Press Acclaim for Raymond Very
As Stolzing in Die Meistersinger von Nürnberg (Oper Frankfurt):
"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
As Don Juan in Flammen (Theater an der Wien):
"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
As Christian in Cyrano de Bergerac (Metropolitan Opera)
"Raymond Very's Christian couldn't be more handsomely sung."
"Raymond Very is a Christian of robust voice and youthful bearing."
As Lensky in Eugene Onegin:
"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."
"Two other lead roles are superbly filled by former Houston apprentices. Raymond Very is the high-strung Lensky...a solid, well-projected lyric tenor."
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."
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."
"Boris…. proves to be one of Raymond Very's best stage characterizations to date, all of it beautifully and expressively vocalized."
"Raymond Very gets Katya's lover Boris just right: ardent but emotionally unsettled, his tenor powerful but aptly burred."
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."
"As Matteo, the rich-voiced tenor Raymond Very made a promising Met debut."
"Raymond Very was a huge success as Matteo, bringing to mind René Kollo at his best."
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."
"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."
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."
"Very possesses a handsome, supple instrument that he skillfully uses to achieve an impressive range of expression."
As Hoffmann in Tales of Hoffmann
"Tenor Raymond Very is a virile Hoffmann with confident, ringing high notes to burn."
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…"
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."
As Tamino in The Magic Flute
"The warm-voiced Raymond Very generated a solid and consistently appealing presence as Tamino."
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."
"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."