien chantante et Philip Kalmanovitch dont les quelques répliques d'Antonio permettent de découvrir un baryton très prometteur."

-Louis Bilodeau, Avant-Scene Opera, September 2011

The Consul - Atelier Lyrique de l'Opera de Montreal

"Nearly [Caroline Bleau's] equal in vocal power were Etienne Dupuis (John) and Philip Kalmanovitch (the Secret Police Agent), whose physical size, bearing, clothes (solid black) and behaviour induced both dread and revulsion"

-Robert Markow, Opera, June 2011