Baritone PETER KENDALL CLARK is a distinguished interpreter of opera and musical theater who also excels in traditional concert repertoire. He has created roles in numerous world premieres, notably Jehovah in Mark Blitzstein’s Cain, for which the New York Times singled out his singing as “stylish and properly stentorian.” Mr. Clark has made return engagements to New York City Opera, Caramoor Opera, Ashlawn Opera, Syracuse Opera, Belleayre Festival, St. Petersburg Opera, Chelsea Opera, and Skylight Music Theatre. As a musical theater actor, Mr. Clark has equal affinity with dramatic, comic and romantic roles such as Pirate King in The Pirates of Penzance (Skylight Opera Theater), Frank Butler in Annie Get Your Gun, Henry Higgins in My Fair Lady, King Arthur in Camelot (Ashlawn Opera), and Fredrik in A Little Night Music (Syracuse Opera). OPERA NEWS singled him out for his performance in DiCapo Opera’s The Most Happy Fella: “a strapping, energetic Joe (whose) soothingly sexy rendition of “Don’t Cry” was, in its way, the most memorable vocal moment in the show.” His performances as Sweeney Todd at St. Petersburg Opera and Hawaii Opera Theater were also richly praised. The Tampa Bay Times singled him out as a Todd who “not only sang gorgeously…but also displayed the dramatic range and comic timing…to turn the blackness of the tale into something transcendent”. He has also been in demand for his “likeably vulnerable King Arthur” (Virginian Pilot), which he first performed at Ashlawn Opera and, subsequently, at Virginia Opera.
Recent debuts include Friedrich Bhaer in Adamo’s Little Women at Opera on the James, Falke in Fledermaus at Syracuse Opera, Donald McCullough’s In the shadow of the Holocaust at Alice Tully Hall, and Messiah with Helena Symphony. In the same season he starred in three consecutive Sondheim productions: Fredrick in A Little Night Music with Syracuse Opera, the title role of Sweeney Todd for his debut with Hawaii Opera Theater and Putting it Together at St. Petersburg Opera. Broadway World singled him out for his “moments of brilliance: Clark is extremely forceful with a rafter-shaking voice….“Being Alive”, Bobby’s final solo from Company…is the most gorgeous vocally I have ever heard…”
Known for his versatility, Mr. Clark's recent work includes Older Thompson in Chelsea Opera’s production of Tom Cipullo’s Glory Denied; Bach’s Christmas Oratorio with Brooklyn’s Grace Chorale; Henry Higgins in My Fair Lady at Syracuse Opera; William Schumann's Casey at Bat with the Putnam Chorale, and Carmina Burana with The New Jersey Choral Society. In the 2016-17 season he made his debut with New York City Opera in their sold out production of Candide, directed by Harold Prince, who cast him in an array of comic roles. He also returned to Teatro Grattacielo in their performance of a verismo rarity, Cassandra of Vittorio Gnecchi and sang his first ever Giorgio Germont in scenes from La Traviata in the Saint Ann’s First Monday Concerts. He also returned to New York City Opera for the NYC premiere of Peter Eötvös' opera Angels in America.
In the 2017-2018 season he returned to NYCO for La Fanciulla del West as Sid, sang in the ensemble of Charles Wuorinen's Brokeback Mountain, and played the title role in Ted Rosenthal's jazz opera Dear Erich in a staged reading at Lincoln Center. He made his debut at Anchorage Opera as the Baron/Inquisitor/Slave Captain/Pasha Prefect in their co-production of Candide with the Anchorage Symphony and returned to St. Petersburg Opera as Harold Hill in The Music Man. 2018-19 engagements: Harry Easter in Street Scene with Virginia Opera, the Bach b minor Mass with Helena Symphony, and MacHeath in the Threepenny Opera at Syracuse Opera.