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Malcolm MacKenzie's confident, commanding Count di Luna raised the level of dramatic intensity whenever he strode onstage. His musical performance reached its apex in an "Il balen" of robust tone, ardent address, arching phrases and genuine baritonal squillo.  - Louise T. Guinther, Opera News

 

Malcolm MacKenzie makes his Fort Worth Opera debut by singing the role of the Count. Visually, he is everything a villain should be: thin, pale and goateed. Musically, he backs that up with a deep, rich baritone. Far too often, it is easy in opera to make the bad guy a tintype cliché; MacKenzie easily moves beyond that stereotype and makes the role of the Count quite human, with his conflicts and doubts roiling beneath the surface.  –John Norine Jr., Theaterjones.com

 

Malcolm MacKenzie was a stentorian Germont, singing with a steely beauty that matched the character's resolve.  - Joanne Sydney Lessner, Opera News

 

Malcolm MacKenzie brought his hardy baritone voice and dramatic authority to the role of Alfredo’s father, Germont.  – Anthony Tommasini, NY Times

 

The Act 2 confrontation between the desperately ill heroine and her lover’s father, Giorgio, is the work’s dramatic linchpin and in that role baritone Malcolm MacKenzie was outstanding. His plea to Violetta to spare his family’s respectability was splendid, wringing every tender morsel from a beautifully sung “pura sicomme un angelo.” His subsequent duet with Dunleavy was moving, and his famous recollection of home to his son was filled with warmth of color and tone.  – Stephen G. Landesman, Press & Sun-Bulletin

 

Baritone Malcolm MacKenzie was both tough and likable as Sharpless, the American Consul. One sensed his moral dilemma.  - David Gregson, Opera News

 

[As Sharpless]  His voice is warm and beautiful, and he knows how to act with it. Many audience members, on their way out of the theater, voiced their choice of his work as the most memorable of the evening.  – San Diego Union Tribune

 

Of all the robust and impressive voices in this performance, the most definitive was that of Sharpless, Malcolm Mackenzie. His sound seems to grow each time we hear him and, currently, his vocalism is a wave of ringing intensity.  – Maria Nockin, mvdaily.com

 

Equal to the warmth and tireless lyrical persuasion of MacKenzie's voice was the depth of his characterization, a palpable empathy for Butterfly that never touched on condescension or pity.  Let’s hope that General Director Ian Campbell has signed him up for lots of return appearances in upcoming seasons. - Kenneth Herman, San Diego Arts

 

Baritone Malcolm MacKenzie is marvelous as Sharpless, the American Counsel. (Sharpless. What a politically nasty name that is!). MacKenzie makes a morally positive, highly masculine impression vocally and dramatically, and you actually like the guy. He goes a good distance toward assuaging our collective guilt.  – Operawest.com

 

One-time Operalia finalist, Malcolm Mackenzie made a splendid Zurga. His singing was robust and secure while his proficient acting helped make up for some of the flaws in the libretto. 
- mvdaily.com

 

As the pivotal Zurga, Malcolm Mackenzie's prolific baritone and wonderful amplification allowed him to vividly personify a good man tortured by jealous rage. Yet his boom never overpowered the other singers or orchestra.  - VoiceofSanDiego.org

 

While Zurga does not get the girl, he does deliver most of the drama in this opera and MacKenzie was more than up to that task, singing the "O Nadir, tendr'ami" with a soul searing intensity.  - Classicalvoice.org

 

Baritone Malcolm MacKenzie, a company regular, gave one of his most potent and clear tonal performances to date. His no-nonsense portrayal of the Count gave it the right gravitas to allow much humor to take flight.  - Sacramento Bee

 

If one were updating Carmen, one might cast Malcolm MacKenzie's Escamillo as a NASCAR racer: he had the right charismatic, slightly coarse flair and a burly voice to match.  – Anne Midgette, New York Times

 


Malcolm Mackenzie delivered the title role in high style from curtain to curtain, with a splendid, powerful voice and an authoritative command of his legendary character. His last ten minutes, costume en déshabille but bravado undiminished, made the instant he grasped his doom positively chilling.  
– D. Kern Holoman, San Francisco Classical Voice

 

In this particular production the vocal honors went to Dorabella, sung with velvet tones by Priti Gandhi, and Guglielmo strongly interpreted by Malcolm Mackenzie. Gandhi has an easily produced lyric mezzo soprano voice with a luscious middle register and Mackenzie has a warm, robust baritone sound which he used with great skill. Both are experienced at stagecraft and they brought their characters to vibrant life.  – Operajaponica.org 

 

 

 
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Malcolm MacKenzie