Press Acclaim

As Midas in Die Liebe der Danae (Deutsche Oper Berlin, March - April 2016)

 

Raymond Very was equally impressive as Midas. .......so secure were his technique and his similar ability to engender sympathy.

 

--Mark Berry, Seen and Heard International, April 12, 2016

 

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As Gregor in The Makropulos Case (Opera National du Rhin, Feb. 2016)

 

"Avec l'interprète d'Albert Gregor, on gagne incontestablement au change par rapport à 2011. Raymond Very domine en effet avec aisance la tessiture très tendue dans l'aigu du rôle et campe avec à propos et subtilité ce caractère un peu falot qui se laisse manipuler si facilement par la diva."

 

"The interpretation of Albert Gregor is an unquestionable win over the 2011 production. Raymond Very easily dominates the very difficult tessitura of the high role and portrayed the subtlety of the character using a little lighter that showed how easily he was dominated by the diva."

 

--Michel Thomé, ResMusica, Feb. 9, 2016

 

"De son côté, le ténor américain Raymond Very (Albert Gregor) allie noblesse et pureté du son dans une tessiture inconfortablement tendue".

"For his part, the American tenor Raymond Very (Albert Gregor) combines nobility and purity of sound in the role's uncomfortably high tessitura"

--Emmanuel Andrieu,  Opera Online,  Feb. 11, 2016

 

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As Canio in Pagliacci (Oper Leipzig, May - June 2015)

„Der Pagliacci von Raymond Very kommt als tapsiger Chaplin-Verschnitt und wird als in seiner Liebe betrogener Canio nicht nur zum Mörder, sondern opfert sich schließlich selbst. In seiner Stimme hat der Tenor den ganzen Zauber seines Fachs, liefert selbst unverzichtbaren Schmelz noch mit berückender Strahlkraft ab."

 

"Raymond Very's Pagliaccio comes as clumsy copy of Chaplin and - having his love dashed - not only becomes a murderer, he even sacrifies himself. In his tenor voice is the whole magic of his repertoire, he even supplies the essential melodiousness with enchanting brilliance."

--- Michael Ernst, Gespensteropern mit Clown - Moderne, die keine ist, trifft auf ein Italien, das es so nicht mehr gibt, in: nmz, 11.05.2015

 

„...sie zeigen, was Musiktheater bewegen kann, wenn es mit Leidenschaft Leidenschaften verhandelt. Das liegt vor allem an den fabelhaften Sängern. [...] Und, vor allem, an Raymond Very als Canio/Pagliaccio. Es ist dies eine der reizvollsten Partien des italienischen Heldenfachs: Was ein Sänger an Farben hat, an Kraft, Zartheit, Geschmeidigkeit, hier kann er es zeigen - und in den Dienst einer Persönlichkeit stellen die zutiefst verletzt zum Doppelmörder wird. Da weitet Very den schönen zum wahrhaftigen Gesang, und die Oper Leipzig beweist erneut, dass sie derzeit in Besetzungsfragen keinen Vergleich scheuen muss."

 

"....they show, what music theater may set in motion, when it deals passion with passion. This is mainly caused by the fabulous singers...and, above all, by Raymond Very as Canio/Pagliaccio. This is the most tempting role of the spinto repertoire: the singer is able to show here all colors, strength, tenderness, smoothness - all part of this hurt personality on his way to become a double murderer. Very extends the beautiful to real honest singing, and Oper Leipzig proves again, that they do not need to be afraid of comparision regarding casting."

 

--- Peter Korfmacher, Oper muss auch mal weh tun, in: Leipziger Volkszeitung, Nr. 108. S. 7, 11.05.2015

 

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As Boris in Katya Kabonova (Boston Lyric Opera, March 2015)

 

"Raymond Very sang Boris, Katya's lover, with a sweet-toned tenor alert to the sympathetic qualities Janacek writes into this part, helping us understand Katya's flight into his kindness."

