Acclaim

In the role of Count Danilo was baritone Sean Anderson, a singer being welcomed back by Knoxville Opera for his seventh appearance. Anderson has the ability to command a stage—both dramatically and comically—with his presence and vocally with his rich, sumptuous baritone that carries the music along. He gave his Danilo a character that teased with a “man-about-town” swagger that one learned was something of a facade hiding the real, ethical-in-love Danilo.”

In terms of comic foolishness, baritone Sean Anderson steals the show as the bumbling servant, Germano. With a creamy rich voice, he negotiates plenty of patter and a range of antics both vocal and physical.”

The star of this show is, of course, the wondrous Schicchi. As the foxy title character, Anderson employs every trick in any baritone’s book — musical or comic — with ease and delight. His Schicchi is full of himself and totally aware of his strengths and the weaknesses of those around him. The accomplished singer creates a clever character that never drops into caricature. This is a demanding role in many ways, including a bag of vocal tricks, and watching Anderson romp through the evening with seeming ease was one of the night’s great treats.”

Sean Anderson made a splendid, rumbustious and healthy-voiced Schicchi, with keen spoken diction in the epilogue.”

With his imposing height and spontaneity as an actor, Sean Anderson’s Count dominated the action. Anderson was much more than a leering predator and a philandering husband—he seemed constantly on the verge of losing his sense of self-worth. By letting us see the Count’s vulnerability early on, his final plea for the Countess’s forgiveness felt prepared, and there was no question it was sincere. Rather than bend the knee formally, he sank to the floor like a defeated little boy who finally understands the gift he’s squandered. Ideally cast, (he) offered smooth, flexible, resonant voice…expressive and in full command of the material.”

Princeton audiences may very well find themselves in sympathy with the Count – not his motives, of course, but rather his comic timing, as rendered by Sean Anderson, with slow-burn frustration bubbling over into flights of comic rage…there is an unusual understanding of the Count’s inner workings that keeps him from teetering into caricature.”

The towering Sean Anderson contributed a robust baritone and worthy bluster to the Count, with his Act III aria the vocal highlight of the evening.”

Sean Anderson as Zurga, the recently elected leader of the small fishing village, is the most impressive of the principals. A stentorian baritone, he commands the stage impressively. His aria opening the third act shows a man with deeply torn emotions.”

The other suitor of Adina, the narcissistic Sgt. Belcore, was given tremendous comic swagger by baritone Sean Anderson, previously seen by KO audiences in last season’s Die Fledermaus. Anderson, sporting a Robert Goulet mustache and the air of a self-absorbed lounge singer, was a joy to watch. Musically, his voice was rich and solid, a match for his blustery character.”

Eisenstein, sung with tremendous skill and appeal by Sean Anderson, is by far the star of this production. We’ve heard him in roles as varied as George in “Of Mice and Men,” John Proctor in “The Crucible” and Papageno in “The Magic Flute,” and he’s always made an excellent impression. But his performance in “Die Fledermaus” was the best, yet. Originally conceived for a tenor but generally performed by a baritone, Anderson’s upper range has come into full bloom, ringing like a tenor with baritone heft. He pretty much owned the evening.”

Baritone Sean Anderson starred as George Milton in the Sarasota Opera production (seen Mar. 9). Male bonding, American loner style, was expressed in touching fashion with Anderson finding surprising vulnerability in the George, bringing huge passion to his working man’s aria.”

Baritone Sean Anderson stars as George Milton, and it’s hard to imagine this iconic outcast portrayed any better. When he yearns for his own “small, shingled house on two acres of land,” he expresses an essential American dream in a deeply moving fashion.”

As George, Sean Anderson was first-class across the board, singing with a ripe, big-boned baritone and bringing daunting conviction to his avowal that he and Lennie will someday own their farm. The tall singer is a wonderful actor and he put across George’s exasperation over Lennie’s clueless acts as readily as his unspoken affection for his friend and numbed desolation at the opera’s curtain.”

Anderson…embodies the part of George, singing the role with a sturdy, flexible, strong baritone that never strains and always personifies this kind-hearted, trustworthy man of the rails and roadhouses.”

The vocal highlight of the evening by far came from baritone Sean Anderson, singing the role of Eisenstein.”

Equally commanding was Sean Andersen…, whose warm baritone and effortlessness onstage — particularly when taking on another persona late in the show — were indispensible to keeping the opera on a steady course.”

Towering above the rest—literally as well as figuratively—was Sean Anderson in the central role of John Proctor. In a 180-degree turn from his delightful Papageno last season, the tall American baritone displayed a robust and powerful voice. At ease on stage, Anderson brought a real moral force and psychological complexity to this gruff, flawed yet ultimately principled man who would rather go to the gallows than sign a false confession.”

A hulking and strapping man whose baritone has similar qualities, Sarasota Opera returnee Sean Anderson made a commanding impact as John Proctor. By the time of Proctor’s booming high note of despair closing Act II, the stage was set for a bring-down-the-house performance. Anderson’s acting at the jail was gut-wrenching in its pathos…”

The cast is a mother lode of talent. But it best showcases the supporting baritone of Sean Anderson as Dandini… a full head and shoulders above everyone else in the cast, still creates a fully credible valet who jumps, with relish, into service masquerading as his employer.”

Baritone Sean Anderson as Papageno was an absolute delight, a fine singing actor whose dulcet tones were very distinctive.”

Sean Anderson made a terrific Papageno, robust of tone and consistently amusing without descending to silliness”

Matching her with warm vocal velvet of his own was Sean Anderson, a youthful, innocent Silvio.”

…a properly buffoonish Papageno.”

Sean Anderson displayed a velvet voice and lively demeanor, his Pirate King cavorting gracefully around the stage.

Playing the put upon Marcello masterfully was baritone Sean Anderson, a standout with a sensual voice rich in power and acting/comedic prowess.”

Sean Anderson as Gugliemo…full of confidence and bravado with the strong clear voice to match.”