Robert Watson – Revue de presse

Carmen – Don José

Opéra de Montpellier, 2018

« Le Don José de Robert Watson (dont les cheveux poussent au fil des actes pour marquer le temps qui passe) offre un timbre sombre et corsé et un phrasé expressif, parfois bestial et toujours nuancé, très convaincant. L’aigu en voix de tête qui conclut son grand air est bien émis » Damien Dutilleul – Olyrix

« Son Don José est campé par Robert Watson qui convainc dans le rôle (…). Le ténor américain se montre aussi vaillant dans le dramatisme des deux derniers actes que les scènes élégiaques du début, avec un bel art des demi-teintes qui fait particulièrement merveille dans un air de la fleur, détaillé avec soin et terminé pianissimo. » Emmanuel Andrieu – OperaOnline

Liederabend

Royal Poinciana Chapel, Palm Beach, 2016

« A thunderclap introduced tenor Robert Watson: the weather outside was awful. Not to be put off, without flinching he launched into a lovely rendition of Strauss’s “All Souls Day.” He gave it a fine flowing interpretation taking the top notes easily. His developing heldentenor voice seems ideally suited to the German repertory. Indeed, he flies to Berlin soon to sing with the Deutsche Oper. He had wonderful bursts of power in Britten’s “Since she who I lov’ d,” and I thought, here’s a Peter Grimes »  Palm Beach Arts Paper

 

Madama Butterfly – Pinkerton

Wolf Trap Opera, 2015

« Robert Watson, after last year’s Le Pauvre matelot (“The Poor Sailor”), got to try out one of the most oft-performed roles of the standard repertory, Pinkerton, and sang with a ringing and sustained sound that almost belied his character’s weakness. » Anne Midgette – The Washington Post 

 

Ghosts of Versailles – Bégearss

Wolf Trap Opera, 2015

« With ping in the timbre, and fire behind every phrase, Robert Watson dominated the stage as bad boy Bégearss; he delivered the “Aria of the Worm” with extra bite. » Tim Smith – Opera News

« Even among his gifted colleagues, Robert Watson stood out for his slimy turn as Bergearss; the spot-on characterization was matched by a well-focused, pingy tenor. » Tim Smith – Opera Magazine 

« Robert Watson (Bégearss) has a trumpet-like heldentenor, which may one day sustain a major career. » Robert Battey – Washington Post 

 

Enemies, a Love Story (Moore) – Nissen

Palm Beach, 2015

« Moore and Sandrow echo Broadway tradition by providing small roles with clear understudy potential; these were well taken by company Young Artists, with Robert Watson sounding vivid (if, again, looking too young) as Nissen, Tamara‘s uncle. » David Shengold – Opera Magazine

 

Le Pauvre Matelot – Rôle-titre

Wolf Trap Opera, 2014

« Tenor Robert Watson gave the brief role of the Sailor a vivid workout, fueled by solid, ringing tones. » Tim Smith – Opera News

 

Irene Dalis Vocal Competition

Opera San Jose, 2014 

« My personal favorite, tenor Robert Watson made his San Francisco Opera debut as a noble in Lohengrin in 2012, and created the role of Mr. Cox in the world premiere of Tobias Picker’s Dolores Claiborne. A sensation as the Male Chorus in last summer’s Merola Opera production of The Rape of Lucretia, the student of César Ulloa brought thrilling gravitas and authority to “I know that you all hate me” (from Gian Carlo Menotti’s The Saint of Bleeker Street). His “Ah, la paterna mano” (Macbeth) was of heroic proportions, the undertones as impressive as the sweetness on top. The top is where he is headed, sooner rather than later. » Jason Victor Serinus – San Francisco Classical Voice 

 

Neuvième Symphonie (Beethoven)

Philadelphia Orchestra, 2014

« The final movement, with the secular oratorio, was sung by soloists from Wolf Trap Opera Artists: Tracy Cox, soprano; Virginie Verrez, mezzo-soprano; Robert Watson, tenor; and Ryan-Speedo Green, bass-baritone. Green handled the tricky opening section, upper register baritone, followed by Watson‘s steeled tenor and thoroughly lustrous phrasing and tones from Cox and Verrez. » Lewis Whittington – Culture Vulture

 

The Rape of Lucretia – Male Chorus

Merola Opera, 2013

« Equally impressive were Watson and the orchestra, together illustrating Tarquinius‘s impulsive midnight ride across the Tiber to conquer Lucretia. »  Opera News

« The first voice heard in the opera is Robert Watson‘s as the Male Chorus, and it made the audience sit up and pay attention, something that continued throughout the performance. The tenor’s voice has Presence, with a capital P. » Janos Gereben – San Francisco Classical Voice 

 

Merola Grand Finale

Merola Opera, 2013 

« Another tenor promise fulfilled was Kansas City’s Robert Watson. Following his sensational, deeply moving Male Chorus in Britten’s The Rape of Lucretia, Watson’s searing “Claggart, John Claggart, beware!” in Britten’s Billy Budd seemed designed to proclaim to the world that another great Britten tenor, a pupil of our own César Ulloa, has arrived. If Glyndebourne was listening, expect the U.K. to take notice shortly. » Jason Victor Serinus – San Francisco Classical Voice 

« Unlike Lohengrin and Des Grieux, Captain Vere in Britten’s Billy Budd is not a tenor showcase role, but nobody told Robert Watson, who sang hell out of the climactic scene of the opera, with Alex DeSocio’s appealing Budd and Thomas Richards’ sonorous, scary John Claggart. » San Francisco Examiner

 


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