 

--- Jeremy Eichler, BLO offers Boston's first staging of ‘Katya Kabanova', in: The Boston Globe, 16.03.2015

 

"Very was quite a contrast, with an elastic and sensitive production. When Janáček required him to leap into the vocal stratosphere, it came as a sudden expansion and contraction of emotion-an outburst from a man who can't sustain passion."

 

--- Brian Schuth, Vigorous Realization From BLO, in: Classical Scene, The Boston Musical Intelligencer, 15.03.2015

 

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As Zinovy Ismailov in Lady Macbeth of Mtsensk (Metropolitan Opera - 2014)

 

"For me, however, the vocal stunner was Raymond Very as husband Zinovy. He appears only twice in the opera, but his beautiful tenor voice rang out, providing welcome relief from the lower-register heaviness of the score."

 

--- Laura Genereo: The American Spectator, 14.11.2014

 

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As Aschenbach in Death In Venice (Deutsche Oper am Rhein - 2014)

 

"The idea was supported by the American tenor Raymond Very. The role of Aschenbach is a genuine tour de force ', but he had no problems with it. Seemingly tireless, he dominated the stage from beginning to end, and his voice was pure and never forced. The fact that he has an affinity for the music of Britten, is obvious."

 

--- Basia Jaworski, Karaman rondt Britten-cyclus fraai af, in Place de l'Opera, Operamagazine.nl, 17/06/2014

 

 

"Raymond Very überbietet sich in der Rolle Aschenbachs mit einer kaum zu übertreffenden Stimmkultur und einer wach phrasierenden, hochintelligenten Rollengestaltung."

 

"Raymond Very outdoes himself in the role of Aschenbach with a hardly to be surpassed vocal color and elegant phrasing, a highly intelligent dramatization."

 

--- Pedro Obiera, Sensitive diary: Westphalian Gazette, 06/16/2014

 

„Das formidable Ensemble wird angeführt vom famosen Raymond Very in der Rolle des Aschenbach: Very singt ohne jede Anstrengung, kernig und doch mit lyrischem Fluss."

 

"The formidable ensemble is led by the famous Raymond Very in the role of Aschenbach: Very sings without any effort, pithy, yet with lyrical flow."

 

--- Regine Müller, opera "Death in Venice" without lagoon in: Rheinische Post, 06/16/2014

 

 

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As Der Zwerg in Der Zwerg (Deutsche Oper am Rhein - 2013)

 

 

„Star des gesamten Abends ist eindeutig Raymond Very. Der Tenor bewältigt die außerordentlich anspruchsvolle Rolle des Zwergs mit einer bewunderungswürdigen „Leichtigkeit". Egal, was John Darlington an Lautstärke aufbietet - Very bleibt immer verständlich. In Darstellung und Stimme muss die Rolle für ihn geschrieben sein."

 

"Star of the entire evening is clearly Raymond Very. The tenor overcame the extremely demanding role of the dwarf with an admirable "lightness". No matter what John Darlington musters in volume - Very remains evident. Dramatically and vocally, the role must be written for him. "

 

--- Michael S. Zerban: Opernnetz, 16.06.2013

 

 

„Raymond Very, der schon in „Billy Budd" glänzte, geht mit der Titelrolle so behutsam fein und zerbrechlich um wie ein Goldschmied mit seinem empfindlichen Material."

 

"Raymond Very, who already shone in" Billy Budd" plays the title role as carefully fine and fragile as a goldsmith with his sensitive material."

 

--- Pedro Obiera, Kurzopern-Kontraste an der Rheinoper in Düsseldorf, in: WAZ, 16.06.2013

 

 

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As Hans Schwalb in Mathis der Maler (Theater an der Wien - 2012)

 

 

„Heldisches Tenormetall verströmt Raymond Very als Bauernführer Schwalb"

 

"Heldontenor metal exudes from Raymond Very as the peasant leader Schalb."

