Gregory Carroll, tenor - official website

'A Night at the Opera' — Vogue Theatre

Northern Kittitas County Tribune, Lyn Derrick

"Carroll has a special gift, an ability to make you feel he’s singing right to you. His voice is strong, beautiful and soars to the top of the tenor range . . .
"The energy and enjoyment he brought to singing arias from Pagliacci, Das Land des Lächelns, and Turandot was palpable."

Luisa Miller — Chautauqua Opera

Opera News, David Shengold

"Lesenger and Colaneri had assembled a cast that could deal more than soundly with Verdi's testing writing. (I've heard less well-cast Luisa performances at the Met.)
"Carroll's Rodolfo made it clear why he's in such demand for Strauss's Bacchus: he offers an impressively solid tenor with nice finish and ring, traveling easily up top."

The Post-Journal, Robert W. Plyler

"Tenor Gregory Carroll also demonstrated a large instrument and great intensity as Luisa's lover, Rodolfo. . . the minute they started singing, they were the focus of every attention."

Chautauquan Daily, David Shengold

"Quintiliani and her very promising tenor, Gregory Carroll . . . offer voices suitable for Verdi’s testing scope and orchestration.
"Gregory Carroll’s Rodolfo made it clear why he is in such demand for Richard Strauss’s high-lying Bacchus: he offers an impressively solid tenor with nice finish and ring, traveling easily up top."

Messiah — Tacoma Symphony

Tacoma News Tribune, Rosemary Ponnekanti

"The soloists. . . were a joy to hear. Newcomer Gregory Carroll turned his Wagnerian voice into a plummy Italian tenor, passionately expressive with total confidence in the high register and joyous elaborations."

Pagliacci — Opera Cleveland

Opera News, Alan Montgomery

"Gregory Carroll's Canio was beautifully sung. He has a sturdy, shining tenor voice that cuts through easily. . . "Un tal gioco" was blessed with a morbidezza quite appropriate to the aria. "No, Pagliacci, non son" and the ensuing scene in Act II emerged as a gradually rising tower of anger rather than a sudden outburst."

The Plain Dealer, Donald Rosenberg

"At Thursday's opening, Gregory Carroll revealed a firm, ringing tenor and keen dramatic instincts as Canio. . . He was a commanding presence from the outset, alternating rapidly between charm and menace.
"In Canio's aria of despair, "Vesti la giubba," Carroll sent Leoncavallo's impassioned lines soaring into space. He gives every indication of being a singer on the verge of a major career."

The Washington Times, Terry Ponick

"As the tragic hero Canio, tenor Gregory Carroll turned in a particularly fine performance, highlighted by the paradox of a fine lyric voice that possesses more than enough heft to reach the rafters. He was easily one of the best Canios we’ve seen in many a performance of this popular opera.
"The curtain call after the opera’s final tragic moment was long, loud, and enthusiastic."

Luisa Miller — Puget Sound Opera

Seattle Gay News, Brian Bailey

"In Luisa, our tenor was Gregory Carroll, who had a strong, potent voice, rock-solid and assured."

Ariadne auf Naxos — Seattle Opera YAP

Seattle Weekly, Gavin Borchert

"The ringing, vibrant voices of both Marcy Stonikas and Gregory Carroll ride atop the orchestra and shake Meydenbauer's walls as they must rarely have been shaken. Carroll, especially, is excellent; his tenor has a glorious bloom and sheen to it. Bacchus is a brief role in by-the-clock stage time, but, high and soaring throughout, it must feel like Götterdämmerung to sing. . . he sounded spectacular."

The SunBreak, Michael van Baker

"Stonikas and Carroll deliver the vocal goods. Carroll's tenor is big and has a warm cherry wood core, and if he summons the ringing trumpet side of his instrument too consistently, it's hard to blame him."

The Seattle Times, Bernard Jacobson

"With the tenor voice... Strauss had a more adversarial relationship, but Gregory Carroll sang Bacchus with no trace of the strangulated quality that has afflicted many famous artists' attempts at the role."

Pagliacci — Spokane Opera

The Spokesman-Review, Travis Rivers

"The five leading roles were very exceptionally well cast. The leader of the troupe, Canio, was sung by Gregory Carroll. . . His concluding Act I 'Vesti la giubba' was a highlight. The anguish of Canio’s discovery of his wife Nedda’s unfaithfulness was palpable. Canio’s breaking out of his commedia character in Act II’s play-within-a-play, confronting Nedda, then killing both her and her lover Silvio, was forceful and scary."

Merola Grand Finale Concert — San Francisco Opera Center

San Francisco Bay Times, Linda Ayres-Frederick

"With too many memorable moments to count, the stunning show-stoppers included . . . Kate Crist’s Senta and Gregory Carroll’s Erik in a heart rending duet from Wagner’s Flying Dutchman."

weblog: “Opera Tattler”

"Wagner was strongly represented by the third-act quintet from Die Meistersinger. . . and by a tense rendition of the third-act confrontation scene from Der Fliegende Holländer by Carroll and Crist, both whom appear to possess true Wagner voices."

www.examiner.com, Cindy Warner

"Gregory Carroll and Kate Crist reprised their roles from Der fliegende Hollander and the opening concert, with just the two of them this time. Similarly Greg hit some spectacular notes in the ensemble performing Wagner’s Die Meistersinger von Nurnberg. Stunning. A pair of heartbreakers those two."

www.opera-l.org / www.sfcv.org, Janos Gereben

"There were a couple of fine, but rather "generic" tenors, and then Gregory Carroll with the obvious distinction of a helden-tenor-in-the-making. His Flying Dutchman Erik was impressive."

Merola Schwabacher Summer Concerts — San Francisco Opera Center

weblog: “Not for Fun Only”, Axel Feldheim

"I was really excited by Gregory Carroll as Erik in the scene from Holländer. He seems to be a real heldentenor already, his voice hefty yet bright."

www.examiner.com, Cindy Warner

"Gregory Carroll sang with command, the first word out of his mouth being a sobering “Senta!” . . . I was blown away. . ."

weblog: “Opera Tattler”, Charlise Tiee

"Gregory Carroll impressed . . . [He] has a sweet, strong voice"

Piedmont Post, Adam Broner

"His rich voice was held a lovely translucence."

Merola General Director Auditions — San Francisco Opera Center

weblog: “Jumping Clapping Man”, Paul Ziller

"We had a true heldentenor in our presence, in the form of Gregory Carroll. He left me wanting nothing more vocally. He could hit the stage tomorrow in a Wagner opera and deliver the vocal goods."

weblog: “Opera Tattler”, Charlise Tiee

"Tenor Gregory Carroll seemed most promising at this early stage. Carroll has a warm, full tone, and sang both Wagner and Leoncavallo nicely."

Testimonials

Yariv Aloni

"Gregory is a wonderful singer. He has terrific intonation and diction, excellent sense of rhythm, beautiful musical phrases and a great stage presence. I was most impressed with his preparation of the part and knowledge of the score. It was a real treat to work with him. He has all it takes to have a brilliant career."

Bertil van Boer

". . . he possessed from the beginning a quick wit, focused ability to study the nuances of the part, and the ability to combine good, believable acting with his singing. In over twenty-five years as an academician, performer, and consultant in the field of opera, I have found few that show the potential to make a contribution to the field of vocal performance as Mr. Carroll."