Charles Reid Reviews

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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,, 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 
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.”
Top 2008
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 –
       “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.”
Top 2006
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.”
Top 2005
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
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.”
Top 2003
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.”