 

--- Kleine Zeitung, Ernst Naredi-Rainer, 13.12.2012

 

 

„mit kräftigem Stimmsitz singt Raymond Very den Bauernführer Schwalb, der mit seinem gesunden, kernigen Tenor unter Umständen besser in der Rolle des Kirchenfürsten aufgehoben gewesen wäre."

 

"With a strong voice, Raymond Very sings the peasant leader Schwalb, it would have been better with his healthy, robust tenor in the role of the Church Cardinal."

 

--- Das Opernglas, Th. Rauchenwald, 02/ 2013

 

 

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As Elis in Der Schatzgräber (Die Nederslandse Oper - 2012)

 

„Die balladeske Figur des fahrenden Sängers und Schatzgräbers Elis erfordert eine Mischung von heldentenoraler Verve und der Fähigkeit zu beseeltem Liedgesang. Diese sehr anspruchsvolle und umfangreiche Titelpartie bewältigt der amerikanische Tenor Raymond Very bravourös, mit klarer Diktion und intensiv in der Gestaltung."

 

"The figure of the ballad singer and treasure hunter Elis requires a mixture of heldentenor verve and the ability to animate one's singing. This very demanding and extensive title role was mastered by the American tenor Raymond Very with brilliant, clear diction and intense dramatization. "

 

--- theater:pur, Peter P. Pachl, 03.09.2012

 

„Raymond Very nel ruolo del menestrello Els, è lui il "cercatore di tesori", viene a capo di una parte lunghissima e dalla scrittura vocale frastagliata, nell'alternare momenti di estenuato lirismo ad infuocate perorazioni. Bella voce di tenore lirico spinto, unisce notevole talento attoriale a cospicue doti vocali, trovando bellissimi accenti nella ballata inziale "So hört mein Lied" come pure nel lungo consolatorio congedo finale "Du legst Dein köpfchen" cantato alla morente Els."

 

Raymond Very in the role of the minstrel Els, he is the" treasure hunter ", delivers the long role with angular vocal writing, in alternating moments of exhausted lyricism to fiery pleading. A beautiful lyric tenor voice combines remarkable acting skills with considerable vocal talents, finding beautiful accents in the initial ballad "So hört mein Lied" as well as in the long consolation final farewell "Du legst Dein Köpfchen" sang to the dying Els. "

 

--- OperaClick, Edoardo Saccenti, 01.09.2012

 

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As Albert Gregor in The Makropulos Case (Salzburg Festspiele - 2012)

 

Very's Albert Gregor is accurately sung and well characterized: Gregor is a hopelessly weak figure, in thrall to Marty and ridiculed by her. Very captures this astutely and sings the taxing role with a welcome lack of strain."

 

--- International Record Review, May 2012

 

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As Captain Vere in Billy Budd (Deutsche Oper am Rhein - 2012)

 

„Raymond Verys klarer, brillanter und bis zum Ende mühelos durchsetzungsfähiger Tenor durchleidet geradezu exemplarisch die Seelenqualen des Kapitäns, der Billy Budd als „Engel Gottes" verklärt."

 

"Raymond Very's clear, brilliant and to the end effortlessly assertive tenor suffers exemplary the anguish of the captain, who glorifies Billy Budd as "angel of God."

 

--- Opernnetz, Christoph Schulte im Walde, 29.03.2011

 

 

"Herausragend aus einem hervorragenden Sänger-Ensemble mit ersten Kräften, der kraftvoll singende und berührend agierende Amerikaner Raymond Very als Captain Vere."

 

"Outstanding from an excellent singer ensemble with first class forces, the powerful singing and touching acting of American Raymond Very as Captain Vere."

