Galakonzert,
Die Glocke, Bremen, von Sigrid Schuer, Weser-Kurier,
Februar 9, 2010
“…with Antonia, Charles Reid provided a pair of lovers par excellence. Not only did he manage the
malicious coloratura of Mozart´s Tito without any problems but also articulated the desperate love
of Don José in Bizet´s Carmen with his impressively radiating tenor voice.”
|
Macbeth,
Nationaltheater Mannheim, by Frank Pommer, Die
Rheinpfalz, May 25, 2009
“Charles
Reid knows how to please
as Macduff with both the highest charisma and a purely
produced voice."
|
Macbeth,
Nationaltheater Mannheim, by Stefan M. Dettlinger, Mannheimer
Morgen, May 23, 2009
“Two others cannot
be forgotten: Charles
Reid’s Macduff (his “Ah, la paterna mano” is
breathtaking) and…”
|
Macbeth,
Nationaltheater Mannheim, by Rainer Köhl, Rhein-Neckar
Zeitung, May 23, 2009
“the
Macduff of Charles Reid,
which moved deeply with urgently impressive power and charisma
in his aria “O figli miei”,
was no less impressive [than Banco].”
|
Macbeth,
Nationaltheater Mannheim, by Eckhard Britsch, www.opernnetz.de,
May 21, 2009
“Additional assets on this
evening are Charles Reid as Macduff, with a robust-fresh tenor voice…”
|
Elias,
Camerata Viva, Zollern-Alb Kurier,
February 17, 2009
“The
tenor, Charles Reid,
delivered Obadia in an energetic and courageous manner, and his aria
„Dann werden die Gerechten
leuchten“ filled the church with longing.”
|
Rigoletto,
Stadttheater Gießen, by Thomas Schmitz, Gießener
Anzeiger, Sept. 15, 2008
“Charles Reid, as
the Duke, accentuates
beautifully his sparkling tenor with emotional polish and
charisma.”
|
Der
fliegende Holländer, Nationatheater, by Stefan M.
Dettlinger, Mannheimer Morgen, April 14, 2008
“Steuermann (youthful and with beautiful tone): Charles Reid”
|
La
Traviata, Theater Winterthur, by Herbert Büttiker, Der
Landbote, March 17, 2008
“Charles
Reid possesses a robust and supple tenor voice for Alfredo, which makes
him a strong
figure in
his passionate impulses.”
|
La
Traviata, Nationaltheater, by Ulrich Springsguth, Der
Neuer Merker, March 5, 2008
“Charles
Reid was spirited and appealing as Alfredo Germont.”
|
Mozart
Requiem, Handel and Haydn Society, by David
Perkins, Boston Globe, February 18, 2008
“The
soloists – Christine Brandes, soprano, Paula Murrihy, mezzo-soprano,
Charles Reid, tenor,
and Alfred
Walker, bass – were all excellent. Reid and Walker have big, operatic
voices and were
exciting
and incisive in the ensembles.”
|
Richter
Messe in H-Moll, Christuskirche Mannheim, by Uwe
Engel, Rheinpfalz, December 20, 2007
“A
fantastic performance was delivered by tenor Charles Reid: powerful but
always controlled,
with a
beautiful and not too bright timbre, resounding in all ranges. [His
aria] “Et incarnatus est”
was
wonderful.”
|
La
Traviata, Nationaltheater, by Gabor Halasz, Rheinpfalz,
December 14, 2007
“Charles
Reid gave a vocal and musical performance of Alfredo without any
limitations or
boundaries, with a shimmering tenor voice, flawless technique,
extraordinary feeling for style,
and very
clear intonation.”
|
La
Traviata, Nationaltheater, by Wolfgang Schreiber, Suedeutsche
Zeitung, December 14, 2007
“Charles
Reid gave the tenor role of Alfredo heroic flexibility.”
|
La
Traviata, Nationaltheater, by Eckhard Britsch, Mannheimer
Morgen, December 14, 2007
“In the
role debut, Charles Reid sings the Alfredo with a supple lined tenor.”
|
J.S.
Bach’s Magnificat & Adventskantate, Evangelische
Stadkirche Esslingen, by Verena Grosskreutz, Esslingen
Zeitung, December 11, 2006
“Charles
Reid made the best impression. He delivered his aria “Die Liebe zieht
mit sanften
Schritten”
with perfectly Italianate style, and with secure intonation, flowing
coloratura,
and much
feeling in the voice he also captured the correct emotions in the Magnificat.”
|
Salome,
Nationaltheater, by Kurt Osterwald, orpheus,
May/June, 2006, pg. 28
“Also,
Charles Reid (Narraboth) convinced with his sovereign tenor fanfare.”
|
Sofonisba,
Nationaltheater, by Ingo Wackenhut, bühne scala,
June, 2006
“Charles
Reid (sang) with a magnificently flexible pre-dramatic tenor voice.” |
Sofonisba,
Nationaltheater, by Thomas Rothkegel, Opernwelt,
April 2006, pg. 17
“The cast
comprises a mixture of specialized guests with an accomplished ensemble.
