“The part of Sportin’ Life is written for a natural showman. But Chauncey Packer, boasting a clarion tenor and high-kicking strut, found ample opportunities to also suggest the dangers lurking behind the drug-dealer’s easy smile.”
-The Washington Post Read full review.
"Kristine McIntyres Regie lotete zahlreiche Blickwinkel der Handlung aus und erlaubte es den Sängern, Mut ebenso wie Verletzlichkeit zu entwickeln. Zwischen den harten Seemännern existiert zugleich große Nähe – sie berühren und halten einander, in dem Maße, in dem die Tragödie ihren Lauf nimmt. Ihre emotionalen Hochs und Tiefs wurden noch verstärkt von Dirigent Joseph Mechavich und dem Orchester, das die Handlung mit einer robusten Interpretation von Heggies lyrischer, anschw
"Soprano Karen Slack, who was the role of Serena, gave a notably heartbreaking performance of “My Man’s Gone Now.” Her powerful voice and expressiveness sent a wave of anguish over the audience. As Slack sang about the heart-wrenching grief of a widow, I found my own heart aching and paining for Serena’s loss of her husband." -Michigan Daily Read full review. "The deep humanity Robinson conveyed as Porgy and the tonal radiance of Karen Slack as Serena stood out." -Chicago Tri
"Supported by the rich sound of the Sarasota Opera Orchestra and chorus, conducted by Artistic Director Victor DeRenzi, soprano Sandra Lopez, as Manon, and tenor Matthew Vickers, as Des Grieux, led a fine supporting cast through this dramatic tangle with authority and impressive tone. Vickers, in particular, has a powerful voice, well-suited to the dramatic demands of this complex story." -Sarasota Herald-Tribune Read full review.
“The counterpart to the soprano’s big moment is Florestan’s heroic aria, opening Act II: “Gott! Welch Dunkel hier!” (God! How dark it here), and Brent Turner tossed it off as if it wasn’t a killer of tenors. Both Mecum and Turner sang “big,” but without showing any effort. Their triumphant love duet in the finale — “O namenlose Freude!” (Joy without name) — was exhilarating.” - San Francisco Classical Voice Read full review.
"Daland, played by Gustav Andreassen, is both bubbly and forthright, portraying a lost seaman who is blind to the mythical consequences of such a valuable dowry. . . The standout performance, however, goes to the show's namesake, the Dutchman. Played by Noel Bouley with a palpable sense of ethereal despondency, Bouley brings the character alive with his astounding and rich baritone. Together, the cast finds moments of humor that don't feel corny and moments of horror that don
“Bass-baritone Matthew Burns roared with arrogant bluster as Bottom, the vain know-it-all who leads the “Rude Mechanicals” troupe by bad example. In his movements and overall stage presence, too, he led the cast in the comedy.” -Washington Classical Review Read full review. "Bottom, the weaver, played by Matthew Burns, has a rich bass-baritone, but his physical comedy and earnest delusions of grandeur are more prominently featured." -Richmond Times Dispatch Read full review.
"The opera, Der Ring Des Polykrates, on the other hand was simply enchanting with an outstanding cast...The cast is uniformly strong and all the singers are perfectly cast. They look like the parts they are playing and have strong enough voices to sail over Korngold’s thick orchestration...As the two servants, soprano Susannah Biller and tenor Brenton Ryan also do a fine job. These two have slightly lighter voices than those of the other characters, which helps to separate th