 

--- IOCO - Kultur im Netz, 30.03.2011

 

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As Albert Gregor in The Makropulos Case (Netherlands Opera, Amsterdam - 2009)

 

"(Cheryl) Barker is expertly matched by Raymond Very's Gregor. This is one of those high, bright tenor roles that is unique to Janácek's sound world and again requires a voice that can reach into and bloom in the very highest register without strain. Very has just this type of voice and his acting portrays a rather tortured, confused mind with great skill. Among the seductive and manipulative interactions between Emilia and others on-stage, this was the most convincing, Very singing strongly and confidently, yet his facial expressions betraying the knowledge that something is amiss."

 

--- Marcus Maroney - ConcertoNet.com May 2009

 

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As Stolzing in Die Meistersinger von Nürnberg:

 

Raymond Very provides a securely sung portrait of buttoned-up youthful rebellion as her lover, Walther.

 

--- UK Daily Mail - June 30, 2010

 

 

"Der Amerikaner Raymond Very bietet mit heldischem Tenor und lyrischer Ausdruckskraft eine tenorale Glanzleistung"

 

"The American Raymond Very offers a brilliant performance with heroic tenor voice and lyric expression"

 

--- Hanauer Anseiger, September 2006

 

 

"Erwähnung aber hat vor allem Raymond Very als Stolzing verdient, der mit seinem ‘Morgendlich leuchtet' nicht nur das Personal der Festwiese sondern auch das Publikum verzauberte"

 

"worth mentioning is especially Raymond Very as Stolzing, who casts a spell not only on the personnel on stage but also on the audience with his ‘Morgendlich leuchtet'"

 

--- Frankfurter Neue Presse, September 2006

 

 

"Raymond Very ein tenoral strahlender Stolzing"

 

"Raymond Very a radiant tenor Stolzing"

 

--- Frankfurt Rundschau, September 2006

 

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As Lensky in Eugene Onegin:

 

Raymond Very's portrayal of Lensky continued the standard. Singing with remarkable clarity and precision, the Brookline native was able to transform the character from a naive boy to a regretful man as he approaches a duel with Onegin that neither of the former friends wants.

 

--- Andrew Druckenbrod - Pittsburgh Post Gazette - Sept. 28, 2009

 

 

"Very, who made a memorable company debut last season as Dan White in Harvey Milk, was nothing short of splendid as the hapless Lensky -- his voice clear and brilliant, his phrasing exquisitely precise. His soaring account of Lensky's Act 2 aria, as he waits for the duel that will kill him, was easily the evening's musical high point."

 

--- Joshua Kosman, San Francisco Chronicle

 

 

"Two other lead roles are superbly filled by former Houston apprentices. Raymond Very is the high-strung Lensky...a solid, well-projected lyric tenor."

 

--- Scott Cantrell, Dallas Morning News

 

 

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As Don Juan in Flammen (Theater an der Wien - 2006):

 

"Keith Warner schickt Don Juan, den mit Kraft und hellem Timbre furchtlos singenden Raymond Very, auf eine Seelenwanderung durch poetische Bilder..."

 

"Keith Warner sends Don Juan, Raymond Very singing fearlessly with power and bright timbre, on a transmigration of souls through poetic pictures..."

 

--- Die Presse, August 2006

 

 

"Raymond Very besticht durch mühelos heldischen Tenor..."

 

"Raymond Very fascinates with effortless heroic tenor..."

 

--- Salzburger Nachrichten, August 2006

 

 

"souverän Raymond Very, ein Don Juan mit kraftstrotzendem Tenor, der die ariosen Einfälle Schulhoffs überzeugend gestaltet"

 

"In complete control, Raymond Very, a Don Juan with a tenor voice bursting with energy, convincingly conveys the ideas of Schulhoff's arias."

 

--- Kronenzeitung, August 2006

 

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As Christian in Cyrano de Bergerac (Metropolitan Opera - 2005):

 

"Raymond Very's Christian couldn't be more handsomely sung."

 

--- Peter G. Davis, New York Magazine, May 23, 2005

 

"Raymond Very is a Christian of robust voice and youthful bearing."