The
ensemble members (of the Nationaltheater) presented themselves more
than equally
with the
guests, especially Charles Reid. He sang the role of the defeated
Siface.
A
marvelous tenor voice, consistent throughout, well focused, excellently
agile and exceedingly
perfect in
stylistic interpretation.” |
Sofonisba,
Nationaltheater, by Christoph Wurzel, Online Music
Magazine, March 10, 2006 – www.omm.de
“Charles
Reid sang the role of Siface with large voice and bright tenor sound.” |
Sofonisba,
Nationaltheater, by Ellen Kohlhaas, Frankfurter
Allgemeinde, March 3, 2006
“The first
spouse, Siface, believed to be dead, arrived shortly before Sofonisba’s
second
marriage
of political purpose, and was embodied by Charles Reid who sang with a
beautiful,
flexible
tenor.” |
Sofonisba,
Nationaltheater, by Siegfried Kienzle, Wiesbadener
Tagblatt, March 1, 2006
“The
tenor, Charles Reid, convinces in the raggedness of Siface.” |
Sofonisba,
Nationaltheater, Echo Online, February
28, 2006
“In the
vocally acceptable ensemble, exceptional and shining are Countertenor
Jacek Laszczkowski
as
Massinissa, Charles Reid, tenor, as a cultivated Siface, and Cornelia
Ptassek as a lively-
scheming
Cirene.” |
Sofonisba,
Nationaltheater, by Stefan Dettlinger, Mannheimer
Morgen, February 27, 2006
“Charles
Reid’s Siface possesses a brilliant tenor sound and performs so well
with
(the other
characters).” |
Sofonisba,
Nationaltheater, by Matthias Roth, Rhein Neckar
Zentrum, February 27, 2006
“Charles
Reid’s Siface is very convincing.” |
Salome,
Nationaltheater, by Matthias Roth, Rhein Neckar
Zentrum, January 16, 2006
“Charles
Reid sings a scrumptious Narraboth.” |
Salome,
Nationaltheater, by Stefan Dettlinger, Mannheimer
Morgen, January 16, 2006
“the
remaining roles were just as successfully occupied as with Charles
Reid, a brilliant,
effervescent Narraboth.”
|
Die
Entführung aus dem Serail, Camerata New York, by
Oussama Zahr, Opera News, October 19, 2005
“As
Belmonte, Charles Reid was a sheer delight, the uncontested star of the
evening.
He sang
with ample tone, succulent in the middle, and swelled each phrase
before tapering it
perfectly,
with the terminal consonants neatly punctuating each line in proper
German fashion.” |
La
Clemenza di Tito, Nationaltheater in Barcelona’s Palau,
La Vanguardia Digital, April, 2005
“Charles
Reid is a Tito with a clear voice, excellent agility, and authority in
the singing lines.” |
Hallelujah
Händel, Washington Bach Consort, by Joseph
McLellan, Washintong Post, Feb. 7, 2005
“Tenor
Charles Reid stood out among the four excellent soloists, with a strong
performance of
‘Where’re
you walk’" |
Ascanio
in Alba, Nationaltheater, by M. Röber, PZ
News, January, 2004
“Charles
Reid as Aceste triumphs with his voluminous tenor.” |
Die
Entführung aus dem Serail, Nationaltheater, by E.
Britsch, Mannheimer Morgen, Oct. 4, 2004
“Charles
Reid's supple, beautiful-sounding tenor is a safe bank (for Konstanze)” |
Dankeschön
für ein offense Ohr im Voraus, Nationaltheater, Mannheimer
Morgen, Sept. 27, 2004
“With the
first aria of Belmonte, tenor Charles Reid immediately captured the
audience with his
beautiful
timber and astonishing breath control.” |
Messiah,
Master Chorale of Washington, by Tim Page, Washington
Post, April 6, 2004
“Reid
proved a stalwart tenor, declaiming his part with lyricism and
authority.” |
Boris
Godunov, Metropolitan Opera, by David Shengold, Opera
News, April 2004
“Charles
Reid sang the Simpleton with beautiful lyric tone.” |
Boris Godunov,
Metropolitan Opera, by Jay Nordlinger, The New York
Chronicle, March 2004
“Laudable
in the poignant role of the Simpleton was Charles Reid. This man, far
from
a
household name, owns a gorgeous tenor, not bad for a Simpleton.” |
Boris
Godunov, Metropolitan Opera, by Justin Davidson, News
Day, January 27, 2004
“Charles
Reid was moving as the Simpleton, the holy fool who doesn’t know better
then to call the
emperor a
killer to his face.” |
Boris Godunov,
Metropolitan Opera, by Chandak Ghosh, Roberta on
the Arts, January 27, 2004
“Special
mention should be made of the small role of village Simpleton. Charles
Reid’s glowing
tenor
remains a highlight of this production.”
