Jennifer Brennan-Hondorp

Kishna Davis

Pamela Hinchman

Pamela Hinchman

Teresa Seidl

Shawnette Sulker

Stella Zambalis

Buffy Baggott

Julia Elise Hardin

Jennifer Lane

Carol Sparrow

Michelle Wrighte

Robert Bracey

Benjamin Brecher

James Doing

Randolph Locke

Jeffrey Springer

Mark Thomsen

Bradley Williams

Graham Fandrei

Kenneth Overton

Frederick Reeder

Charles Robert Stephens

Gerard Sundberg

James Patterson

Additional Artists

THE BEST OF GILBERT AND SULLIVAN

A GERSHWIN GALA

Concert Quartets

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James Patterson, bass

Die Zauberflöte

“James Patterson delivered the Chief Priest’s recitatives in a stentorian bass that plunged to a low “E” at the end of his first number. Mr. Patterson did not merely reach the subterranean note, he boomed it out.” The New York Times

“In this conception, Sarastro had more casual warmth than unapproachable nobility, and he was well acted by James Patterson.” Opera News

“…this cast was seemingly born to the roles: James Patterson, stately in demeanor, his resonant bass conveying the pretensions to grandeur of Sarastro…”

(Everett, WA) The Herald

Rigoletto

“Patterson, a Canadian, several times demonstrated an impressive lung capacity, sustaining theme-punctuating low notes at a consistent volume for long, long periods. He convincingly made Sparafucile the heartless killer he is.” Sacramento Bee

“We had a good and very different Sparafucile in James Patterson, the role tailored to his lanky frame.” San Francisco Chronicle

“James Patterson sang a full-blown low “F” at the end of Sparafucile’s first appearance that continued undiminished as he walked slowly across the width of the stage and sounded as though it could go on for several more days.” The Detroit Sunday Journal

“One of the night’s biggest surprises is the mesmerizing vocal and physical characterization by James Patterson as Sparafucile, Rigoletto’s hired assassin. Patterson allies a granite-firm, black-hued bass and towering stature to a confident, cocky persona, making this villain almost likable.”

(Raleigh, NC) The News & Observer

The Rape of Lucretia

“…and James Patterson – a bass to watch – a Collatinus sonorous and beautiful in timbre.” The New Yorker

“James Patterson introduced an ebony, bottomless bass and sympathetic posture to Collatinus’s scenes.” San Francisco Examiner

Collatinus, envied for the virtue of his wife Lucretia, found nobility and compassion in the grand and warm bass of James Patterson.” San Francisco Chronicle

“Basso profundo James Patterson, who provided that sensational Sparafucile in Rigoletto at Villa Montalvo last summer, made an exceptional, robust-voiced Collatinus.” San Jose Mercury News

Die Entführung aus dem Serail

“James Patterson has the comic role of Osmin. He has a definite flair for buffo performance and he can command attention irresistibly. He’s tall and does some wonderful sight gags, especially when dealing with either Blonde or Pedrillo, both of whom are portrayed by people who seem like dolls beside him. Patterson does a properly ghoulish job of the big aria in which Osmin exults over the horrible things he’s going to do to the entire quartet that have frustrated and denied him.”

San Francisco Examiner

“In his first comic role here, as Osmin, the tall and impressive bass James Patterson made another real mark for himself.” San Francisco Chronicle

James Patterson, Bass

Siegfried

“In Rheingold, though, one was aware first that there were no weak links in this cast. And second, whenever James Patterson opened his mouth as Fafner, that there was only one voice that could be called exceptional.” The Seattle Weekly

“We were fortunate to have two artists – the experienced but anything-but-faded Johanna Meier – and the extraordinary James Patterson, whose performances as Sieglinde and Fafner provided near total satisfaction.” The Seattle Weekly

“…and James Patterson’s cavernous Fafner were also worthy of special praise.”

The New York Times

“James Patterson’s Fafner left nothing to be desired both as the dragon and the dying giant.”

San Francisco Examiner

“James Patterson sang gloriously as Fafner.”

Bellevue Journal American

Manon

“Special praise goes to James Patterson, who stepped into the role of the Comte Des Grieux with only several days notice after Ara Berberian had to withdraw for health reasons. Patterson’s confident, ringing bass turned what can be a minor character into a major factor in the production’s success." The Detroit Sunday Journal

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