"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 Williamson) keeps them under lock and key, hoping to win Konstanze's heart while his loyal (and overenthusiastically vicious guard) Osmin (Matt Boehler, bass) keeps his eye on prisoners and would-be rescuer alike, all too eager to spring into action should any put a foot wrong." -Broadwayworld.com Read full review.

"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 portrays Seward’s advisor Van Helsing, sang with commanding authority" - Classical Voice North America

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 and has just the right vocal heft for the role. When he and Warlow sing “Pretty Women” together it is one of the vocal highlights." The Australian – June 17, 2019 (Deborah Jones) "There were pleasures in Daniel Sumegi’s Judge Turpin, richly sung and played with expert understatement." Sydney Arts Guide – June 17, 2019 (Ben Applebaum) "Daniel Sumegi as the lecherous, vain Judge Turpin displays a gorgeously rich baritone." Arts Hub – June 19, 2019 (Lynne Lancaster) "Arrogant, evil Judge Turpin, who is hiding dark secrets, was excellently played by Daniel Sumegi. Turpin and Todd’s duet ‘Pretty Women’ is another highlight of the show." Simon Parris: Man in Chair – June 21, 2019 (Simon Parris) "Opera singer Daniel Sumegi brings a toffee-toned richness to his singing as Judge Turpin, also nailing the sneering, self-delusional smugness of the insidious man."

"Perhaps the biggest laughs were earned by Matthew Burns as Doctor Bartolo, who played the role like a hapless dad in a late 1960s sitcom. He threw himself into his role’s physical comedy while still singing his baritone role with precision and gusto. In this production, he was an optometrist and Rosina was his assistant. At one point Shell decided to have them administer an eye exam to a frightened patient as they argue in recitative, and both deftly handled the complicated physical comedy, without losing a note or flourish." – Utah Arts Review "Dr. Bartolo, well-played by Matthew Burns. . . Highlights of the production were Burns’s Bartolo when he sings, mostly in falsetto, “Quando mi sei vicina.” It is truly hilarious." – Utah Theatre Bloggers

"With its cavernous auditorium, The Palais is the closest thing Victoria has to a grand European opera house. The acoustic is no challenge for Australian bass-baritone Daniel Sumegi or English tenor Ian Storey, who give thrilling vocal turns as Jochanaan and Herod respectively." -The Sidney Morning Herald Read full review. "Sumegi makes a wonderfully forthright and resolute Jochanaan, his sonorous baritone driving through the phrasing like a Mack Truck." -TimeOut.com Read full review. "Bass-baritone Daniel Sumegi has a similarly imposing presence as Jochanaan (John the Baptist) and his compelling performance early in the opera leaves a lasting impact on the ensuing drama. In excellent form, Sumegi infuses his vocals with richly burnished darkness that adds significant emotional heft to the storytelling. Sumegi’s off-stage singing from Jochanaan’s cell is particularly expressive and always commands attention." -Simon Parris Read full review. "The role of Jochanaan is also a difficult one to cast; it needs a dramatic baritone able to sing this massive role and also be as thin and white as Salome describes him in the libretto. Daniel Sumegi sings the role beautifully and plays the drama of his character to the fullest, his voice rich and colourful above the dense and strident score." -Classic Melbourne Read full review. "The role of Jochanaan (John the Baptist) demands an enormous voice which must thunder from backstage as well as on stage, and in international Australian bass, Daniel Sumegi, VO had one of the few who could do this justice." -Stage Whispers Read full review.

"Outlaw is expressive as Salieri and he is somewhat offended at the other composer's easy sense of humor. Singing with bronzed tones, he cannot help but think Mozart is not sufficiently serious." — Broadway World "Baritone Sidney Outlaw takes this star assignment and makes it something at once eerie and noble. His singing is broad, fluent and full of vivid expression. In Outlaw’s rendition, Salieri is all too keenly aware that he’s lost the moral thread, but is unable to steady his course." — San Francisco Chronicle

"Director Brian Staufenbiel gave the opera a fluid staging on Sean Riley’s set, which employed a series of moveable pieces. A stack of suitcases in the opening scene at Penn Station, along with a succession of arches and banquettes, were all put to use as elements of the train’s interiors. . . Baritone Daniel Belcher was a robust Stieglitz" -Opera News Read full review.

"Ismaele was sung the first night by Robert Watson. . . Watson’s youthful tenor established the character’s purity and innocence. . . In the Part I trio between Fenena, Ismaele, and Abigaille, Watson’s youthful tone combined with Schlicht’s exquisite mezzo to create an evocative contrast between the young lovers, on one hand, and Abigaille’s apparent unadulterated evil." -Opera Wire Read full review.

"With his warm voice and winning personality, Conor McDonald was a stand-out as the homesick French aide-de-camp Ponchet." -Opera News (October 2018) Read full review.