"Wolverton, a Minnesota native who originated the role in 2011, was impressive as the dignified and fiercely protective Anna. Her warm tone and precision was just right in the a capella "Dona nobis pacem" that ends Act I. . . The most striking vocal performance came from baritone Edward Parks, as French Lt. Audebert, whose "J'ai perdu ta photo" was by far the night's most tender moment."
-Opera News Read full review.
"Alto Amanda Crider gave a virtuoso performance of Jubilate o amoeni chori, singing long chains of dozens of notes on a single word, and doing it with verve and even tone throughout." - David Fleshler, South Florida Classical Review Read full review.
"In playing Belcore, Corey Crider unleashes a rich baritone voice that's almost too profound for his character. And Crider made the most of the comedic possibilities in a soldier who loves women — a lot — but loves himself much more. Likewise, Matthew Burns delighted the audience with his Dr. Dulcamara, the quack who sells Nemorino the elixir of love — which is just cheap wine. Burns' bass-baritone rang out joyfully, and he danced and moved and mugged with a knowing, devilish
"When we last encountered Moby-Dick in operatic form, this magnum opus from composer Jake Heggie and librettist Gene Scheer was embodied in the San Francisco Opera’s sweeping, majestic 2012 production. It was, among other things, a tour de force of stagecraft and visual design, which somehow managed to evoke the great watery vistas of Melville’s novel. So when Moby-Dick was announced as part of the current season by Opera San José one of the first questions was whether the ma
"Mayes is the quintessential De Rocher. He has performed the role in eight productions, and to date, nobody does it better. Mayes inhabits the role completely, the way a hand fits a glove.Barton and Mayes make for a compelling team, leading what can credibly be called the strongest overall cast in the the company’s recent history. . . Other standouts in the cast include . . . soprano Karen Slack as Sister Rose, a fellow nun at Hope House. . . The Atlanta Opera Orchestra, led
"In between stands Elvino Jesús León – he harmonizes more beautifully in a duet with Venera Gimadieva thanks to his bright, light head voice, which he can lead without great effort to the high d; at the same time he makes it clear in which emotional state of exception someone is singing so high. / Dazwischen steht als Elvino Jesús León – schöner harmoniert er im Duett mit Venera Gimadieva dank seiner hellen, leichten Kopfstimme, die er ohne große Anstrengung bis zum hohen d f
"The Deutsche Oper Berlin is, of course, in the fortunate position of being able to have a a first-class cast for this opera. And it was consistently sung at a high level, and partly, sung and played at a world-class level. And of course, this work succeeds or fails with its protagonist Hoffmann; a tenor role that demands much from the singer and can be quite exhausting over the 3.5 hour duration of the show. With Robert Watson, Berlin gave us a Hoffmann who, on the one hand