Recent reviews:

“Tobias Greenhalgh as Belcore is arrogant, suave and reminded me a lot of Beauty and the Beast’s Gaston. Greenhalgh’s voice is definitely swoon worthy.” (Broadway World)

“Dr. Falke, who threaded the whole vengeance of the bat is played by the young American baritone Tobias Greenhalgh. He has a beautiful, full-bodied, warm and powerful baritone, which he uses playfully in confidence.” (Der Opernfreund)

“Tobias Greenhalgh demonstrates a powerful sounding baritone as Dr. Falke”(Neues Volksblatt)

“…very virile, dominant…” (Merkur)

“Tobias Greenhalgh as Dr. Falke has a wonderfully smooth baritone.” (Opernnetz)

“Tobias Greenhalgh brought nuanced singing and a noble baritone to the role of Escamillo” (Der Standard)

“Tobias Greenhalgh, a fine baritone from Rochester, N.Y., was excellent. His voice has new depth and is very pleasing on the ear.” (Palm Beach Arts Paper)

“Tobias Greenhalgh’s rich, smooth baritone and tall, handsome presence were an asset in the Corporal Morales’ arietta early on…” (Palm Beach Daily News)

“Tobias Greenhalgh (a member of the Theater an der Wien Young Artists’ Ensemble) as Ned Keene proves a confident and compelling performer who holds his own with the more mature members of the cast.” (Opera Critic)

“the young Tobias Greenhalgh is ideal as the pharmacist, Ned Keene.” (Opernnetz)

“Tobias Greenhalgh with his powerful, charming baritone.” (Die Presse)

“Tobias Greenhalgh is a powerful Ramiro.” (Der Standard)

“…and the agreeably splendid Tobias Greenhalgh as the laborer Ramiro.” (Wiener Zeitung)

“Young ensemble member Tobias Greenhalgh shines not only with his baritone, but also with his six-pack abs.” (Tiroler Tageszeitung)

“As Cecco was Tobias Greenhalgh let his soft baritone flow gloriously; its warm timbre voice was made for the role of the women swarmed favorite and was once gently seductive, sometimes confidently vigorously designed, so you could understand why all the ladies were calculated so sharply in this opera on Cecco.” (Bachtrack)

“Tobias Greenhalgh leads as Cecco thanks to his smooth baritone…” (Die Presse)

“…the virile strong voice of Tobias Greenhalgh.” (Wiener Zeitung)

“…highly intensive, technically sound Argante by Tobias Greenhalgh…” (Wiener Zeitung)

“…and Tobias Greenhalgh as his scene-stealing lieutenant Samuel.” (Wall Street Journal)

“The stature of Tobias Greenhalgh (Argante) is as strong as his baritone…” (Der Standard)

 “…really beautiful baritone. That sounds like the future.” (Der Neue Merker)

“…and her loyal Argante ( convincing as the Dandy Villain: Tobias Greenhalgh)” (Kronen Zeitung)

 “Tobias Greenhalgh’s riveting baritone was well-suited to the arrogant Leo Stein, with power to spare, and he also brought a humorous sensitivity to Man Ray.” (Opera Today)

“Tobias Greenhalgh filled out the menage with a portrayal of the musician Schaunard that was handsome in voice and presence.” (Palm Beach Daily News)

“A former Young Artist in 2014, Tobias Greenhalgh returned to sing the role of Schaunard. A Rochester native, he certainly made his mark with a very fine performance. He has a lovely baritone delivery, a little on the dark side but quite flexible in his lovely solo work. In Act IV, Lamb has him kneeling at the head of Mimi’s makeshift bed: a guardian angel waiting to take her spirit to higher places, as it were. A very subtle touch.” (Palm Beach Arts Paper)

  “As the unusually fertile husband, baritone Tobias Greenhalgh acted up a storm. More important, he summoned quite a wealth of refined tone colors that served Poulenc’s most sensual melodic lines in particularly stylish fashion.” (Opera News Magazine)

“Tobias Greenhalgh, who is a member of the Kammeroper ensemble here in Vienna and on paper the complete baritone package: resounding voice, spotless control, looks fit…” (Seen and Heard International)

“In the same category was the hilarious performance of baritone Tobias Greenhalgh as the husband in Les mamelles, who had both the extended high range for the role and the confidence and comic range to pull off singing much of the evening in drag.” (Ion Arts)

“In addition, the young baritone Tobias Greenhalgh gave his declamatory parts the precise diction they require, and his dramatic sense was a nice contrast with the often meditative tone of the other soloists.” (Seen and Heard International)

“…and the gifted and incisive young baritone Tobias Greenhalgh, as the various villains of the crucifixion story.” (Chicago Tribune)

..”the firepower patter-song clarity of baritone Tobias Greenhalgh’s ‘Largo al Factotum’ stood out.” (Washington Post)

“Baritone Tobias Greehalgh’s Mr. Webb, Emily’s father, was perfection in every detail. His acting, his facial expressions, and his genuine warmth came across to the audience immediately. His is another powerful voice, with a delivery that can be at once loud and sensitive; it has a flexibility the envy of most singers with a distinguished timbre. He is also a well-built, agile young man, who would surely be any savvy opera directors’ first choice for Mozart’s Figaro.” (Palm Beach Arts Paper)

“Tobias Greenhalgh was a feisty Fiorello, his strong baritone perhaps foretelling a future Figaro. ” (South Florida Classical Review)

“The three talented male cast members (Daniel Brevik, Tobias Greenhalgh and Theo Lebow) each get to play an assortment of iconic painters and writers – and deliver consistently stunning group singing, with melodies composed by Ricky Ian Gordon.” (St Louis American)

“The male characters are portrayed with remarkable versatility — and nimble costume and wig changes — by three young apprentices: tenor Theo Lebow, baritone Tobias Greenhalgh and bass-baritone Daniel Brevik.” (Dallas News)


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