"Director Tara Faircloth used the supporting cast to advantage in a production that was at once fairly conventional — set around the time the opera was written, in the early 20th century — and quietly inventive, particularly in its use of the backstage area in Act II, so you could see what was happening on the fictive stage and what was going on behind the scenes. . . And Joshua Conyers, with his strong baritone, and Ian McEuen, with a wiry tenor, made fine foils as a kindly, pragmatic music master and a hustling dancing master in Act I." -Washington Post Read full review. The production directed by Tara Faircloth made clever use of the proscenium area, separated from the orchestra in both acts by a diagonal wall (scenic design by Laura Fine Hawkes). Faircloth’s direction, especially the use of small “offstage” areas in the wings in the second act, brilliantly walked the line required by the opera, with slapstick parody that did not get in the way of the exalted moments in the score." -Washington Classical Review Read full review. "Director Tara Faircloth did an excellent job in presenting the story, especially in choreographing the moves of a large number of players on a small stage and bringing each character to life. . . Baritone Conor McDonald who played the speaking-only role as Major-Domo was perfect in appearance and in spewing his messages with a ringing German accent. . . -Opera Gene Read full review.

"Of course, none of this would fly without a strong cast. . . Joshua Jeremiah brings a robust baritone and high style to Pangloss" - Opera News

"Jesse Blumberg brought a handsome baritone voice" -Seen and Heard International Read full review. "The splendid results speak for themselves, and Cleveland’s Baroque Orchestra and Apollo’s Singers, headlined by soprano Molly Netter, countertenor Daniel Moody, tenor Stephen Soph, and baritone Jesse Blumberg, gave the four cantatas brilliant, stylish performances." -Cleveland Classical.com Read full review. "To quote scripture and Handel: their burden was light. Soph was a forceful, expressive Evangelist, a voice clear and stirring, and Blumberg was a lyrical, resonant bass." -Cleveland.com Read full review.

"Two finer men could not have been cast for the leading roles of the lovers, Hawk and “Skippy.” Baritone Jesse Blumberg, as the super-confident Hawk Fuller. . . looked gorgeous and sang that way as well." -Opera News Read full review.

"San Diego Opera General Director David Bennett assembled a solid vocal cast, including singers who have become welcome regulars in the company. Sara Gartland, who sang Musetta in the the 2015 La bohème, used her clear, bright soprano to portray a pert, sincere Gretel, the classic wiser older sibling. . . Malcolm MacKenzie has appeared in a dozen San Diego Opera productions, but he is emblazoned in my memory as the vocally and dramatically imperious Sergeant Belcore in the 2014 production of The Elixir of Love. His opulent, ruddy baritone gave this opera’s Peter—the children’s caring father—bold authority and easily communicated his unalloyed affection." -San Diego Story Read full review.

"Some interpreters of Tosca’s antagonist, the sadistic superintendent of Rome’s Stasi-esque police, Barone Scarpia, inspire hatred solely by delivering the part’s music with Sprechstimme more appropriate for Berg’s Wozzeck than for a Puccini rôle. The villainy of baritone Malcolm MacKenzie’s Scarpia was all the more startling for being enlivened by appealing, impeccably-controlled vocalism. Not once in his commanding portrayal of the loathsome reprobate did he resort to shouting or snarling. At his first entrance, his declamation of ‘Un tal baccano in chiesa!’ instantaneously heightening the tension of the scene, it was apparent that faith was little more than a weapon in this Scarpia’s arsenal, one that he used to his advantage in manipulating the pious Tosca’s jealousy. MacKenzie’s Scarpia was unquestionably a bully but a treacherously seductive one, voicing ‘Tosca gentile la mano mia la vostra aspetta’ with chilling sultriness. In the final scene of Act One, the brash arrogance of MacKenzie’s portrayal indicated that Scarpia’s boldness before the Madonna was born not of a supplicant’s trust in intercession and absolution but of a misogynist’s sense of superiority. The self-satisfaction with which MacKenzie sang ‘Tosca è un buon falco!’ at the start of Act Two made Scarpia’s stratagem sickeningly lucid. It was again the superb caliber of his singing that ignited the baritone’s characterization. The duplicity of the baron’s civility in questioning Cavaradossi was exemplified by MacKenzie’s mellow enunciation of ‘Ed or fra noi da buoni amici,’ his ability to adapt vocal colorations to nuances of text allied with unassailable technical assurance. There was a maddening insouciance in his pronouncement of ‘Nel pozzo del giardino - Va, Spoletta,’ his show of indifference calculated to insinuate that Tosca’s betrayal of Angelotti’s location was similarly nonchalant. MacKenzie’s portrayal assumed a dimension of Shakespearean equivocation in the fateful scene with Tosca, the artifice of his chivalrous courtship accentuating his sardonic lust. Although protracted death struggles are not incompatible with the innate cowardice that escalates Scarpia’s cruelty, the lack of histrionics with which MacKenzie’s Scarpia expired was considerably more effective. [Admittedly, the melodrama of Scarpia’s death was commandeered in this performance by Tosca, whose repeated stabbing of Scarpia was disconcertingly cathartic, even receiving enthusiastic applause from the audience.] Eschewing excess, MacKenzie out-sang a number of the Tosca discography’s most acclaimed interpreters of Scarpia, bringing to the Raleigh stage a magnificently-sung performance of the rôle that made compelling virtues of the baron’s voice-battering vices." -Voix des Arts Read full review.

