"The largest and most splendid voice came from baritone Joshua Conyers, also familiar from both WNO and Wolf Trap Opera, as the preacher Eustis." - Washington Classical Review

"Rainelle Krause is a catalog of facets as she presents a diverse Pat Nixon, at once deferent and astute, aloof and canny, and ready for any role presented to her. Best of all is how Krause finds the hominess in Mrs. Nixon while honing in on her skillful intelligence. . . Joseph Barron’s Henry Kissinger is all shrewd business." -PrincetonInfo.com Read full review. "Soprano Rainelle Krause effectively looked the part of Pat Nixon, capturing an often worn and weary woman whose husband was the principal focus of her life. Krause sang in a consistently lyrical style, especially in her Act II soliloquy reflecting on her own good fortune. Joseph Barron, singing the role of Nixon’s right-hand man Henry Kissinger, sang with a thundering bass voice reminiscent in range of Kissinger’s own gravelly speaking voice." -Town Topics Read full review. "For the sake of the opera, we see more human links than perhaps reality would have found between him and the weary Pat Nixon of Rainelle Krause.A certain unsteadiness of her large and well-focused soprano in the opening scene of Act II hinted at this insecurity, this false note, this wonder at finding herself, with her lack of pretension, in so aristocratic a situation, being gracious to peasants, pigs, small children, unable to restrain her sympathy for the peasant girl raped in a ballet. Hers is a voice of considerable lyric power." -Parterre Read full review. "Yuk has also assembled the most vocally consistent cast I’ve heard at the Festival. . . bass Joseph Barron (Kissinger) represented the low voices well . . .Rainelle Krause brought a plangent lyric soprano to Pat Nixon; better yet, she provided a necessary sense of dignity whenever possible." -Broad Street Review Read full review.

"Rainelle Krause als Tania erzeugt solch kristalline Töne" / "Rainelle Krause as Tania creates such crystalline tones" -Badische Zeitung Read full review. "Die Frauenpartien der Revolutionärinnen in „Al gran sole“ fordern von den Sopranistinnen höchste Virtuosität in höchster Lage über weit gespannte Phrasen. Rainelle Krause fasziniert als verängstigte, sterbende Tania Bunke" / "The female roles of the revolutionaries in "Al gran sole" demand from the sopranos the highest virtuosity in the highest possible tessitura over wide-ranging phrases. Rainelle Krause fascinates as a frightened, dying Tania Bunke" -Deutschlandfunk 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 skillfully captured Artemis’ complexity.” -Opera Today Read full review. “Patrick Terry as an androgynous Artemus rose to the challenge of a part that covers the extremes from low baritone to high soprano.” -Opera

"Patrick Terry incarnates Joacim with a thrilling amalgam of power and sweetness.” -The Independent Read full review. "the American countertenor Patrick Terry is a wonderful singer: his ‘On fair Euphrates’ verdant side’ was a masterclass in Handelian lyricism. He has already, as a Jette Parker member, essayed Arsace (Berenice), Artemis (Phaedra) and Serafino (The Intelligence Park); this may well be his finest moment yet. His voice is full and expressive; not to mention pliable. It is the variety of his vocal colour that impresses the most, perhaps.” -Seen and Heard International Read full review. "countertenor Patrick Terry, who sang Susanna’s loyal though much-absent husband Joacim to the exceptional standard we’ve come to expect from him....” -Bachtrack Read full review. "the cultivated counter-tenor tones of Patrick Terry delighted us as Joacim.” -The Telegraph Read full review. "Fast-emerging US counter-tenor Patrick Terry is both a 2019 winner at the festival's annual Handel Singing Competition and a rising star in the Royal Opera House's Jette Parker scheme. In a staged version of Handel's 1749 oratorio Susanna, opening the festival at the Royal Opera House and wearing both his HSC and Jette Parker hats, he once more dazzles an audience in the Linbury Theatre. Terry's is an outstanding talent, and he is a singer to catch whenever you can. His soaring line, warm tone, artistic phrasing and generosity to fellow singers are equally impressive.” -Culture Whisper Read full review.

“ tenor Jonathan Riesen’s short, colorful appearance as Pirelli was both musically and dramatically satisfying.” -Opera News Read full review.

