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Matthew's Reviews |
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"Matthew DiBattista portrayed the title character, with a Chaplin-esque blend of whimsy and pathos. The luminous quality of DiBattista's tenor was suited to both the mischievous, animated scenes as well as the poignant, affecting arias." Wendy Kikkert, Culture Spot LA
The Good Soldier Schweik
'Schweik' a must-see for opera lovers
"DiBattista manages everything with a sweet simplicity, from the dogs he catches and sells, to the machine gun he finally abandons for fields of flowers. Oh, yes, he also sings with a full voice and an elastic and even amazing range. ‘Schweik' requires a solid, happy center around which all the chaos reigns, and DiBattista is willing. It requires a lot of smarts to play dumb so well." John Farrell, Long Beach Press-Telegram (CA)
Operatic Voices Routinely Brilliant
"Matthew DiBattista only had one part, but that was the demanding title role. Schweik dominates the action for the bulk of the opera, and DiBattista gave a star-making performance. His voice is a flexible, rich tenor, and he managed the part from top to bottom with seeming ease. His acting, too, was assured, and he handled the changes of mood and style effortlessly." Jim Ruggirello, Long Beach Gazette
"Schweik is an Everyman, somewhat calmly wandering from one calamity or sticky situation to another, and we never know for sure if he's a little soft in the head or blissfully optimistic that things will work out in the end. In a way, he's the focusless focal point, and in Long Beach Opera's production he's performed by the much talented Matthew DiBattista." Bondo Wyszpolski, Easy Reader News (CA)
"We were well served by Matthew DiBattista as Schweik. The young tenor displayed a strong, pleasantly ringing voice with a nice extension up top, incredible stamina, and acting abilities not often seen on the operatic stage." Timothy Mangan, Orange County Register
"DiBattista was a cleverly good-natured and strongly sung Schweik."
Mark Swed, Los Angeles Times
The Ghosts of Versailles
As the villain Bégearss, the mega-talented Matthew DiBattista was appropriately showy, especially in his Iago-ish "Aria of the Worm." Opera News
The real-time bad guys were equally well-served by Lee Gregory, a vocally assured and physically active (and fearless) Wilhelm, and by stentorian, tireless tenor (and fine character actor) Matthew DiBattista as Bégearss. Opera Today
Tenor Matthew DiBattista was perfectly slimy as the villainous Bégearss, with a voice that could cut glass — which is exactly what's required of the character. Saint Louis Today
The Tales of Hoffmann
"Tenor Matthew DiBattista took on a quartet of smaller characters, deserving special note for his turn as the deaf servant, Frantz, which drew abundant laughs."
Kyle MacMillan, Opera News
As the story unfolds, this character (the brilliant singing, dancing, conducting, cello-playing tenor Matthew DiBattista) assumes various identities in the attempt to turn the poet from worldly lusts to a loftier artistic purpose: "Offenbach," for example, became Cochenille, Franz and Pitichinnaccio. Opera News
In one of those brief, satisfying moments of theatrical inspiration, the statues came unexpectedly to life, and Offenbach, looking like a living bronze throughout, became the guiding spirit of the opera, appearing in every scene and taking over minor
roles with aplomb, making a veritable showpiece out of the aria of a deaf servant. (Matthew DiBattista was such an agile physical comedian that it was almost a surprise when it turned out he also could sing.) Washington Post
Madame Butterfly
Matthew DiBattistawho sang the role of Goroadded immeasurably to this production with [a] vocal performance that was crisp, clean, and powerful - and displayed solid and natural acting skills that gave this Butterfly its true-to-life feel. Opera Online
The Tender Land
Tenor Matthew DiBattista was a darkly handsome, ardent romantic interest as Martin. He partnered Laurie well in their several duet scenes, showing excellent enunciation and ringing high notes. Opera News
Cincinnati May Festival-Rachmaninoff Vespers
Matthew DiBattista was tenor soloist and sounded remarkably Russian - and ecstatic, hovering in radiance above the gentle keening of the chorus. His singing of the 'Nunc Dimittis' was a mystical high point. American Record Guide
Il Barbiere di Siviglia
But Tenor Matthew DiBattista as Count Almaviva is especially exciting and is more reminiscent of Ernesto Palacio, the Peruvian tenor who specializes in Rossini. He easily maneuvers through Rossini's vocal gymnastics, especially in a fine first-act
duet with Figaro. The Express Times
L'elisir d'amore
Mr. DiBattista was a wonderful Nemorino, who displayed an ideal sweet tenor as he navigated the florid runs and trills. He consistently brought touching, confident acting to his scenes, as in the first act "Quanto e bella" (How beautiful she is), an unforced expression of love. The beautiful phrasing of his famous romanza, "Una furtiva lagrima" (Down her soft cheek a pearly tear), caused a hush to fall over the Patricia Corbett Theater. The Cincinnati Enquirer
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Gianni Schicchi (Lauretta, Skylight Opera)
“Megan Tillmann, as [Schicchi’s] daughter, stopped the show with her ‘My dear daddy’ (‘O mio babbino caro’), one of Puccini’s very best tunes.”
