Charles Reid Reviews

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Galakonzert, Die Glocke, Bremen, von Sigrid Schuer, Weser-Kurier, Februar 9, 2010
      “Charles Reid gab sie [Antonia] ein Liebespaar par excellence ab. Charles Reid bewältigte nicht nur        die tückischen Koloraturketten als Mozarts “Titus” ohne Fehl und Tadel, er artikulierte auch die        hoffnungslose Liebe des Don José zu Bizets “Carmen” mit tenoraler Strahlkraft.”
Macbeth, Nationaltheater Mannheim, von Frank Pommer, Die Rheinpfalz, May 25, 2009
     “Charles Reid weiß als Macduff dagegen mit einer auch in der Höhe strahlenden und sauber
       geführten Stimme zu gefallen.”
Macbeth, Nationaltheater Mannheim, von Stefan M. Dettlinger, Mannheimer Morgen, May 23, 2009
       “Zwei andere lassen schwer auf horchen: Charles Reids Macduff (sein “Ah, la paterna mano” ist        hinreißend) und…”
Macbeth, Nationaltheater Mannheim, von Rainer Köhl, Rhein-Neckar Zeitung, May 23, 2009
        “nicht minder eindrucksvoll war der Macduff des Charles Reid, der bewegende Eindringlichkeit
         und Strahlkraft in seine Arie “O figli miei” legte.”
Macbeth, Nationaltheater Mannheim, von Eckhard Britsch, www.opernnetz.de, May 21, 2009
       “Weitere Asse an diesem Abend sind Charles Reid mit heldisch-frischem Tenor als Macduff”
Elias, Camerata Viva, Zollern-Alb Kurier, February 17, 2009
     “Der Tenor Charles Reid gestaltet den Obadja zupackend forsch und versprüht mit seiner Arie  
      „Dann werden die Gerechten leuchten“ etwas Sehnsucht in der Kirche.”
Rigoletto, Stadttheater Gießen, von Thomas Schmitz, Gießener Anzeiger, Sept. 15, 2008
       “Charles Reid, ebenfalls vom Nationaltheater Mannheim, bringt als Herzog seinen strahlenden
        Tenor mit Schmelz und Ausstrahlungskraft schön zur Geltung.”
Elijah, Master Chorale of Washington, von Daniel Ginsberg, Washington Post, November 25, 2008
      “Charles Reid skillfully rendered the role of Obadiah, a sympathetic governor.”
Der fliegende Holländer, Nationatheater, von Stefan M. Dettlinger, Mannheimer Morgen, April 14, 2008
       “Steuermann (jugendlich und tonschön: Charles Reid)”
La Traviata, Theater Winterthur, vom Herbert Büttiker, Der Landbote, März 17, 2008
       “Charles Reid hat für Alfredo einen gewichtigen, aber geschmeidigen Tenor, der ihn in seinen
       leidenschaftlichen Impulsen zur starken Figur macht.”
La Traviata, Nationaltheater, von Ulrich Springsguth, Der Neuer Merker, März 5, 2008
       “temperamentvoll und ansprechend Charles Reid als Alfredo Germont.”
Mozart Requiem, Handel and Haydn Society, vom David Perkins, Boston Globe, Februar 18, 2008
       “The soloists – Christine Brandes, soprano, Paula Murrihy, mezzo-soprano, Charles Reid, tenor,
       and Alfred Walker, bass – were all excellent. Reid and Walker have big, operatic voices and were
       exciting and incisive in the ensembles.”
Richter Messe in H-Moll, Christuskirche Mannheim, vom Uwe Engel, Rheinpfalz, Dezember 20, 2007
       “Eine großartige Vorstellung lieferte der Tenor Charles Reid: Mächtig und dabei immer kontrolliert,
       mit schönem, nicht zu hellem Timbre, klangvoll in allen Lagen. Wunderbar sein “Et incarnates
       est.””
La Traviata, Nationaltheater, vom Gabor Halasz, Rheinpfalz, Dezember 14, 2007
       “Charles Reid gab einen stimmlich und musikalisch ohne Einschränkung überzeugenden Alfredo
       ab, mit tenoralem Glanz, makelloser Stimmführung und ausgeprägtem stilistischem Gespür.
       Das ser nebenbei sauber intonierte, war eine wahre Wohltat nach Jean Francois Borras’
       melodischen Annäherungsweten in der ersten Premiere.”