“Richard Ollarsaba, who plays Don Giovanni, commanded the stage from the first moment he set foot on it. Tall, swaggering, and thin as a rock star, he brought a devlish charisma to the role... It wouldn't have meant much if he couldn't sing; thankfully, he could, and did, in a deep, thick bass-baritone that soared confidently above the music.” - The Rapidian

"One of the most captivating parts of the night came in Christian Sander's performance as Timothy Laughlin. I was excited to see him take on another role as I thoroughly enjoyed his performance as Toby in this season's SWEENEY TODD. With this role, he left his heart on the stage, not only making this an amazing performance, but one I will not soon forget." - Broadway World "Tenor Christian Sanders sang the role of Timothy with an innocent vulnerability and vocal clarity. Sanders’ voice cut through the orchestra despite the venue’s acoustic issues, connecting to the audience on a visceral level. . . Sanders’ voice captured this sense of vulnerability with deceptive ease, and the fresh-faced tenor gave the most compelling dramatic performance of the evening, a feat that is all the more impressive considering this was his first time singing the role. Timothy’s aria in the church after his first night in Hawk’s arms was a tender expression of first love’s rush, and Sanders perfectly captured the beauty and tragedy of this moment." - Schmopera

"Chauncey Packer’s clear tenor voice caused a minor uproar among the audience in his delivery of Roland Carter’s “Freedom.” His last utterance of “. . . goin’ home to be free,” was sung with such conviction, it was as if he were saying, “I am ready to die!” nobly." -Classical Singer Magazine Read full review.

"Tenor Chauncey Packer, a south Alabama native, played Billie’s philandering husband, Spinner, his voice pulled into a rubbery purr that proved suitably sleazy." — The Washington Post " The entire cast was excellent, including the bright-voiced tenor Chauncey Packer as Spinner, Billie’s womanizing husband" — New York Times " Notable supporting players in the big cast included Chauncey Packer as Spinner, Billie’s charming but cheating husband" — Wall Street Journal

"Baritone Levi Hernandez also was ideal as the clueless Kildare, the Scotland Yard inspector desperate to catch the serial killer so as to win himself a promotion and be hailed as a hero in London’s gutter press." -Chicago Tribune Read full review. "The theater troupe that takes Elizabeth in when she’s orphaned was made up of a strong cadre . . . Jason Ferrante played Little Victor Farrell . . . No weak links were to be found in this clique of misfits. . . The dubiously ambitious Inspector Kildare, charged with investigating the murders in the story (of which there are many), was played by the baritone Levi Hernandez, who is also making his company debut. This was one of my favorite roles, primarily because Levi did such a fantastic job bringing it to life." -Opera Sense Read full review. "Painted with incisive brush strokes, the other members of the theatrical troupe were superb, including David Govertsen as Uncle, Jason Ferrante as Little Victor, and Quinn Middleman as Doris. Levi Hernandez etched a nice portrait of the media-minded Kildare, the inspector investigating the murders." -Chicago Classical Review Read full review.

"This was Opera Omaha’s strongest cast in years. Every voice was well placed and present throughout. . . Jason Ferrante’s bright tenor voice was delightful as Beppe." -Opera News Read full review.