"The comedic bully, Gaston, is the foil to the couple. Performed by the irrepressible John Riesen, "Gaston" seemed to have almost too much fun in his role as a bad guy who is amused by the hot buttons he pushes." -Shreveport Times Read full review.
"A powerful performance was given by bass-baritone Gustav Andreassen, as Olin Blitch. The ominous, black water of his voice washed over the audience and at times its dominance was poignantly arresting. While intense, Andreassen's voice remained smooth and controlled, even paired with the sometimes-angular score. A testament to his dramatic prowess, the audience hated Blitch in the best way." -Schmopera Read full review.
"Abreu brings off the suicidal artist’s 30-minute succession of arias and accompanied recitatives most skillfully . . . The Puerto Rican tenor Abreu commands not only a bright, honeyed lyric tenor and a disarmingly easy way of negotiating Beppe’s sometimes floridly demanding vocal lines, but he’s very funny, too, as the cowed hubby, with a rubbery flair for physical comedy. Watch him fly high above the clouds on wires as Beppe exults in his temporary freedom from his marriage
"With equal flashes of imagination and innovation, Arizona Opera's production of DAS RHEINGOLD, under the visionary direction of Brian Staufenbiel, has added technology to this fusion of theatrical elements. The result is the creation of an engaging environment and an enthralling experience ~ reason enough, I daresay, to sit for two and a half uninterrupted hours and embrace the convolutions of plot and the intrigues of its mythical characters! . . . Staufenbiel echoes Wagner
"Tenor Romeo Jesus Leon is in tune with his partner. The tone is golden, the natural vibrato, the long breath, the powerful emission. At the same time as Juliet, but in his own way, he takes on consistency and builds his coherence from stage to stage. He "inquires" as a teenager, now unemployed, the territory of the Other (whose main trophy he covets). He avenges his friend, Mercutio, in a vocal fury exactly proportionate to the above and follows the scene. But he strips off
"The rich tone and charismatic presence of bass-baritone Richard Ollarsaba as Raimondo are strong points as well." -Richmond Times- Dispatch Read full review. "I expected Ms. Gilmore to be excellent, but two of the singers surprised me. . . The other surprise was Richard Ollarsaba who played the chaplain Raimondo. I was impressed with Mr. Ollarsaba in his performances as a young artist with Wolf Trap Opera, but his strong, resonant bass-baritone and stage presence now are com
"Jennifer Zetlan brought her blazing soprano to the role of Fanny; she gave a particularly moving rendition of her monologue “If I am not allowed to sing,” turning from frustration into resignation as her marriage to Irving destroys her dream of a performing career. . . As Aaron Greenspan, the family friend who becomes engaged to Becky in the opera’s final moments, Joshua Jeremiah exudes personal warmth, and brings a brawny, dusky baritone to the role." -New York Classical Re
"The unreal bloom of this affection, which seemingly appears from nowhere, is rendered wonderfully real by tenor Matthew Vickers and soprano Chelsea Bonagura. These two do more than sing well. As lovers who must turn on a dime from vulnerability and innocence to passion and longing, Vickers and Bonagura suffuse their roles with parallel mixtures of tenderness and fire, producing beautifully matched performances. . . Anchoring the story is Rodolfo’s closest friend Marcello, su
"Behind the scrim of the backdrop hid the small but musically mighty six piece orchestra, expertly led by conductor Joseph Mechavich, whose clear conducting and expert control only added to the success." -Schmopera Read full review.