La Traviata, Nationaltheater, vom Wolfgang Schreiber, Suedeutsche Zeitung, Dezember 14, 2007
       “Charles Reid gab der Tenorrolle des Alfredo heldische Flexibilität.”
La Traviata, Nationaltheater, vom Eckhard Britsch, Mannheimer Morgen, Dezember 14, 2007
       “Im Partiendebüt singt Charles Reid den Alfredo mit weich ausgefüttertem Tenor.”
Top 2008
J.S. Bach’s Magnificat & Adventskantate, Evangelische Stadkirche Esslingen, vom Verena Grosskreutz, Esslingen Zeitung, Dezember 11, 2006
       “…weshalb Charles Reid (Tenor) insgesamt am moisten beeindruckte. Er gab seine Aria “Die Liebe
       zieht mit sanften Schritten” trefflich italienisch und konnte auch im Magnificat durch sichere
       Intonation, fließende Koloraturen und viel Schmelz in der Stimme die richtigen Emotionen
       hervorrufen.”
Salome, Nationaltheater, vom Kurt Osterwald , orpheus, Mai/Juni, 2006, pg. 28
      “Und auch Charles Reid (Narraboth) überzeugte zumindest mit souveräiner Tenor Fanfare.”
Sofonisba, Nationaltheater, vom Ingo Wackenhut, bühne scala, Juni, 2006
       “Charles Reid mit prächtig biegsamem vordramatischen Tenor.”
Sofonisba, Nationaltheater, vom Thomas Rothkegel, Opernwelt, April 2006, pg. 17
       Man setzte auf eine Mischung aus eigenen Kräften und gast verpflichteten Spezialisten.
       Dabei päsentierten sich die hauseigenen Sänger mehr als eben bürtug, Charles Reid etwa.
       Er sang die Partie des besiegten Siface. Ein wunderbarer Tenor, homogen, schlank,
       beweglich und überaus stilsicher.”
Sofonisba, Nationaltheater, vom Christoph Wurzel, Online Music Magazine, März 10, 2006 – www.omm.de
       “Den Siface sang Charles Reid mit großer Stimme und tenoralem Glanz.”
Sofonisba, Nationaltheater, vom Ellen Kohlhaas, Frankfurter Allgemeinde, März 3, 2006
       “Den ersten Gatten Siface, totgesagt, doch kurz vor Sofonisbas zweiter politischery zweckheirat
       wiederauftauschend, verkörperte Charles Reid mit klangen schönem, flexiblem Tenor.”
Sofonisba, Nationaltheater, vom Siegfried Kienzle, Wiesbadener Tagblatt, März 1, 2006
       “Der Tenor Charles Reid überzeugt in der Zerrissenheit des Siface.”
Sofonisba, Nationaltheater, Echo Online, Februar 28, 2006
       “Im vocal akzeptablen Ensemble herausragend der glänzend disponierte Countertenor
       Jacek Laszczkowski als Massinissa, Charles Reid als tenoral gepflegter Siface sowie
       Cornelia Ptassek als munter-intrigante Cirene.”
Sofonisba, Nationaltheater, vom Stefan Dettlinger, Mannheimer Morgen, Februar 27, 2006
       “Charles Reids Siface tönt brilliant tenoral und gliedert sich doch genau so gut wie der....”
Sofonisba, Nationaltheater, vom Matthias Roth, Rhein Neckar Zentrum, Februar 27, 2006
       “Sehr überzeugend sind hingegen Charles Reids Siface...”
Salome, Nationaltheater, vom Matthias Roth, Rhein Neckar Zentrum, Januar 16, 2006
       “Charles Reid singt einen fabelhaften Narraboth.”
Salome, Nationaltheater, vom Stefan Dettlinger, Mannheimer Morgen, Januar 16, 2006
       “waren die übrigen Rollen genauso gelungen besetzt wie mit Charles Reid, einem
       effervescent Narraboth.”
Die Entführung aus dem Serail, Camerata New York, vom Oussama Zahr, Opera News, Oktober 19, 2005
       “As Belmonte, Charles Reid was a sheer delight, the uncontested star of the evening.
       He sang with ample tone, succulent in the middle, and swelled each phrase before tapering it
       perfectly, with the terminal consonants neatly punctuating each line in proper German fashion.”