 

--- Anthony Tommasini, New York Times, May 17 2005

 

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As des Grieux in Manon:

 

"The team of tenor Raymond Very and soprano Laura Knoop Very gave a performance so impassioned (particularly in the Saint-Suplice scene) that it was a relief to know that they are husband and wife in real life."

 

--- Joe McLellan, The Washington Post

 

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As Boris in Katya Kabanova:

 

"It's easy to see why Katya would choose the macho Boris ---- sung and played with beefy, manly gusto by tenor Raymond Very ---- over her wimpy husband."

 

--- Pam Kragen, North County Times

 

"Boris ... proves to be one of Raymond Very's best stage characterizations to date, all of it beautifully and expressively vocalized."

 

--- David Gregson, Opera West

 

"Raymond Very gets Katya's lover Boris just right: ardent but emotionally unsettled, his tenor powerful but aptly burred."

 

--- Scott Cantrell, Dallas Morning News

 

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As Matteo in Arabella:

 

"Raymond Very made a major contribution in the usually thankless role of Matteo. His highly-placed voice lies perfectly for this tenor-killer part, and his honest acting turned the melodramatic, risible officer into a sympathetic character, particularly in Act III."

 

--- Jeffrey Leipsic, Opera News

 

"As Matteo, the rich-voiced tenor Raymond Very made a promising Met debut."

 

--- Anthony Tommasini, New York Times

 

"Raymond Very was a huge success as Matteo, bringing to mind René Kollo at his best."

 

--- Melanie Eskanazi, Seen & Heard

 

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As Steva in Jenufa:

 

"Alden might overshoot his mark in bringing bad-guy Steva on stage in black leather on a motorcycle, but Raymond Very has the swarthy good looks and the virile voice to make the idea work."

 

--- Wes Blomster, Opera Now

 

"In a role that demands good looks, Very is a natural, and the production played up his attractions.... Very is not just a pretty face; he sang beautifully and vividly depicted his character's reactions to the havoc he has wreaked."

 

--- Opera News

 

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As Rodolfo in La boheme:

 

"Very has such impeccable control over his voice that one got the impression that the vocal and emotional demands of arias like 'Che gelida manina' or duets like 'O soave fanciulla' hardly began to tax him, so effortless did he make them seem. And his final, agonized shouts of 'Mimi!' at the opera's climax sent chills down more than one spine."

 

--- James Watts, Tulsa World

 

"Very possesses a handsome, supple instrument that he skillfully uses to achieve an impressive range of expression."

 

--- Kyle MacMillan, Omaha World Herald

 

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As Hoffmann in The Tales of Hoffmann:

 

"Tenor Raymond Very is a virile Hoffmann with confident, ringing high notes to burn."

 

--- Joe Banno, Washington Post

 

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As the Male Chorus in The Rape of Lucretia:

 

"The two star performers here were Raymond Very's and Christine Goerke's Male and Female Chorus. Very must be the most convincing Britten stylist the US has produced in years..."

 

--- Hugh Canning, Opera Magazine

 

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As Alfredo in La Traviata:

 

"Raymond Very was equally convincing at Alfredo. His sizable tenor voice had warmth and focus, and he hit his high notes without forcing them."

 

--- David Stabler, The Oregonian

 

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As Tamino in The Magic Flute:

 

"The warm-voiced Raymond Very generated a solid and consistently appealing presence as Tamino."

 

--- Joanne Sheehy Hoover, The Albuquerque Journal

 

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As Tom Rakewell in The Rakes Progress:

 

"Another major asset was the Tom Rakewell of Raymond Very, who crisply articulated every word of the Auden-Kallman text. In many key scenes - particularly the 'morning after' his marriage to Baba the Turk, and in his confinement to the madhouse - Very achieved an admirable range of vocal coloration."

 

--- Brian Kellow, Opera News

 

"Very ... again displayed a honeyed tenor and fluid grace. Very shone particularly in the big numbers, including his Act I solo, and the Bedlam scene."

 

--- Joshua Kosman, San Francisco Chronicle