"As Sancho Panza, Seth Carico gives a vital, powerful, benevolently present performance of the servant who, shaking his head, follows his master into his consuming madness, but remains faithful even beyond his master's death. Carico dominates his idiomatic performance with vital power of tone." -Opernkritik Berlin "Seth Carico in the servant role of Sancho Panza is to be mentioned in the first place - also according to the strength of applause. The spiritual brother of Leporello, he also sings an aria about infidelity. Carico has a broad bass-baritone with good depth, a strong middle register and a great high range. Above all, however, he presents a figure on the stage, who is human, sympathetic, and infinitely touching in his final grief and helplessness." -Online Merker "In Seth Carico he [Alex Esposito] has an excellent Sancho Panza at his side. His profound bass is so similar to his master's that he always resembles his alter ego." -Kieler Nachrichten "The American bass baritone Seth Carico captivates with the colours and flexibility of his voice and leaves nothing to be desired in terms of his acting, even embodying the horse Rosinante in addition to Sancho." -Der Opernfreund "Alex Esposito and Seth Carico offer magnificent voices, Carico on top of that with unique caricatures." -Neue Musikzeitung "Seth Carico is known to the Berlin audience as an agile and powerful bass, making him a firm anchor in the plot and the music as Sancho Panza. He accompanies his master not only through the imagined world, but also merges with him as his alter ego. In the duet of the two basses, this often makes it difficult to tell who is singing what." -Kunstdunst "Seth Carico carries the joyful Alex Esposito over the stage as Sancho Panza. A male friendship to the tragic end . . . Seth Carico as Sancho Panza and Alex Esposito in the title role are fantastic. As cheerfully rebellious, extremely mobile basses, the two of them drive the action forward. One would happily follow them." -Berliner Morgenpost

"Actually, the opera should not be called Tosca, but Scarpia. Scarpia becomes the main character in this production, not only due to the the direction, but also due to the singer-actor in the role. Seth Carico is such a fantastic singer-actor that you might momentarily forget you're in the opera. With his vocal, highly-cultured and fantastically well-timbered baritone, he expressively differentiated, while never pretentious, the multi-faceted sides of the perpetrator and victim Scarpia and makes the regal interpretation of this person intensely tangible. A terrific house and role debut!" -Online Musik Magazin (Translated from German) Read full review. "Since the role of Scarpia is put so much in the spotlight by the director, much attention is focused on him. Seth Carico was able to fully identify with his role debut with the direction concept; his baritone is technically quite sound and he asserted himself in the dramatically charged scenes." -Online Merker (Translated from German) Read full review. "Not only first-class voices, but also actors are needed for such a complex staging. Particularly noteworthy here is Seth Carico, who played the Scarpia with touching vulnerability. Here no usual over-wrought villain is shown, but a person who is himself a victim. This fits his rather bright vocal color, which is not abysmally dark. It's a different Scarpia than usual. Seth Carico convinced me across the board with his singing and his interpretation." -GFO Hannover (Translated from German) Read full review.

"Rehanna Thelwell, a mezzo-soprano in a stunning golden gown, showed off her range too, from a delicate rendition of Elgar’s “Where Corals Lie” to vocal growls and broad humor in “When You’re Good to Mama” from the musical “Chicago.”" - The Capital Times

"As Don José, tenor Robert Watson makes a solid company debut. He has a sweet and sensitive vocal tone, a big sound and performs his character’s signature “flower aria” mostly perfect. Most affectingly, he brings a lurking menace to his character, who transforms credibly from chaste country boy to obsessive killer and criminal in just over 2 1/2 hours. In this version, he doesn’t just fight with his superiors at the smugglers’ tavern in the first act, he brutally slaughters them. . . Also making standout debuts are soprano Sarah Tucker, with her heart-rending and soulful performance as Micäela, the virgin country girl Don José discards in his lust for Carmen" -San Diego Union Tribune Read full review.

"the principal singers each established their character’s persona well. . . Tucker’s aria “Prendi, per me sei libero” (“Take it, I have freed you”) was equally touching in its expressive detail." - Portland Press Herald

"Fortunata is wonderfully matched with an excellent vocal and dramatic companion in Annie Rosen as Adalgisa. Hers is a naturally warmer sound than Fortunata’s, but hardly less brilliant when needed, and she sang the arias and duets to perfection, not the least the Miro, o Norma duet in the second act, a highlight of the production. Dramatically, she conveyed the fragile, sensitive side of her character well, a perfect foil for the more assertive Norma." -Calgary Herald Read full review.

" Joshua Jeremiah, another bass-baritone, delivered sanity convincingly as the king’s lieutenant Dunois. . . The catalyst for the performance’s success was mezzo-soprano Annie Rosen’s powerful performance as Joan. Not only did she deliver both strength and vulnerability through her warm mezzo voice, she created a sympathetic and irresistible Joan. It was a brilliant performance." — Times Argus

"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 excelled . . . Carrying the bulk of the “buddy story” were Richard Ollarsaba as Giovanni and Joseph Barron as Leporello, the not-so-nobleman and his full-time wing man, both of whom conveyed moments of dark humour with dark vocal timbres rich in narrative nuance. Despite his charisma, Giovanni didn’t seem to be having much fun; Leporello followed his master’s every move with a distinctive mix of disgust and envy." -SOUTH CHINA MORNING POST Read full review.

"And Agathe’s aria “Leise leise fromme Weise” was just stunning, filled with successive eruptions of different emotions. It blossomed in Katherine Whyte’s performance into an absolute joy to ride through. In fact, Whyte was absolutely superb throughout." -BlogCritics.org Read full review. "...Katherine Whyte’s touching portrayal of Agathe. Whyte’s lyric soprano filled out Weber’s melodies beautifully" -Seen and Heard International Read full review.

"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.

In Review of Opera Theatre or St Louis' Gianni Schicchi, New Works Bold Voices Lab, & Highway 1, USA "Levi Hernandez took a sober approach to Schicchi, with few of the bufffo-isms the assignment usually calls forth, and mercifully few of the ensuing musical approximations. It was a pleasure to hear the role sung so cleanly and fully. . . Baritone Calvin Griffin’s best bit in On the Edge came when he donned an old-lady wig to play Grandma. . . A splendid cast. . . Mezzo Rehanna Thelwell brought plenty of warmth to the role of Mary’s sympathetic Aunt Lou." - Opera News

"The real highlight, however, was bass-baritone Calvin Griffin as Death. With a controlled and resonant vibrato, Griffin was a shudder-inducing delight on stage and as a disembodied offstage voice. He sang with a depth and timbre unmatched by his castmates." - Washington Classical Review "the powerful vocals of Jonathan Bryan. . . Baritone Jonathan Bryan played the role of the father, a somewhat bumbling noveau riche fellow, addicted to the bottle (no mother in this version). His booming, resonant baritone is a force to be reckoned with, and enjoyed as often as possible... Bozeka sang well as Satyavān as did bass Calvin Griffith, who projected Death scarily well." - OperaGene