|
Marjorie
Lawrence International Vocal Competition, by
Russell P. Allen, eMediaWire, Dec. 9, 2003
“The final
performance was by the 1st Place Winner of the Artist Division, Charles
Reid.
Mr. Reid
demonstrated clearly why he won the competition with an excellent
rendition of Tamino's
contemplative aria "Dies Bildnis ist bezaubernd schön" from Wolfgang
Amadeus Mozart's
"The Magic
Flute". Well into character, Mr. Reid gave an animated and defined
performance.
He had a
clear mastery of his range and technique. The sound that he brought
forth was beautiful. |
Il Barbiere
di Siviglia, Connecticut Opera, by Matthew Erikson,
The Hartford Courant, Oct. 26, 2003
“Charles
Reid’s arias, such as the opening ‘Ecco ridente in cielo,’ had
wonderful moments of
clarion
brilliance and rich color.” |
La
Traviata, Metro Lyric Opera, by Frederick Kaimann, New
Jersey Star Ledger, July 14, 2003
“As her
lover Alfredo, Charles Reid debuted in the role with a lean soaring
tenor.” |
Lucia di
Lammermoor, ‘Met in the Parks’, by Jeremy Eichler, The
New York Times, June 19, 2003
“The rest
of the cast was strong, …and Charles Reid an able Arturo.” |
Jephtha,
Maryland Händel Festival, by Philip Kennicott, Washington
Post, May 8, 2001
“Charles
Reid, a tenor, was a dramatically compelling Jephtha, heading off for
biblical calamity
with a
jaunty rendition of the line “Goodness shall make me great.” When he
discovers the full
impact of
his silly oath – to slaughter the first thing that pops out his front
door if he’s successful
in
battle–Reid made Jephtha’s loss and horror fully palpable.” |
Jephtha,
Maryland Händel Festival, by Tim Smith, Baltimore
Sun, May 9, 2001
“Handel
taps Jephtha’s despair in the aria “Open thy marble jaws, o tomb,”
delivered with
arresting
vividness by tenor Charles Reid, whose work all afternoon was
characterized by
musical
eloquence.” |
Messiah,
The Masterwork Chorus, by Willa Conrad, The Star
Ledger, Dec. 2000
“The
soloists were fluid and capable, especially Reid, whose evangelic
offerings were tenderly
evocative.” |
Messiah,
The Masterwork Chorus, by Albert H. Cohen, Asbury
Park Press, Dec. 19, 2000
“As a
group, the soloists ranged from adequate to sensational. Tenor Charles
Reid was the best
in every
way. His voice was wide-ranging and big; his tone elegant and accurate.
His
diction was perfect and his choice of ornaments were both innovative
and a delight for the ear.
I’ve never
heard better tenor work in any ‘Messiah’.” |
Messiah,
Messiah Festival Independence, MO, by Paul Horsley, The
Kansas City Star, Nov. 20, 2000
“The
standout among the soloists was tenor Charles Reid, who brought nimbly
florid fire to
“Every
valley shall be exalted,” emphatic robustness to “Thy rebuke has broken
His heart”
and
lashing pathos to “Thou shalt break them.”” |
Turandot,
Opera Carolina, by Dean Smith, The Charlotte
Observer, Oct. 21, 2000
“Reid
impresses you with a clean tenor voice and top notes that pop out with
ease.” |
La
Finta Giardiniera, Opera Theater at Wildwood, by
Sharon Douglas, Arkansas Times, June 23, 2000
“Charles
Reid’s Count was ravishing in sound and interpretation.” |
Solomon,
Maryland Händel Festival, by Ronald Broun, Washington
Post, May 9, 2000
“Tenor
Charles Reid’s relaxed, confident delivery was never strained as his
volumen amplified.”
