" Bass Jeffrey Beruan reigns as the stand-out actor of this cast. He positively commanded the stage as Zuniga, with a voice that boomed in both dialogue and melody. It’s fantastic to see Beruan carving out what will no doubt be a signature role." -KCMetropolis.org Read full review.
"Both visually and musically, Madison Opera’s production of Jacques Offenbach’s Tales of Hoffmann is an absolute triumph — perhaps the finest achievement yet under Kathryn Smith’s reign as general director. It is a long and a difficult opera to cope with. Offenbach died before he could put his score into definitive shape. There are loose ends, and music not written by Offenbach himself has been added to revised editions, including the spurious “diamond” aria and the sextet in
“The role of Dr. Bartolo is prone to being overplayed but bass-baritone Tyler Simpson knows where to draw the line, using his fine voice and confident body language to hilarious advantage.” -The News & Observer Read full review.
“ As Alice, Karen Slack sang with poise and radiant sound. Slack’s amply blooming high notes were especially brilliant. She and Heather Phillips, who sang Nanetta, stole the show as far as the women were concerned. . . These two women produced some of the sweetest notes and most finely shaped phrases of the evening. . . Javier Abreu was a fine Fenton . . . As Dame Quickly, Dana Beth Miller sang a resonant “Reverenza” that was a perfect response to Falstaff’s invitations.” -Op
“MARIE LENORMAND est une Cassiope à la voix solide et au timbre charnu, à la fois reine charismatique et mère éplorée.” /”MARIE LENORMAND is a Cassiope with a solid voice and plump timbre, charismatic queen and tearful mother at the same time.” -Le Babillard Read full review.
“In a preshow discussion, opera associate conductor Sarah Jobin spoke of Eve-Marie Munger as having the ability to “invest every word with the most luxuriant tone.” Her assessment was spot on. Munger’s portrayal of Juliet ran the gamut from giddy teenager to steely defiant youth. Her coloratura technique was pure ease, her range full and crystal clear, her delivery astoundingly sensitive — in short, perfection.” – Toledo Blade Read full review.
“As Pablo Picasso, baritone Michael Mayes, clad in lemon and pale yellow, a gold cap sitting rakishly atop his head, is jaunty and irreverent—till he spots Stein. “I grew to hate you. Didn’t you know?” he asks her, adding: “You wanted to own me.” His voice strong and bright, Mayes is equally at ease with navigating the daunting vocal and tonal terrain….“Art is for life!” proclaims the painter is a clarion call, the top notes ringing and crystal-shattering.” -DC Metro Theater
“In what will be one of the opera’s defining moments, the girl (AVA PINE), her face shining with angelic sweetness, sings, in a kind of quiet ecstasy, the word “rose” in what may be the softest, stratospherically highest, most skillfully supported and exquisitely sustained, breathtaking, spine-tingling pianissimo this writer has ever heard. . . As our eyes grow accustomed to the darkness, we dimly perceive in the shadows, illuminated at appropriate points by small bright ligh
"Directed with flair and a raucous sense of joy by Stephanie Havey.......what Barbiere needs is the integrity of a team of artists who approach the score not as a comic opera requiring special tinkering but simply as a musical work of art that deserves unbiased, unblemished interpretation and integrity, and this is what North Carolina Opera’s performance bestowed upon this still-precious gem of an opera." -Voix des Arts Read full review.