| Enrico VIII in Anna Bolena Erik Kroncke is a huge force to be reckoned with as Enrico VIII. Mr. Kroncke’s rich, powerful, and perfectly placed basso seems to effortlessly and formidably flow out of Henry VIII’s persona. A better Henry I have never witnessed. Buzz Belmont – Houston Chronicle Eric Kroncke is an imposing Henry VII in all performances, his basso edging toward profundo – or maybe that’s just in the monarch’s job description. John DeMers – Houston Arts Week Especially appealing was Kroncke’s Enrico, with his cistern-deep bass and commanding stage presence. DL Groover – Houston Press |
| Don Alfonso in Cosi Fan Tutte Eric Kroncke invests the worldly Don Alfonso with the right vocal heft and authoritative presence. Everett Evans – The Houston Chronicle |
| Grande Inquisitor in Don Carlo Erik Kroncke makes a frightening, monolithic Grand Inquisitor. D.L. Groover and David Theis – The Houston Press …other standouts are Erik Kroncke, who devotes his unrelenting bass to making the Grand Inquisitor actually frightening… John DeMers – Houston Arts Week Bass Erik Kroncke is a huge force to be reckoned with as the Grand Inquisitor and sings with the undoubting, frightening fervor of Mother Church… Buzz Belmont – Houston Chronicle |
| Sarastro in Magic Flute Erik Kroncke as Sarastro…(was) completely engaging vocally… Tracy Mobley-Martinez – The Gazette Erik Kroncke portrayed a noble Sarastro, very comfortable in the lower depths of the role. Fred Kirshnit – The New York Sun …the rich basso of Erik Kroncke,… in a highlight of the performance: the famous trio in the second act of ‘Magic Flute’. You won’t hear that piece sung better anywhere. Tom Kane – The RiverReporter In playing Sarastro, bass Erik Kroncke conveys majesty in stature and dignity in persona. In an aria profoundly deep in tone, noble in spirit and clearly enunciated, his character provides assurance for the young woman. Marcus Kalipolites- the Times Herald-Record |
| Angelotti in Tosca …Erik Kroncke, a convincingly disheveled Angelotti… Lawrence A. Johnson-The South Florida Classical Review Cesare Angelotti (well sung by Erik Kroncke)… Charles Ludlow- Sun newspapers online review Sólo el Angelotti de Erik Kroncke alcanzó un nivel adecuado de volumen y profunidad (Only the Angelotti of Erik Kroncke reached an adequate level of volume and depth) Albert H. Cohen -Ópera en Sarasota |
| Masetto in Don Giovanni Kroncke’s voice was particularly pleasant…. Jim Pegolotti – The News –Times …Erik Kroncke sang and interacted delightfully… E. Thomas Glasow – Opera News, online edition …Erik Kroncke…shone as Masetto… David Katz – New York Stringer |
| Osmin in Die Entführung Bass Erik Kroncke,…made Osmin a cuddly person trying to maintain fear through bluster. Charles Ward – The Houston Chronicle |
| Baron Ochs in Rosenkavalier Kroncke’s voice is clearly well-trained and quite colorful. Nan Ransohoff – The Harvard Crimson |
| Dr. Bartolo in Le Nozze di Figaro But one player deserves special mention. Erik Kroncke’s Dr. Bartolo was full-voiced, richly resonant, and remarkably in character. His is a bass of astounding depth and warm timbre. Fred Kirshnit – The New York Sun |