"As Younger Jim, Riesen glowed with his love of Alyce, whom he idealized as the soft, docile woman of his dreams and the mother of his children, thoughts that kept him alive during his captivity. Every inch the hero in stature and voice, Riesen could express the sweetest of emotions or become rapier-sharp with indignation or defiance when he was roused by demons real or imagined.. . Baritone Daniel Belcher was the exceptionally fine singer and actor who brought this complex man to life. In his portrayal of Older Jim, nothing remained of the strong, virile, optimistic young soldier. Anger and frustration fueled him as much as his rock-solid knowledge that he was a hero. The ache in the man’s heart over all he lost was revealed through the beauty of Belcher’s voice in passages where nostalgia rather than rage consumed Older Jim." - Classical Voice North America "...this gifted cast. Whether talking to each other across time and memory or in real time encounters, the oral history worked beautifully to convey their experiences in authentic-sounding conversations. Although Belcher got the show-stopping aria, each one of the singing actors served the material to great effect, creating four unforgettable portraits of the two human beings caught up in a world of war and social change." - The Berkshire Edge "The opera’s four characters - younger and older versions of Jim and Alyce – are portrayed at BOF by a uniformly outstanding cast of four experienced singers... Baritone Daniel Belcher’s older Jim was bitter, tenacious, and irascible. Tenor John Riesen brought youthful energy and vulnerability to younger Jim." - In the Spotlight

"Cuervo is an old fashioned, larger-than-life personality who commands the stage and the room. Her impressive soprano compass ranges from a gutsy, almost mezzo-like bottom to a richly colored middle range and high notes that ring and vibrate." – South Florida Classical Review

" Tchaikovsky’s grand opera The Queen of Spades might seem an unlikely fit for the multi-purpose room of the Pavilion on the Glimmerglass campus but that qualm would fail to reckon with the superior creative gifts of the production team at this prestigious festival. . . Maestra Rofrano elicited thrilling, evocative results from her exquisite chamber players and she ably supported her singers in relating the drama." - Opera Today

(translated from Spanish) What force is more powerful than love?" (Igor Stravinsky) By Alina Marrero For the National Foundation for Popular Culture Talking about a classical music composer is not an ordinary thing. If we do a memory exercise, we may not even remember any of the past among the artists who made a difference. However, there were, many, and very good. The truth is that women in the field of art, even in the 21st century, are fighting to prevail in a world where men are still more trusted. We know that there were women composers (Leonor of Aquitaine (S 12), Francesca Caccini (S 16), Clara Josephine Wieck de Schumann (S 19), Teresa Carreño (S 19 and 20) and Berthe di Vito Delvaux (20 and 21 century) , to mention only five) in many countries, in past and contemporary times. Juana Inés de la Cruz, for example, in 17th century Mexico, composed music, and we know, thanks to researchers like Guillermo Schmithubber de la Mora, how she was treated Talking about Juana Inés de la Cruz as a composer, even today, is extraordinary. How much more extraordinary it is to talk about a Puerto Rican classical music composer. However, right now, there is a lot of talk about the young Puerto Rican Johanny Navarro. Her works of contemporary classical music have been premiered in and outside of Puerto Rico with success and critical acclaim. Let's go to the most recent. His opera “Frenesí”, produced by Teatro de la Ópera under the baton of Roselyn Pabón, was presented on May 25 at the Ballajá Barracks to the insistent applause of more than a thousand people. After arriving from the United States for her participation in the activity "Women in Puerto Rico during the First World War", musical presentation and dialogue, on June 7 at the Lovinger Theater of Lehman College in New York, she will leave in a few days to Torre del Lago, Toscano, Italy, to participate in the prestigious Puccini Festival that has been held every year since 1930. Continue reading...

“Tenor Matthew Pearce demonstrated that he could take on powerful roles such as Don José even early on in his career. He floated notes like the gentle ripples on the water during his “Flower Song.” When called upon to express his darker intentions and inner anguish, he could turn on a weightier timbre. Pearce hit dramatic high notes with confidence, brightness, and seemingly with ease, demonstrating a high level of control. Nothing in his voice sounded forced even as he approached the top of his range”. – Operawire “Matthew Pearce, as Don José, overcomes all this adversity and manages to give a standout vocal performance” – Schmopera “Don José is sung by Matthew Pearce in a robust tenor. Pearce shaped an arc from confident soldier responding to the hot dancing of a cigarette factory girl, to a withered man, eroded by her duplicity.” – Concerto.net “Our Don Jose was superbly portrayed by tenor Matthew . . . he sang with beautiful tone and lovely phrasing” – Voce di Meche

"Conductor Rofrano, with a 12-person orchestra (including synthesizer), never overplayed the score. She captured the ambiguity and sinister mystery of the story with the quiet pulsing staccato of the music and moments of pause. Poe writes about a crack in “the house,” but in this production, the crack is Roderick’s split life, and the music makes it all the more haunting." – Oregon ArtsWatch