La Clemenza di Tito, Nationaltheater in Barcelona’s Palau, La Vanguardia Digital, April, 2005
       “Charles Reid va ser un Tito de veu clara, agilitats ben resoltes i autoritat en un fraseig que.”
Hallelujah Händel, Washington Bach Consort, vom Joseph McLellan, Washintong Post, Feb. 7, 2005
       “Tenor Charles Reid stood out among the four excellent soloists, with a strong performance of        ‘Where’re you walk’"
Ascanio in Alba, Nationaltheater, vom M. Röber, PZ News, Januar, 2004
       “Charles Reid als Aceste trumpft mit seinem voluminösen Tenor au.”
Die Entführung aus dem Serail, Nationaltheater, vom E. Britsch, Mannheimer Morgen, Okt. 4, 2004
       “Charles Reids geschmeidiger, klangschöner Tenor ist eine sichere Bank (für Konstanze)”
Dankeschön für ein offense Ohr im Voraus, Nationaltheater, Mannheimer Morgen, Sept. 27, 2004
       “Mit der Auftrittsarie de Belmonte nahm der lyrische Tenor Charles Reid mit schönem Timbre
       und erstaunlichen Atemreserven sogleich für sich ein.”
Messiah, Master Chorale of Washington, vom Tim Page, Washington Post, April 6, 2004
       “Reid proved a stalwart tenor, declaiming his part with lyricism and authority.”
Boris Godunov, Metropolitan Opera, vom David Shengold, Opera News, April 2004
       “Charles Reid sang the Simpleton with beautiful lyric tone.”
Boris Godunov, Metropolitan Opera, vom Jay Nordlinger, The New York Chronicle, März 2004
       “Laudable in the poignant role of the Simpleton was Charles Reid. This man, far from a
       household name, owns a gorgeous tenor, not bad for a Simpleton.”
Boris Godunov, Metropolitan Opera, vom Justin Davidson, News Day, Januar 27, 2004
       “Charles Reid was moving as the Simpleton, the holy fool who doesn’t know better then to call
       the emperor a killer to his face.”
Boris Godunov, Metropolitan Opera, vom Chandak Ghosh, Roberta on the Arts, Januar 27, 2004
       “Special mention should be made of the small role of village Simpleton. Charles Reid’s glowing
       tenor remains a highlight of this production.”
Top 2005
Marjorie Lawrence International Vocal Competition, vom Russell P. Allen, eMediaWire, Dez. 9, 2003
       “The final performance was vom the 1st Place Winner of the Artist Division, Charles Reid.
       Mr. Reid demonstrated clearly why he won the competition with an excellent rendition of Tamino's
       contemplative aria "Dies Bildnis ist bezaubernd schön" from Wolfgang Amadeus Mozart's
       "The Magic Flute". Well into character, Mr. Reid gave an animated and defined performance. He
       had a clear mastery of his range and technique. The sound that he brought forth was beautiful.”
Il Barbiere di Siviglia, Connecticut Opera, vom Matthew Erikson, The Hartford Courant, Okt. 26, 2003
       “Charles Reid’s arias, such as the opening ‘Ecco ridente in cielo,’ had wonderful moments of
       clarion brilliance and rich color.”
La Traviata, Metro Lyric Opera, vom Frederick Kaimann, New Jersey Star Ledger, Juli 14, 2003
       “As her lover Alfredo, Charles Reid debuted in the role with a lean soaring tenor.”
Lucia di Lammermoor, ‘Met in the Parks’, vom Jeremy Eichler, The New York Times, Juni 19, 2003
       “The rest of the cast was strong, …and Charles Reid an able Arturo.”
Jephtha, Maryland Händel Festival, vom Philip Kennicott, Washington Post, Mai 8, 2001
       “Charles Reid, a tenor, was a dramatically compelling Jephtha, heading off for biblical calamity
       with a jaunty rendition of the line “Goodness shall make me great.” When he discovers the full
       impact of his silly oath – to slaughter the first thing that pops out his front door if he’s successful
       in battle – Reid made Jephtha’s loss and horror fully palpable.”
Jephtha, Maryland Händel Festival, vom Tim Smith, Baltimore Sun, Mai 9, 2001
       “Handel taps Jephtha’s despair in the aria “Open thy marble jaws, o tomb,” delivered with
       arresting vividness vom tenor Charles Reid, whose work all afternoon was characterized vom
       musical eloquence.”
