|
South Pacific (Emile de Becque)
National Tour of the Lincoln Center Production
(Houston, Hobby Center for the Arts)
...world-class
operatic baritone Gilfry is Cusack's equal: worldly, ardent, self-possessed, his gravitas nicely balancing Cusack's buoyancy. His voice is pure gold:
strong, supple, brimming with fervor in his eloquent renditions of his signature ballads "Some Enchanted Evening" and "This Nearly Was Mine".
Everett Evans, Houston Chronicle, Mar 2010
(Seattle, 5th Avenue Theater)
...his rich baritone envelops the "This Nearly Was Mine" and "Some Enchanted Evening."
Misha Berson, Seattle Times, Feb 2010
(Seattle, 5th Avenue Theater)
And Gilfryıs solo rendition of that song [Some Enchanted Evening] literally gave me goose-bumps. His rich baritone is superb.
Audrey Gervasi, Seattle Fine Arts Examiner, Feb 2010
(Seattle, 5th Avenue Theater)
Gilfryıs Emile has the vibrato of a purring Ferrari and enough continental bearing to sell cans of Manwich to the French.
Kevin Phinney, Seattle Weekly, Feb 2010
Trouble in Tahiti (Sam) (Munich, Bayerische Staatsoper)
Rod Gilfry stood
out as a full-voiced, superb Sam, imbuing the role with a mixture of arrogance and longing. Jeffrey A. Leipsic, Opera News, Nov
2009
Saint François d'Assise (François) (London, Royal Albert Hall)
Heartthrob baritone Rod Gilfry played Francis as a charismatic visionary beguiled by the glory of creation, yet fearful of both its
imperfections and its transience...A stupendous evening, and one of the great operatic achievements of recent years. Tim
Ashley, The Guardian, Sep 2008
(London, Royal Albert Hall) Rod Gilfry's St Francis was no holy wimp: he sang with real fibre, always
intense, alight with conviction. Geoff Brown, Times Online, Sep 2008
(Amsterdam, Netherlands Opera) It starred Rod Gilfry as an intense St. Francis, in what was clearly the
performance of the Southern California baritone's career. Mark Swed, Los Angeles Times, Jun 2008
(Amsterdam, Netherlands Opera) ...especially fine singing from Rod Gilfry as François... The title
role is a huge sing with the character on stage almost all of the time, and needing to express emotions ranging from quiet dignity through to
overwhelming ecstasy on hearing the Angel's singing; and then ultimately to physical and emotional identification with Christ's suffering. Gilfry
sustained all of this manfully, showing no sign of vocal fatigue at any point even at the conclusion. Bill Kenny, The Opera
Critic, Jun 2008
The Tempest (Prospero) (Santa Fe Opera, New Mexico) I'd see The Tempest
again in a minute, especially with Rod Gilfry as Prospero. The Philadelphia Inquirer, Aug 2006
Gilfry's Prospero was central to the opera's success, communicating the aristocrat-magician's rage at this betrayal and exile,
his love for his daughter, and his acceptance and forgiveness at the end. The central figure of Prospero also got a vocal workout from the top to the
bottom of baritone Rod Gilfry's considerable range.² Musical America, August 2006
|
