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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 as Alfredo's father may actually have the most noticeable dramatic progression in this production. He arrives as a heavy hammer, his voice thick and a bit clipped though not unpleasant. But as he too eventually succumbs to Violetta, the voice grows more lyric and gracious. - Joseph Dalton, Albany Times Union
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. MacKenzie was a fine Marullo in last month’s San Diego Opera production of “Rigoletto,” and this role gave him greater opportunity to develop a character with keen insight. 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.
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
Baritones Malcolm MacKenzie, as Mercutio, and Kyle Ketelsen, as Friar Laurence, both familiar to local audiences, have an almost flawless veneer to their voices. Each gave a marvelous performance, balancing the higher ranges of their counterparts with a polished timbre that almost glistened. - Capital Times
The smooth, rich voice of Malcolm MacKenzie helped establish him as the suave cavalier. –Sacramento Bee
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
Baritone Malcolm MacKenzie, with a lovely finish to his voice, made a suave Albert. - Opera News
Giovanni, as played by baritone Malcolm MacKenzie, seems to have an authentic appreciation for each of his conquests, as long as they don’t expect him to make any long-term commitments. With a rich vocal range full of inviting nuance, he shows an alluring relish for the challenge of each new pursuit. – Dayton Daily News
In the role of Don, Malcolm MacKenzie cut a handsome figure on stage as well as giving and exceptionally musical and intelligent porrtrayal of the rogue. His Drinking Song and the exquisite “Deh vieni alla finestra” were highlights as was the charming duet with Zerlina, “La ci darem la mano.” - Kettering Oakwood Times
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Copyright © 2009 Malcolm MacKenzie |
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