|
Zampa,
L’Opéra Français de New York, by Peter G. Davis, New
York Magazine, April 24, 2000
“The three
principal singers were also first-rate: Charles Reid, an ideal romantic
foil with a
pleasingly
soft-grained lyric tenor.” |
Zampa,
L’Opéra Français de New York, by Anthony Tommasini, The
New York Times, April 6, 2000
“Charles
Reid as Alphonse showed great promise.” |
Der
Fliegende Holländer, Sarasota Opera, by Maya
Avrasin, The Longboat Observer, Feb. 17, 2000
“Another
comedic character, Daland’s steersman, played by Charles Reid, tenor,
adds spark to the
entire
performance. His expressions accompanied by a strong voice, help move
scenes along in
act one
and act three.” |
Der
Fliegende Holländer, Sarasota Opera, by Florence
Fisher, Herald Tribune, Feb. 14, 2000
“…and
Charles Reid’s pleasant tenor makes the most of his role as the
Steersman.”
|
Messiah,
Princeton Pro Musica, by Nancy Plum, Princeton
Packet, Dec. 22, 1999
“The
performance of ‘Comfort Ye’ and ‘Ev’ry Valley’ introduced one of the
soloist newcomers to
Princeton.
Tenor Charles Reid has performed with the Metropolitan Opera and is
clearly an
up-and-coming soloist. Mr. Reid sang a stately ‘Comfort Ye’ with good
command of the long lines.
This
fluidity of long lines was also later reconfirmed when he performed the
crucial
‘Thou
Shalt Break Them,’ which preceeds the ‘Hallelujah’ chorus.
Messiah
can often be a battle of ornamentation among the soloists, but Mr.
Reid’s approach to the
music was
imaginative and well-executed.” |
Messiah,
Princeton Pro Musica, by Donald P. Delany, Princeton
Times, Dec. 22, 1999
“Princeton
Pro Musica’s annual presentation of Handel’s Messiah lived up to – and
in some
respects
perhaps exceeded – the high standard which the chorus has set during
the more than 20
years it
has been singing the two-and-a-half centuries old masterpiece at
Christmastime.
The
soloists were…C. Reid. All were splendid, with Reid giving a special
dimension to his arias.
One does
not often hear a tenor voice of this richness and warmth in oratorio;
his opening
‘Comfort
ye my people’ set the tone for a special evening of vocalizing.”
|
Verdi’s
Requiem, Columbia Pro Cantare, by Phil Greenfield, Baltimore
Sun, Nov. 4, 1999
“Verdi’s
writing for the solo tenor calls for virility and sensitivity, and
Charles Reid provided
ample
doses of both.” |
Alexander
Balus and Joshua, Maryland Händel Festival, by
Alexander Morin, American Record Guide,Music in
Concert, March/April 1999, pp. 46-7:
“Tenor
Charles Reid (was) the most effective of the lot as Jonathan… Again,
Charles Reid
(this time
as Joshua) was outstanding, with clear and manly tones evenly
produced.” |
Messiah,
Monmouth Civic Chorus, by Doris La Mar, Classical
New Jersey, Dec. 23, 1998
“Possessed
of a large voice, dead-on intonation and perfect diction, Mr. Reid was
a delight
to hear.” |
Annapolis
Opera Vocal Competition, by Mary P Johnson, The
Sun in Anne Arundel, Feb. 5, 1997
“Charles
Reid, a tenor from College Park, won first place from the judges and
the audience at the
annual
Maryland Vocal Competition. For the first time in memory, the audience
chose the same
artist
selected by the judges. Reid was magnificent in both arias he performed.
His rich
tenor has great power, and he displayed amazing breath control as he
sustained
high notes
with apparent ease.” |
Belshazzar,
Maryland Händel Festival, by Joseph McLellan, The
Washington Post, Nov. 8, 1994
“The
principal male singers, tenor Charles Reid as Belshazzar…were as well
prepared as their
female
counterparts for the highly ornamented style of Handel’s arias. By any
name, the
performance of ‘Belshazzar’ Sunday at the Maryland Handel Festival was
the most intensely
operatic
experience in the Washington area last weekend and one of the year’s
most memorable.” |
Messiah,
Western Maryland Symphony, by Joan DeVee Dixon, The
Cumberland Times, Dec. 5, 1994
“Following
the Overture, tenor Charles Reid demonstrated why he was a regional
finalist in the
1993 Met
Opera Auditions. His performances of…(tenor arias from Messiah)…were
exceptional.
His
ornamentation of each piece was tastefully done, and his selections
were most enjoyable.” |
Die
Fledermaus, Brevard Music Center, by John Bridges, Ashville
Citizen-Times, Aug. 10, 1992
“The
Italian-style tenor role of Alfred had the benefit of Charles Reid’s
lyric brightness and he also
caught the
spirit of parody in his portrayal.”
|
|
