"Baritone Jesse Blumberg brought a sweet upper range and incisive rhythmic verve, his singing rivalling the horn in adroit virtuosity. . . solo aria, “Et in spiritum sanctum,” that matched Jesse Blumberg’s ringing baritone with two oboe d’amore"
-Boston Musical Intelligencer Read full review.
“As Jane, the compelling, rich-voiced soprano Jennifer Zetlan" -The New York Times
Read full review. "The title role, Jane Eyre, is a big soprano role, a tour de force. It was created—i.e., premiered—by Jennifer Zetlan... She has a lot to offer, and offered it as Jane Eyre... And she was undaunted by the theatrical responsibilities of her role. She can be proud of this night, and look back on it with great satisfaction.” –The New Criterion Read full review.
"Bass Ricardo Lugo (above), as the opposing general, made a vibrant impression with his imposing voice and intrinsic sense of the drama. He was an excellent foil for Mr. Albert, and, between these two powerhouse voices, they kept our focus on the work keenly secured." -Oberon's Grove
Read full review. "standouts in a strong cast included bass Ricardo Lugo doubling as a stoical Sergeant and the enemy Holsteiner commander in the final confrontation with the Commandant"
"The excellent cast (the patient, his wife and the doctor) does its best to interact with the 180 degrees of audience, and the hour-long piece goes by quickly. Tenor Ian McEuen (Sacks) . . . is a gifted, natural performer. . . Wood, the company’s founder, conducted with great feeling . . . the musical level was highly professional."
Read full review. "Nyman’s complex score was played masterfully by Inscape Chamber Orchestra under the direction of UrbanAri
"As her lover Gabriele, tenor Jason Slayden also impressed, nicely conveying his character’s anguish — “I’m raving, I’m weeping” — when it seems Amelia is slipping from his grasp."
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"There were some excellent performances. The title role is a tricky wicket, something of a turn-of-the-century Manon. Adriana Zabala created a sympathetic Carrie whose actions were entirely understandable. Zabala’s warmly-textured lyric mezzo registered enchantingly, with an easy fluidity reflective of her capability in Baroque music, and she resonated to text insightfully. She was given a lovely aria “Everything is Paid For” in which she deftly revealed the girl’s frightened
"At this past Saturday’s performance, baritone Jeffrey Beruan in the title role had the most pleasing voice, delivering Schumann’s “Ich grolle nicht” with stunning power" -Washington Post Read full review.
"Utah Opera opened its five-performance run of "Carmen" Saturday night with a stirring performance in a sold-out Capitol Theatre. . . Soprano Sarah Tucker plays Micaëla, Don José's childhood sweetheart and the opera's only unambiguously moral character. As directed by Tara Faircloth, Tucker's portrayal refutes the old trope that "good" equals "boring"; her Micaëla won over Saturday's audience with her polite but firm assertion of her boundaries in the first act and her deft h
"In casting soprano Ariana Wyatt and baritone Corey Crider, Opera Roanoke leaps across the show’s first hurdle, finding singers who can anchor its theatrical mix of musical comedy and romantic opera. . . Crider gives the evening its requisite sweep of operatic passion." -Roanoke Times Read full review.