"Ollarsaba's speech and demeanor made him an imposing pillar of gravitas and authority amidst those hamming it up as though in a silent movie. He spoke lines furthering the plot until unveiling a powerful and attractive voice in the work's only aria, which comes in the final movement." -Broadway World Read full review.
“The cast of Die Fledermaus had great chemistry and comedic timing. Susannah Biller was magnetic and hilarious in her portrayal of Rosalinda. Her music is the most demanding of the operetta but still should not be taken too seriously by the character. Biller's vocal performance was sultry with a touch of humor in her rendition of the famous "Czardas" aria. . . Craig Irvin's portrayal of Frank the prison warden was a personable foil to the other characters"
-Schmopera Read fu
"Stage director Brian Stauffenbiel told Poe's story in a straightforward manner, which lent a solid footing to the unearthly aspects of the story. . . Burns sang with a wiry bass voice that fit well into the concept of a comic ghost who was more afraid of the teenage twins than anyone in the family was of him... Matthew Burns was an intense, growling Primus..." -Maria-Nockin, BroadwayWorld.com
Read full review. "A refreshingly human Matthew Burns as the Ghost chewed the scen
"involving and unfailingly well-executed production full of vivid characterizations and outstanding singing…As their lone mutual confidante, Adriana Zabala deftly segues from compassionate support to explosive urgency." -Rob Hubbard for the St. Paul Pioneer Press, Read full review. "In supporting roles, vibrant mezzo-soprano Adriana Zabala excelled as Mary Johnson, a friend of Hawk's who eventually sides with Timothy" -Terry Blain for the Minneapolis Star Tribune Read full re
"Sara Gartland was masterful in the title role of the opera. She beautifully portrayed Rusalka's journey from restless optimist to defeated outcast. Gartland sounded reserved at the beginning of the famous "Song to the Moon," but as the aria progressed, her voice blossomed into its full rich tone. Rusalka is a demanding role, most notably for its emotional range. She must be ethereal at times and heart wrenching at others, and Gartland excelled in all of the character's vocal
"Mayes makes for a compellingly sinister and seething Sweeney, internally miserable but taking an outwardly visible delight in planning and exacting his revenge; his strongest emotional attachment is, believably, to his razors."
-Atlanta Journal Constitution Read full review.
"Making his Atlanta Opera debut, baritone Michael Mayes portrays the revenge-driven, bloody barber Sweeney Todd with commanding voice and stage presence. Mezzo-soprano Maria Zifchak balances him well
"Some of the saltier characters have some of the best music of the evening. At the top of that list is Arnalta, Poppea’s cheeky Nurse, whose lullaby, ‘Obblivion soave’, would be welcomed by anyone at bedtime, especially as delivered by the superb mezzo-soprano Rebecca Ringle Kamarei." -Seen and Heard International Read full review. "One of the musical highlights was the lullaby sung by Arnalta (Rebecca Ringle Kamarei)" -Cincinnati Business Courier Read full review. "With two
"Cassandra Zoe Velasco, playing Pia’s brother Rodrigo, was stunning. Her voice is not unlike the great Maria Callas, with the familiar timbre of a mezzo as well as amazing coloratura and dazzling high notes. Velasco's voice is perfect for the role of Rodrigo" -The Post and Courier
Read full review. "Mexican mezzo-soprano Cassandra Zoe Velasco proved to be convincing in the musico role of Pia’s brother Rodrigo. Donizetti lavished some of the score’s finest music on the role o
Entering our fifth season, Resonance Works is a multi-modal professional performing arts company which presents a varied season of artist-driven programming blurring the lines across traditional classical music genres. We create our seasons to showcase outstanding professional artists from Pittsburgh and beyond, in performances that include fully staged opera, orchestral music, chamber music, choral music, and musical theater, often with compelling collaborators. Our growing