Known for his stage savvy, Robert Kerr’s foundation in opera began in musical theater. Anthony Tommasini of the New York Times wrote of his Falstaff: “He made words matter and conveyed the self-delusion of this likable laughingstock… “
In 2016 he returned to
Other engagements include his appearance at the Kennedy Center Honors along with Sondra Radvanovsky and Joseph Calleja in an Aida tribute to honoree, Martina Arroyo. He sang the title role of Falstaff with the Martina Arroyo Foundation’s “Prelude to Performance” with Willie Waters conducting and was engaged with the Lancaster Festival in
He has appeared in summer stock with The Barn Theater and Huron Playhouse; and in past productions with the
His past operatic roles include; Scarpia in Tosca, Secret Police Agent in The Consul, Malatesta in Don Pasquale, Germont in La traviata, Ford in Falstaff, Sharpless in Madama Butterfly, Zurga in Les pêcheurs de perles, Marullo in Rigoletto, Antonio in Le nozze di Figaro, the Sacristan in Tosca, Danieli in Das Liebesverbot, Commissario in Madama Butterfly; and, Keeper of the Madhouse in The Rake’s Progress. Mr. Kerr has sung King Hildebrand in Princess Ida with So. Ohio Light Opera; he was engaged by Opera Memphis as the Sacristan and Jailer in Tosca; and, sang Carmina Burana with the Las Cruces Symphony and El Paso Chorale.
"Robert Kerr, the baritone singing the role of Germont evinced a full rich voice and did justice to his character and his emotional shifts. His Act II arias bore intense charges. His shame for his son in Act III was palpable. When he embraced Violetta as his daughter in Act IV, we could literally feel his remorse." — Meche Kroop, Voce di Meche, La traviata, 2014
“The hearty baritone Robert Kerr began his career in musical theater, and that experience showed in his performance of Falstaff. He made words matter and conveyed the self-delusion of this likable laughingstock, a character convinced that his girth is actually an imposing physique with natural appeal for cultured women. “— Anthony Tommasini, The New York Times , 2012