- Milwaukee Journal Sentinel, January 30, 2005
“The leading singers, Megan Tillmann and Matthew DiBattista, are the beautiful young lovers whose voices are pleasing both together and singly."
- Waukeshaw Freeman, February 3, 2005
The Tender Land (Laurie, Opera Omaha)
“Tillmann was a sincere Laurie with a sweet, endearing soprano voice that complemented her character’s innocence.”
- Omaha World Herald, November 18, 2004
“Duets between Tillmann and DiBattista were among the performance's highest points.
- Omaha World Herald, November 18, 2004
Come to Me in Dreams (The Child, world premiere at Cleveland Opera)
“This production. . . has a stellar ensemble. Sanford Sylvan’s luxurious baritone and dramatic sincerity illuminate the survivor’s journey. . . while Megan Tillmann melds charm with compassion as the lost child. . .”
- Cleveland Plain Dealer, June 10, 2004
“The Lost Child, Megan Tillmann, was moving in her innocent joy and finally in her realization that ‘she never saw another butterfly.’”
- Opera News Online, September 2004
The Little Prince (The Rose, world premiere at Skylight Opera)
“Of the many others on stage, the charismatic Megan Tillmann makes a memorably vulnerable rose. . . .”
- Shepherd Express, March 18, 2004
Die Zauberflöte (Erste Knabe, Cleveland Opera)
“Many smaller roles were more strongly cast, especially the three ladies and the three spirits (Megan Tillmann. . .).”
- Cleveland Plain Dealer, April 13, 2003
The Tender Land (Laurie, Skylight Opera Theatre)
“As Laurie, petite soprano Megan Tillmann showed fresh tone and easy acting skills. . . .”
- Opera News Online, April 2002
“As the farm girl Laurie, soprano Megan Tillmann gives a refreshingly sincere performance, with some of the clearest, most expressive American diction you’ll ever hear. Her high, light voice has an attractive, reedy middle range that strongly resembles the young Barbara Cook. Unlike most opera singers, Tillmann shifts no gears when she launches into singing, it’s as natural to her as speaking.”
- Shepherd Express, Jan. 17, 2002
The Turn of the Screw (Flora, Skylight Opera Theatre)
“Tillmann’s grown-up proportions and powerful voice did not destroy her credibility as a child; they made her a child with something strange about her - something familiar, but not quite right.”
- Milwaukee Journal Sentinel, Mar. 19, 2000
“Tillmann’s Flora was fresh and appealing. . . .”
-Shepherd Express, Mar. 22, 2000
“. . . Megan Tillmann, played and sang Flora to near perfection. . . .”
- Opera News Online, May 2000
Regina (Alexandra, Lyric Opera Cleveland)
“. . .big voices that really fill the hall are plentiful in this production including [that] of . . . Megan Tillmann as nher daughter.”
- The Beacon Journal, July 10, 1999
Into The Woods (Little Red, Lyric Opera Cleveland)
“Tillmann’s Red Riding Hood is a fascinating combination of the innocent and feral played with great energy and humor.”
- The Cleveland Scene, July, 1998
“High on the adorable scale is Megan Tillmann, whose Little Red Riding Hood is winsome and utterly frank.”
- Cleveland Plain Dealer, July 4, 1998
The Medium (Monica, Cleveland Institute of Music)
“Megan Tillmann brings extra measures of tenderness to Monica, Flora’s daughter, using her shining soprano to touching effect. The “Black Swan” assumes a yearning beauty as sung by Tillmann, who also exudes otherworldly suspense when playing the fraudulent ghost.”
- Cleveland Plain Dealer, Nov. 14, 1997
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