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Elena Bocharova as Dalila in Dayton Opera's Samson et Dalila
| "Russian-born Elena Bocharova is voluptuous in both voice and physique, and her rich-toned instrument is well suited to the exacting demands of Delilah, one of the plums of the mezzosoprano repertoire. She sang Delilah with assurance and beauty of tone, never fudging or blurring. Her voice 'blooms' at both top and bottom,
and she uses it to dramatic effect. In fact, she sounded as fresh and powerful at the end of the opera as she had at the beginning. For her pivotal second act seduction scene, opposite South Korean tenor Dongwon Shin as Samson, she was particularly sultry in voice and demeanor. Anyone who saw her stretched languorously on her chaise lounge as the curtain went up would understand why Samson was bound to lose his hair before the next intermission.
It was an auspicious first outing in the role." Eric Street, Dayton City Paper, March 7, 2007 |
Troy Cook as Marcello in Philadelphia Opera's La Boheme
| "It was Troy Cook (Marcello) however, who really stole the stage. Cook's rich inflections to each phrase reinforced Puccini's wonderful sweeping melodies.
Their voices [Mimì] meshed perfectly together in their duet at the beginning of act III, perhaps the highlight of the entire production. Posted by Sydney de Lapeyrouse, Philadelphia City Paper, October 28, 2006 |
Rachelle Durkin as Armida in Opera Australia's Rinaldo
| "Rachelle Durkin, not yet in her 30s but already a formidable performer, is clearly the new star for Opera Australia.... Durkin however made the part her own, with a far more tempestuous attack on the role, all flashing eyes and teeth, equally matched by her fiery singing. Her Vo'far guerra, the Act II finale, was stunningly well sung...." Sandra Bowdler, July 23, 2005 |
Michael Fabiano as Rodolfo in the Philadelphia Orchestra's La Boheme
| "Attention focused on Michael Fabiano, who was singing his first Rodolfo. The young tenor did not disappoint. Fabiano earned an ovation for his golden-toned singing in Rodolfo's first-act aria. Caressing the music with a firm, vibrant voice, he molded the phrases elegantly and rose effortlessly to a gleaming high C". Robert Baxter, Courier Post, July 3, 2008 |
Nancy Fabiola Herrera as Charlotte in Las Palmas' Werther
| "Mezzo Teresa Berganza, the most important in her fach in recent Spanish lyric histry, has already an heiress: the Canary Islands' mezzo Nancy Fabiola Herrera, who has reached her interprative maturity with roles such as Carmen, and this her first Charlotte. The quality of her phrasing, the exquisite line of her singing, her vocal abilities and great musicality, without a doubt relate her to Berganza's lineage. Herrera drew a complex character, full of edges and put her extraordinary vocal abilities at the service of the character. To hear and to see Herrera in action is worth travelling to wherever she is performing." Pablo Melendez Haddad, ABC Newspaper, April 3, 2006 |
Jeffrey Halili as Loge in AVA's production of Rheingold
| "Best of all, the clever fire God Loge furnished tenor Jeffrey Halili with an excellent vehicle for his gifts;his dynamic characterization, deft verbal pointing and legato flow gave consistent pleasure. Donald Shengold, City Paper, Philadelphia, February 2006 |
Latonia Moore New York Recital
| "The recital was a good one, but it was more than that: It was an amazingly happy experience...There is a lot going on in that voice too: It has vibrancy, colors and assorted other wonders...Ms. Moore sang beautifully and movingly...An amazing singer and an amazing young lady, Latonia Moore. It was hard to stop smiling after the recital - She simply made you feel good." Jay Nordlinger, The New York Sun, Monday, May 7, 2007 |
Chester Patton as Nick Shadow in Coruña's The Rakes Progress
| "The great exception was tall, athletic Chester Patton, a consummate baritone with terrific timing, the trained body of an Alvin Ailey dancer and a rapport owith the public worthy of a top-notch comedian. Patton's Nick Shadow was an irresistible younger brother of Gounod's Méphistophélès, in tuxedo and Bugs Bunny slippers, jumping around without losing a note of Stravinsky's devilishly difficult score. Roberto Herrsher, Opera News, September 2006 |
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Dongwon Shin as Calaf in Ft. Worth's Turandot
| "The opera's signature moment is actually a male role- Calaf's Nessun Dorma area, perhaps one of the most recognized tenor arias in opera...that said, performing Nessun Dorma for a tenor is a little like assaulting Everest for a mountaineer. If you want to prove your mettle, it's a requirement, but you approach it with a certain amount of trepidation. Tenor Dongwon Shin met the challenge on Saturday. His Nessun Dorma was the highlight of an incredible evening for him and for the Fort Worth Opera". Steve-O, West & Clear, Ft. Worth, May 25,2008 |
Carl Tanner as Calaf in Salerno's Turandot
| "In appraising the Calaf of American tenor, Carl Tanner, agreed to by all, is the new Pavarotti. A great ovation greeted the Nessun Dorma that he brilliantly interpreted at the beginning of the third act." Erminia Pellecchia, Il Mattino, Salerno April 26, 2007 |
James Valenti as Romeo in Minnesota Opera's Romeo et Juliette
| "...and tenor James Valenti are simply spellbinding in the title roles...Valenti, the toast of the evening, owns a noble instrument and deploys it judiciously.(it's timbre is Italian, not French, but who cares?). Possessing a commanding stage presence, he can rattle contact lenses in the back row, but does not mistake volume for ardor: In Act 2, his "Ah! Leve-toi, soliel!"--typically an explosion of tenorial narcissism--is prayerful, almost estatic." Larry Fuchsberg, Star Tribune, January 29, 2008 |
Yali-Marie Williams as Violetta in Manitoba Opera's La Traviata
| "She was superb as Violetta, possessing a refind, pure voice. She crafts each note and finishes them with a flourish. Williams was the clear star of the show, her voice full of subtle power, supremely accurate and impressively versitile. From the touching "Addio del passato" in which she floated effortlessly to the higest notes, to the hear-rending duet "Dite alla giovane"...her sensitive interpretation touched us all. She nearly blew us away in "sempre libera"...She has a natural delivery, powering through the most commanding parts gracefully...A terrific actress as well, the talented Williams is a remarkably compete package". Gwenda Nemerofsky, Winnipeg Free Press, April 21, 2008 |
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