"There were more ferocious contributions from the great Susanne Mentzer in a no-holds-barred performance as Gertrude — luxury casting if ever there was — and the redoubtable bass Philip Skinner as Claudius; the duet between these two, a haunting pas de deux of guilt, recrimination and graveyard-whistling, was a high point of the performance." -San Francisco Chronicle Read full review. "Gertrude, played by Susanne Mentzer, apparently suffering from a cold at the August 13th pe
"Where the production excelled vocally was in its veterans. Victoria Livengood, the American mezzo, was fabulous as the old nurse"
-The Washington Post Read full review. "...mezzo-soprano Victoria Livengood who played Tatiana’s nurse were both pleasures; Ms. Livengood especially stood out." -Operagene.com Read full review.
"Victoria Livengood as Old Lady, a put-upon woman of the world who nudges Cunegonde and Candide through their foibles with risible wisdom. Both actors serve as oracle characters, offering a candid and realistic view of the nature of the world with perfectly performed comedy." -Front Row Reviewers Utah Read full review. "Among the other cast members, baritone Mark Diamond as Maximilian, soprano Aleks Romano as Paquette and mezzo-soprano Victoria Livengood as the Old Lady deser
"Quebec-born soprano Marie-Eve Munger was a winning Gilda; her account of the role embraced both the girlish charm of the first act—“Caro nome” was captivating—and the passionate self-sacrifice (however misguided) of the last. Her coloratura was as expressive as it was secure; her otherworldly singing in the final scene held the audience rapt. This is an artist to reckon with."
-Opera News Read full review.
"Best of all was the Godmother of Marie-Eve Munger, whose pinpoint coloratura and saucy characterization bewitched the audience in her every appearance—the woman knows how to flaunt a platinum punk “do” and glitter polish."
-Opera News Read full review. "No character is more central to conjuring the opera’s wizardry and wonder than the Fairy Godmother, and coloratura soprano Marie-Eve Munger, in her Lyric debut, did just that through vocal gymnastics and saucy body movement
"As Leporello, bass-baritone Joseph Barron was an audience favorite, offering a portrayal as humorous as it was richly sung. It is a shame that his aria “Ah pietà signori miei” was omitted. Missing also was “Dalla sua pace”, another artistic miscalculation as tenor Tyler Nelson was a sweet-voiced Don Ottavio, and would have scored in that aria, as he certainly did with an excellent “Il mio tesoro.” . . . Mezzo-soprano Audrey Babcock, the unrelenting Donna Elvira, strode acros
"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
"As Figaro, bass-baritone Calvin Griffin delivered a performance that could have been on any opera stage in the world. He sang with a sturdy and even sound from the top to the bottom of his voice and brought colorful diction and easy freedom to the part. . . Susannah Biller has a thick, regal sound well-suited to Countess Almaviva; her third act aria of romantic neglect, “Dove sono,” showed beautiful, legato singing." -Shepherd Express Read full review. “Susannah Biller combi
‘“Florida” certainly had strong moments, not least Florida herself: Sharin Apostolou was terrific playing a curious, vibrant teenager with a vivid and seemingly tireless soprano voice. . . Eng’s lyrical and often dramatic music, energetically led by UrbanArias’s founder, Robert Wood” -Anne Midgette, Washington Post Read full review. "In “There’s a Scream Inside Me” Apostolou beautifully shifts between the confusion, curiosity, and outright hunger battling within Florida and s
"Alfonso, even as he intends to show the weakness of women, could not pull off his ridiculous shenanigans without one. He pays for the support of the sisters’ housemaid, played with hilarious stage presence by Sharin Apostolou. A versatile performer, she won acclaim last season as Jenny in “Three Penny Opera,” and she returns with another solid performance as Despina" -Syracuse.com Read full review.
". . . It’s clearly a difficult score to sing, which makes this production’s performances all the more impressive. Catherine Martin has a clear, powerful mezzo-soprano voice and offered a disarmingly natural characterization as Sister Helen. . . But the standout performance is that of bass-baritone Seth Carico as the condemned man, Joseph De Rocher. This might be the most physically and emotionally demanding role that I’ve ever encountered in an opera, and Carico’s commitment
"The performances proved better than the opera itself, mezzo Martin the most imposing voice in the cast as Eva Crowley, the scale of Martin’s sound matched by the intensity of her delivery."-Chicago Tribune
Read full review.
“I didn’t know how my musical and critical ear had fared over the past months - would I have to lower my expectations for “socially distanced open air opera”? Absolutely not. The cast and crew of Northern Lights delivered an exciting performance-global pandemic regardless” - Schmopera
"Chía Patiño… devised a production that emphasized the similarities between Andean and Masonic symbolism…The production drew a significant contingent from Ecuador’s Indian communities, many of them who had never before attended an opera…The Andes Magic Flute follows in the tradition …of a similar impulse to create cultural connections and expand audiences.” - Opera America
"Osmin, the buffoonish micromanager of the nightclub, is well cast in the towering figure of bass Matt Boehler, who transmitted the frothing insecurity of a man driven by jealousies and a yearning for authority. Though he bullies everyone, he saves a bulk of that ire for the happy-go-lucky Pedrillo, whose casual ease is a threat. . . Playing off each other, Boehler and Leppek carry most of the comedy. -KC Studio Read full review. "The crime boss "Pasha" Selim (Matthew J Willi
"As Van Helsing, Seward’s loyal and sensible adviser, Matt Boehler wields a powerfully resonant bass." - The Dallas Morning News "Minneapolis bass-baritone Matt Boehler, in his Santa Fe Opera debut, performs the role of Doctor Van Helsing. A central character in Stoker’s novel, van Helsing takes on a more peripheral, and principally expositional, role in the opera. Boehler possesses a deep bass voice which brings authority" - Opera Warhorses "Bass-baritone Matt Boehler, who p
The Age/Sydney Morning Herald – June 21 (Cameron Woodhead) "As Judge Turpin, Daniel Sumegi’s malevolent credentials are beyond reproach – he sang Hagen, after all, in Neil Armfield’s Ring Cycle for Opera Australia. Here his acting channels the ghost of Alan Rickman in the Tim Burton film, while the voice builds a deep and reverberant tomb of hypocrisy." Limelight Magazine – June 14, 2019 (Jo Litson) "Opera bass-baritone Daniel Sumegi is a powerful presence as the evil Judge a