"Carmen as portrayed by mezzo Audrey Babcock would surely make you crawl out and take notice. Babcock certainly did seem to have that effect on the audience in Fort Worth on opening night. She’s no stranger to the role and it showed. Babcock’s voice made one want to put sultry in all caps. She was engaged and reacted to every movement and person on the stage at all times. . . Babcock’s acting skills and voice carried the performance of the strong minority woman. . . Another l
"Jesse Blumberg is solid and convincing as Oronte, another hero vying for Créuse’s attentions. Every voice on stage was beautifully modulated and clarion, from the largest role to the smallest" -The Globe and Mail Read full review.
"Opera Omaha assembled a stellar cast — 10 people of uniform excellence. In addition to Tamagna, a couple of others made a big impression: . . . Victoria Livengood, who was the best comedian of the bunch." -Omaha World-Herald Read full review.
"Norma is not just a big trio. There are two minor roles that are just as important to the action. TDO used two singers, worthy of the excellence of this cast. The two are companions, one for Pollione and the other for Norma. Clotilde is sung by soprano Mithra Mastropierro and Flavio portrayed by tenor Charles Karanja." -Theater Jones Read full review. "soprano Mithra Mastropierro as Norma’s friend Clothilde . . . provided valuable vocal support for van den Heever’s Norma." -
"Tenor Robert Watson presented an equally attractive and powerful voice as Carmen’s victim Don Jose. Watson was at his best in his interaction with Babcock, from hapless victim of her lap-dance seduction at their first encounter to frustrated, discarded, and degraded lover, and, finally, drunk-in-the-gutter murderer. Watson also had total control of his vocal performance, and, like Irvin, brought a solid and attractive quality to his singing, which was neatly and effortlessly
"Pine, who has attracted an enthusiastic following in this area through the years, was in excellent form. Her appearance was made especially poignant by the knowledge that she has decided to end her music career. Other standouts of the evening were baritone Michael Mayes, who has the power to rattle the rafters; mezzo Audrey Babcock, who’ll appear in the title role of “Carmen” later in the festival; . . . and Craig Irvin, more “Carmen” cast members." -Fort Worth Star Telegr
"There were fantastic vocal performances in each main role, and dramatic chorus added heft to the villainy. . . Gunther is probably the best drawn character in Götterdämmerung, as he is the only one struggling with an internal conflict. He is in a powerful position, but too squeamish to fully capitalise on it (he nearly vomits when he has to drink at the blood-brotherhood pact), and in every interaction Seth Carico found a way to reveal his deep-seated cowardice." -BachTrack.
"Stabat Mater sets a medieval Latin poem describing the agony of Christ's mother as her son is crucified and contemplating the significance of his sacrifice. It has eight movements in which the soloists sing together, and a natural blend between them is indispensable. Serendipitously, Tinney and Zabala had it, their voices dovetailing mellifluously in terms of size and tonal color. Despite the skimpy rehearsal time they also had confidence aplenty in the pinging, ricochet rhy
"Baritone Edward Parks was a delightfully smarmy Escamillo, and did justice to Carmen's most recognizable melody. His robust voice and engaging stage presence brought welcome levity to a pretty dark show." -Schmopera Read full review. "Director John Hoomes presents a compelling, well-acted, and beautifully sung treatment of this operatic staple, filled to the brim with all the passion, fire, and lust present in this work. . . The entrance of Escamillo was a highlight in the s