As Count di Luna in Il Trovatore:
“Weber has the thankless task of humanizing the tormented di Luna, whose bloodlust is unquenchable. Weber's imposing baritone lends credibility to a character who spends most of his time swearing to maim and kill in the name of love.”

As Germont in La Traviata:
“As Alfredo’s interfering father, Germont, baritone Kenneth Weber brought compassionate, paternal qualities to the stage, making the fall of Violetta all the more heartrending.”

“Masetto was solidly sung by baritone Kenneth Weber.”

As Masetto in Don Giovanni:
“Masetto was portrayed by Kenneth Weber as a hearty, stolid personality, certainly more sophisticated than a peasant, but more innocently straightforward than the likes of Don Giovanni. Weber's voice was almost too good for the part. It's an actor's role and Weber fulfilled it splendidly.”

As Thomas Putnam in The Crucible:
“Ken Weber is outstanding as the greedy and sanctimonious Thomas Putnam”

As Wagner in Faust:
“Mellow-voiced Ken Weber sang the role of the soldier Wagner with enthusiasm and youthful bravura.”

As Dulcamara in l’Elisir d’Amore:
“Ken Weber practically turned Dr. Dulcamara into the star of the opera. He sang like a stentorian salesman, lending his spurious authority to his potions. Every little move contained just the correct degree of exaggeration – What a hoot he was!”

As Leporello in Don Giovanni:
“Ken Weber provides a fine contrast to the Don. Weber, too, has a warm baritone and crisp diction but, like the Don, it’s the way he uses his body that delights the audience, and his dozen comedic touches that make the opera memorable.”