Chris Kenney



American baritone Chris Kenney, whose voice has been called “lush” by Broadway World, recently completed his tenure as a member of the Ryan Opera Center ensemble at the Lyric Opera of Chicago. During the 2020-2021 season, Mr. Kenney sings The Brother in a recording of David Hertzberg’s The Rose Elf with Opera Omaha and makes his house debut at Cincinnati Opera as the title role in Il barbiere di Siviglia. In concert, he performs in a festival celebrating female composers hosted by the Collaborative Arts Institute of Chicago and joins the Cincinnati Pops Orchestra for a July 4th concert. Previously scheduled engagements include house debuts at Atlanta Opera as Schaunard in La bohème, Boston Lyric Opera as Young Emile in Terence Blanchard’s Champion, and the Sacramento Philharmonic and Opera as the title role in Il barbiere di Siviglia, as well as a return to Lyric Opera of Chicago for their Lyric Unlimited production of Jeanine Tesori’s Blue.

In the 2019-2020 season, Mr. Kenney continued at Lyric Opera of Chicago, singing Fiorello and covering Figaro in Il barbiere di Siviglia, singing the Motorcycle Cop in Jake Heggie’s Dead Man Walking, singing the Registrar and covering Prince Yamadori in Madama Butterfly, and covering Yeletsky in The Queen of Spades. On the orchestral stage, he made his New York City concert debut singing Bach cantatas with the American Symphony Orchestra and Leonard Slatkin at Alice Tully Hall. He had also been scheduled to make his house and role debut at Michigan Opera Theatre as Silvio in Pagliacci.

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“Baritone Christopher Kenney sang not only with warm expansiveness, but with nobility, in the best performance of the night. This dignity was crucial to making Bob believable as someone whom the ladies would instantly fall in love with as well as trust.”

John Y. Lawrence

Chicago Classical Review

“The high point of this work was the paired, seething anger of baritone Christopher Kenney and soprano Leah Hawkins in ‘I, Too, Sing America / Okay ‘Negroes’,’ sung to poetry by Langston Hughes and June Jordan, respectively.”

Charles T. Downey

Washington Classical Review