Soloist, Beethoven's Mass in C Major / New York Choral Society

The men made for an interesting contrast, with baritone Corey McKern’s crisp singing and articulation sounding antiphonal against Dominick Chenes’ colorfully Italianate tenor. Their ensemble singing in the Benedictus had a classical poise and a romantic depth.
-George Grella, New York Classical Review

Soloist in Carmina Burana / Alabama Symphony Orchestra

So much of the success of “Carmina” depends on vocal soloists, especially the baritone. Corey McKern‘s radiant, expressive voice is perfectly suited to the role, first apparent in the love song, “Omnia sol temperat” (Everything is tempered by the sun) later in “Estuans interios” (In rage and bitterness), and “Ego sum abbas” (I am the Abbot). Solos stretch to extreme ranges, a supreme challenge that McKern met with forceful emotion.
-Michael Huebner, artsbham.com

Title Role in Hamlet / Opera Birmingham

Corey McKern has never sounded better with this company, nor projected such torturous anguish. Coming to his knees, then to the floor at the end of Act 2, he angrily resolved to avenge his father’s murder.
-Michael Huebner, artsbham.com

Marcello in La Bohème / Florentine Opera

Corey McKern created a warm, likable Marcello, matching Stewart nicely in vocal power and theatrical presence.
-Elaine Schmidt, The Journal Sentinel

Marcello in La Bohème / Florentine Opera

 I found Corey McKern’s performance as the painter Marcello honest and fresh, both as a singer and actor.
-Rick Walters, expressmilwaukee.com

Soloist in Carmina Burana / Seattle Symphony debut

...baritone Corey McKern (who had the most music to sing) gave a moving, almost operatic reading to the highly dramatic texts. 
-Melinda Bargreen, The Seattle Times

Lucia di Lammermoor / Opera Saratoga

Aside from Guarrine's Lucia, the most instantly thrilling performance of the evening belongs to baritone Cory McKern (another Opera Saratoga first-timer) as Enrico. Not only is his voice one of the most magnificent I've heard on this stage, but he is a consummate actor, and his electrifying, angry confrontation with Lucia in Act Two had me secretly worried for her physical safety. This scene, aside from the 'Mad Scene' was the most riveting for this viewer.
-Valerie Lord, SaratogaWire.com

Beethoven 9 & Act III of Wozzeck / St. Louis Symphony

Soprano Susanna Phillips, mezzo Kelley O'Connor, tenor Joseph Kaiser, and baritone Corey McKern all acted the text of the final movement as well as they sang it, and they sang it wonderfully…
It helped that Mr. McKern’s Wozzeck, Ms. Phillips’s Marie,
and Ms. O’Connor’s Margret were so completely credible.
-Chuck Lavazzi, KDHX.com

Papageno / The Magic Flute / Opera Birmingham

Baritone Corey McKern is the ideal 1960s birdcatcher, Papageno.
He has a natural stage presence and comedic talent, whether singing casually lying on his side, sitting on the front edge of the stage addressing the audience, or imprisoned in a cell. He also had the strongest voice among a large cast of fine singers, lending a jaunty air in
“Der Vogelfänger bin ich ja,” and self-pity and longing in “Ein Mädchen oder Weibchen,” all the while donning a suit with dangling feathers.
-Michael Huebner, AL.com 

Meet the Artist -- Corey McKern at Opera Omaha

We are pleased and honored to welcome baritone Corey McKern back to Opera Omaha for this role. You may have seen him previously as Slook in our February 2012 production of The Marriage Contract.
Mr. McKern sings the role of Papageno in Opera Omaha’s production
of The Magic Flute with great skill and just the right amount of sulky humor. He possesses both the operatic and theatrical chops to accurately portray both the longing and the mirth in the role.

McKerns play major roles in Pensacola Opera's New Season

It's really exciting to work with what I consider to be my home company,” says McKern. “I’ve been a fan ‘Sweeney Todd’ for a long time. One of the first things I ever saw was a video of the Broadway production that featured Angela Landsbury. Doing Anthony is great; he’s sort of the romantic lead, if you can call anything in the show romantic. Sondheim’s a genius. He’s our Puccini or Mozart, he really is.

The Count/Rudolf / Der Ferne Klang / Bard’s Summerscape

Among the large and capable cast was Corey McKern,
who wielded an elegant baritone as the Count…
-Jeremy Eichler, The Boston Globe

Valentin / Faust / Opera Carolina

Corey McKern, performing as Valentin, turned in a
particularly stirring aria in the first act.
-Sarah Hall, Salisbury Post

Figaro / Il barbiere di Siviglia / Opera Birmingham

Equally ego-driven was the barber, Figaro, in this characterization by baritone Corey McKern. The Pelham native has all the goods to rise to star stature – timing, stamina, vocal heft and an easy-going stage presence – especially telling in Figaro’s signature aria,
“Largo al factotum della citta.
-Michael Huebner, Birmingham News

Marcello / La Boheme / The Santa Fe Opera

Corey McKern's resolute, robust-voiced and rambunctious Marcello,
a perfect picture of a wannabe Parisian painter,
was one of the best I've ever heard.
-Craig Smith, The Santa Fe New Mexican
Marcello, is capably sung, vigorously enacted by Corey McKern.
That boisterous third-act quartet comes across with verve and precision...fresh and youthful
-The Santa Fe Reporter
...quartet are all strong, especially baritone Corey McKern as Marcello
-The Denver Post

Marcello / La Boheme / Opera Birmingham

There was good drama from Corey McKern, whose free-flowing Marcello and reactions to his fickle beau, Musetta, were a delight to watch… McKern's well-supported voice and clean diction were well suited for the part.
-Michael Huebner, Birmingham News