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...There was a vocally agile mezzo Princess Eboli from Yulia Matochkina and John Relyea overcame gruffness of voice to portray a deeply felt Philip II (though the late Boris Christoff’s implacably bullet-like...
...John Relyea rises to Wotan’s big moments, but the voice tends to sound gruff elsewhere....
...John Relyea, a holdover from the earlier cast, is a vocally and visually intimidating Grand Inquisitor. All goes smoothly under conductor Carlo Rizzi’s experienced leadership....
...Bass John Relyea’s appearances as the Ghost (he also played Gravedigger, and one of the Players) are riveting, his voice full and with an edge, his whole body held in a kind of grimace....
...Eric Owens, a weak Philip, is outsung by John Relyea as the Inquisitor, but I would just as soon hear Matthew Rose (a Monk) in either role....
...Peter Hoare is a Vere plagued by self-doubt, John Relyea’s Claggart an Iago-style embodiment of evil, and all of the smaller roles are flawlessly sung....
...The hard-working cast did what it could, with Gerald Finley as a robust Tell and John Relyea as a formidable Gesler....
...Its academic advisory council includes faculty members from MIT Sloan and Rotman business schools, as well as Sir John Hood, the former vice-chancellor of the University of Oxford....
...John Relyea exudes basso authority as the Water Gnome, and the faux-Rhinemaidens – Disella Làrusdóttir, Renée Tatum and Maya Lahyani – chirp and prance with neatly forced grace....
...John Relyea’s Bertram looks more devilish than he sings, and it’s left to the tenors to raise the temperature....
...Soprano Christine Brewer rose to her best form in the “Libera me”, where she floated long phrases with a classical purity of line, and there was sturdy support from mezzo Karen Cargill and bass John Relyea...
...Sonorous, stiff and stolid, John Relyea models a scarlet costume that invokes the Méphistophélès of Pol Plançon, the devil in 1906 when the Met last staged La damnation....
...John Relyea, Sondra Radvanovsky and Roberto Alagna made the final trio an exercise in imbalance....
...Charles Castronovo and John Relyea are well cast as Tom Rakewell and Nick Shadow respectively – Castronovo sings strongly with a keen, bright tenor and Relyea’s bass has a fearsome, saturnine force to it...
...John Relyea’s opulent basso ennobled Banquo’s plaints, and Dimitri Pittas’ bright tenor sailed through Macduff’s aria. So much for brushing up one’s Shakespeare – and Verdi. Tel +1 212 362 6000...
...Jukka Rasilainen roared roughly as a tough Kurwenal, and John Relyea droned darkly as a youthful King Mark. Unfortunately, Viola trivialised the monumental score at every turn....
...John Relyea rolled out basso gravitas as Raimondo. Stephen Costello was sufficiently imposing in the minor duties of Arturo to justify his imminent promotion to Edgardo....
...Aleksandra Kurzak’s Annchen sparkles, Roland Bracht’s Kuno sounds satiny, John Relyea’s Kaspar is deliciously deep and dangerous, the smaller roles are well-cast....
...John Relyea, reputedly singing despite bronchitis, growled darkly as Giorgio. Valerian Ruminski grumbled politely as Gualtiero. If the low voices cared about dynamic variety, they kept it a secret....
...Enlightened cameos came from Maria Zifchak, a feisty Magdalene, John Del Carlo, a brash Kothner, and John Relyea, a booming Night Watchman....
...Kobie van Rensburg remained gently crafty as the reformed usurper, and John Relyea boomed darkly as the nemesis on the premises....
...Still, with Susanne Mentzer, Matthew Polenzani and John Relyea completing the quartet, ensemble values remained lofty, and the Concert Chorale provided a fine expressive frame....
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