"All of that is the world we see. But we really came to hear. And the voices in this stellar cast do not disappoint. Most remarkable, I think, is soprano Susannah Biller as the Countess. Hers is a flexible talent: on this stage she has sung for us the lovely Adina in Elixir of Love, the royal fiancée in Richard the Lionheart, and the hunch-backed nymphomaniac maid Leni in Kafka's The Trial. In Figaro, she returns to nobility (which is her natural element). Her voice, througho
"Director Stephanie Havey’s crisp pacing was enhanced by ballet-like choreography, performed to the musical interludes in Verdi’s score." "This was such a convincing production that it was easy to attach to the emotion of the story, its passion, jealousy, fury and tenderness." -The Honolulu Star-Adviser Read full review.
"The evening’s Don Giovanni was Mexican-American Richard Ollarsaba who brought an Iberian flavor to what is, after all, a Spanish part, more a Don Juan than a Don Giovanni. His was a brooding, if mellifluous, presence. He was well-paired with the energetic and comedic Joseph Barron as Leporello. . . Katherine Whyte’s Donna Anna was heartfelt and believable."
-ASIAN REVIEW OF BOOKS Read full review. "Richard Ollarsaba as the decadent don and Joseph Barron as his wing man exc
"The other WNO debut, Robert Watson’s Cavaradossi, was strong up to and including a gloomy and heroic “E lucevan le stelle” in the third act. He nailed high notes with panache."
-Washington Classical Review Read full review.
"As Amorita’s criollo love interest Luis, tenor Daniel Montenegro likewise successfully navigated the overlapping zones of opera and mariachi, particularly in his big aria, “El Cometa.”"
-Texas Classical Review Read full review. "The strong cast was headed by Daniel Montenegro, who exhibited a plangent tenor, as the young aristocratic Luis. He was also a gifted, natural actor and didn’t seem challenged in the least by all the spoken dialogue he had to deliver." -Opera News R
"Recent Grammy winner Edward Parks, a baritone, impressed as a protective, soldierly older brother to Marguerite...while mezzo-soprano Alissa Anderson was sassy as Marguerite’s neighbor. . . The San Antonio Symphony in the pit played with gravity and balance under guest conductor Robert Tweten."
-My San Antonio Read full review.
“Patrick Terry as Artemis negotiated improbable leaps between his baritone speaking voice and his golden countertenor.” -Bachtrack Read full review. “…Patrick Terry (Artemis) acrobatic in the role’s vocal extremes…”
-The Observer Read full review. “Patrick Terry relished the demands of the role of Artemis, which forced his voice and low, down to a speaking baritone. His confident performance skillfu
"The convicted killer Sister Helen counsels, Joseph De Rocher, was sung by baritone Michael Mayes, a veteran of several Dead Man productions. The role fits Mayes’s instrument and comportment like a glove: the opera could have been written for him, and his interpretation of the character is definitive." -Opera News Read full review.
"BLO music director David Angus steers the large orchestra adeptly through this dark tale, elevating the drama and capturing its many moods. Among them, in Ruders’s evocative score, are some stunning ensemble passages, most hauntingly a slew of sinister scriptural chants for the Handmaids and the creepiest version of “Amazing Grace” you may ever hear."
-Boston Globe Read full review. "Gripping! The score has lost none of its ferocious impact, and BLO’s ingenious, immersive