"Joanna Latini, a generous performer, brought to the title role winning personality and a sound both luscious and supple, exuding charm even while killing rabbits. [Martin] and Latini looked splendid together, and their flirtation and courtship were musical highpoints." -Judith Malafronte, Opera News (October 2018) Read full review.
"“Cavalleria” also featured a gorgeous contribution by mezzo-soprano Laura Krumm as Lola, the focus of all the men’s desires. Krumm has been a strong, reliable presence on local opera stages since her time as an Adler Fellow several years ago, but I’ve never before heard her sing with such a combination of force, rich vocal color and sheer self-assurance. This performance – brief but entrancing – felt like a major step forward." -Datebook Read full review.
"An excess of riches, no question about it. And that included the somewhat ethical assassin, Sparafucile. Joseph Barron’s rich bass-baritone made his scenes ring with threat and menace (while still sounding gorgeous). And his singing in the Act three quartet helped make that a moment where I wished we could have revived the tradition of bis. Please, repeat!" -Opera Wire Read full review. "Joseph Barron was all business as her brother, Sparafucile; one body was as good as the
"The vocal acting of intrepid mezzo-soprano Annie Rosen amplifies the importance of Susie’s every word and note, lending the character added substance. . . Baritone Daniel Belcher’s Bill is also a fully-characterized depiction, sung with burnished tone and verbal lucidity." -Voix des Arts Read full review.