Reviews

“Damien Pass’ Masetto is much more affirmed, impeccable projection, a ruggedness which does not exclude the musicality, sober interpretation”

Jean-Marc Proust for Opéra Magazine, Mai 2013

“Damien Pass, who had caught our attention in loco (opera de Dijon) in Ariane et Barbe-Bleue early in the season, gives a bite and aggressiveness to his Masetto.”

Emmanuel Andrieu for ConcertoNet.com (28/03/2013)

“Damien Pass, as Bluebeard, gives his brief interventions the full quality of the demanded low tessitura.  

  François Lehel for Opéra Magazine, February 2013

“With his dark and striking voice, Damien Pass portrays a Bluebeard with a magnificent presence, despite the extreme brevity of his appearances (…). This young Australian baritone, who just won the AROP lyric voice prize is someone to follow, and we look forward to hear him again later in the season in Don Giovanni (as Masetto).

Emmanuel Andrieu for classiqueinfo.com (18/03/2013)

“Damien Pass (…) incarnates a stormy, dark but sensitive Lucifer.” (La resurrezione, Haendel, Amphithéâtre de l’Opera Bastille)

Maria Torres, Artistikrezo.com, Mai 2012

“In the universe of diabolic rebellion, the Lucifer interpreted by the Australian Damien Pass is convincing.”  (La Resurrezione, Haendel, Amphithéâtre de l’Opera Bastille)

Marie-Aude Roux, Le Monde, Mai 2012

“In the distribution, (…) three superb singers stood out: the powerful and solid Lucifer of Damien Pass, already noticed in Kurt Weill’s Street Scene (…)”

Clément Rochefort, La Lettre du Musicien, Mai 2012

“Then, and most importantly, the first place winner, bass-baritone Damien Pass (27 years) from Australia, already on stage at the Paris Opera, a total package possessing a rich timbre full of harmonics yet capable of the most minute and sensitive color. He dares in the semi-finals a refined late Fauré, “Danseuse”, Ravel’s “le martin pêcheur” colored with sensitivity to a dramatic contrast ending with William Bolcom’s “Black Max”. A scenic genius, musicality, experience (…) reward highly deserved. “

Bénédicte Palaux Simonnet for Crescendo magazine November 2011.

“The concert was concluded in style with Damien Pass. The spitting image or nearly of Jean Dujardin in the film The Artist, Australian bass-baritone performed three American musical songs full of panache, charm and seduction. The finale was an energetic “Luck be a lady tonight” by Frank Loesser accompanied by all the soloists of the Atelier Lyrique. Magnifique! “

Edouard Brane pour forumopera.com (15/12/2011)

“Of the current Atelier members, I was particularly taken with Australian-born, Yale School of Music grad, bass-baritone Damien Pass, who sings four of Aaron Copland’s arrangements of Old American Songs to perfection.”

John Terauds for The Toronto Star (10/30/2010)

“The baritone Damien Pass (Don Inigo Gomez), (…) brimming with comedy, consistency and joy thoughout”

Bruno Serrou for anaclase.com (25/03/ 2011)

“Damien Pass, the perfect Mozart Leporello and Figaro, confirmed the excellent impression [he left] at performances of Street scene (…) ready to enter the career.”

Catherine Scholler 
 for the ResMusica.com (22/02/2011)

“Damien Pass lit up the stage as Mr. Maurrant yet made the seamless transition to Dan McCann dancing up a storm in the second act “

Catherine Scholler for resmusica.com (27/12/2010)

“Damien Pass, bass-baritone, is a force to be reckoned with”

Caroline Alexander for webthea.tv (22/12/2010)

 

“Though we were filled with hatred and remorse for Mr. Maurrant, Australian bass-baritone Damien Pass easily flipped to another character in his dynamic jitterbug number”

Simon Corley for concertonet.com (12/18/2010)

 

“The very moving Damien Pass. The baritone sang with a deep and rich insight in Aleko’s Cavatina by Sergei Rachmaninov. “

Maria Torres for artistikrezo.com (27/02/2010)

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