". . . joined by a strong cast, often costumed similarly and playing multiple roles, adding to the tales incomprehensibility. . . Susannah Biller, as Leni, Josef's lover, had a sweet yet sinister voice: reminiscent of bitter honey." - Opera News
"As Bégearss, bass-baritone Matthew Burns was particularly powerful in his upper range and remarkably gripping in his raging moments before his final exit. . . . Mezzo Marie Lenormand immediately conjured a vibrant and characterful Suzanne." -Joshua Rosenblum, Opera News (September, 2017 issue)
"All the smaller roles benefited from voices of leading-role caliber. The three Rhinemaidens blended and contrasted exquisitely as they rode the swells of the rolling river. Catherine Martin’s seductive mezzo suggests that she’s long due for promotion to dry land and a place in Valhalla." - BachTrack.com Read full review. "Rhinemaidens Jacqueline Echols, Catherine Martin, and Renée Tatum sang with equal parts grace and strength." -Boston Classical Review
Read full review. "C
"There were more ferocious contributions from the great Susanne Mentzer in a no-holds-barred performance as Gertrude — luxury casting if ever there was — and the redoubtable bass Philip Skinner as Claudius; the duet between these two, a haunting pas de deux of guilt, recrimination and graveyard-whistling, was a high point of the performance."
-San Francisco Chronicle Read full review. "Gertrude, played by Susanne Mentzer, apparently suffering from a cold at the August 13th p
"Tenor Clay Hilley . . . communicated Dimitrij's sincerity and sang the beleaguered leader's difficult, high-lying music with musical skill, emotional investment and attractive tone quality. Hilley's Wagnerian potential extends to clear suitability for several Slavic roles. As the upstanding Shuisky, baritone Levi Hernandez unleashed genuine bel canto phrasing and vocal beauty over a wide dynamic palette. . . Joseph Barron showed admirable focus as Basmanov (a veteran of Ivan
"Singing the title role of Dimitrij, tenor Clay Hilley shows why he deserves to be on the stage of major opera companies. In the punishing role, which is murderously long and physically and emotionally trying, Hilley is extraordinary. He has a large voice, whose dynamics are in complete control. From impassioned whispers to great outcries of pain and joy, he thrills. His performances going forward include the Metropolitan, San Francisco and Dallas Operas. With that cutting he