Messiah, The Masterwork Chorus, vom Willa Conrad, The Star Ledger, Dez. 2000
       “The soloists were fluid and capable, especially Reid, whose evangelic offerings were
       tenderly evocative.”
Messiah, The Masterwork Chorus, vom Albert H. Cohen, Asbury Park Press, Dez. 19, 2000
       “As a group, the soloists ranged from adequate to sensational. Tenor Charles Reid was the best
       in every way. His voice was wide-ranging and big; his tone elegant and accurate. His diction was
       perfect and his choice of ornaments were both innovative and a delight for the ear.
       I’ve never heard better tenor work in any ‘Messiah’.”
Messiah, Messiah Festival Independence, MO, vom Paul Horsley, The Kansas City Star, Nov. 20, 2000
       “The standout among the soloists was tenor Charles Reid, who brought nimbly florid fire to
       “Every valley shall be exalted,” emphatic robustness to “Thy rebuke has broken His heart”
       and lashing pathos to “Thou shalt break them.””
Turandot, Opera Carolina, vom Dean Smith, The Charlotte Observer, Okt. 21, 2000
       “Reid impresses you with a clean tenor voice and top notes that pop out with ease.”
La Finta Giardiniera, Opera Theater at Wildwood, vom Sharon Douglas, Arkansas Times, Juni 23, 2000
       “Charles Reid’s Count was ravishing in sound and interpretation.”
Solomon, Maryland Händel Festival, vom Ronald Broun, Washington Post, Mai 9, 2000
       “Tenor Charles Reid’s relaxed, confident delivery was never strained as his volumen amplified.”
Zampa, L’Opéra Français de New York, vom Peter G. Davis, New York Magazine, April 24, 2000
       “The three principal singers were also first-rate: Charles Reid, an ideal romantic foil with
       a pleasingly soft-grained lyric tenor.”
Zampa, L’Opéra Français de New York, vom Anthony Tommasini, The New York Times, April 6, 2000
       “Charles Reid as Alphonse showed great promise.”
Der Fliegende Holländer, Sarasota Opera, vom Maya Avrasin, The Longboat Observer, Feb. 17, 2000
       “Another comedic character, Daland’s steersman, played vom Charles Reid, tenor, adds spark to the
       entire performance. His expressions accompanied vom a strong voice, help move scenes along
       in act one and act three.”
Der Fliegende Holländer, Sarasota Opera, vom Florence Fisher, Herald Tribune, Feb. 14, 2000
       “…and Charles Reid’s pleasant tenor makes the most of his role as the Steersman.”
Top 2003
Messiah, Princeton Pro Musica, vom Nancy Plum, Princeton Packet, Dez. 22, 1999
       “The performance of ‘Comfort Ye’ and ‘Ev’ry Valley’ introduced one of the soloist newcomers to
       Princeton. Tenor Charles Reid has performed with the Metropolitan Opera and is clearly an
       up-and-coming soloist. Mr. Reid sang a stately ‘Comfort Ye’ with good command of the long lines.
       This fluidity of long lines was also later reconfirmed when he performed the crucial
       ‘Thou Shalt Break Them,’ which preceeds the ‘Hallelujah’ chorus. Messiah can often be a battle of
       ornamentation among the soloists, but Mr. Reid’s approach to the music was imaginative and
       well-executed.”
Messiah, Princeton Pro Musica, vom Donald P. Delany, Princeton Times, Dez. 22, 1999
       “Princeton Pro Musica’s annual presentation of Handel’s Messiah lived up to – and in some
       respects perhaps exceeded – the high standard which the chorus has set during the more than
       20 years it has been singing the two-and-a-half centuries old masterpiece at Christmastime.
       The soloists were…Charles Reid. All were splendid, with Reid giving a special dimension to his
       arias. One does not often hear a tenor voice of this richness and warmth in oratorio; his opening
       ‘Comfort ye my people’ set the tone for a special evening of vocalizing.”
Verdi’s Requiem, Columbia Pro Cantare, vom Phil Greenfield, Baltimore Sun, Nov. 4, 1999
       “Verdi’s writing for the solo tenor calls for virility and sensitivity, and Charles Reid provided
       ample doses of both.”
Alexander Balus and Joshua, Maryland Händel Festival, vom Alexander Morin, American Record Guide,Music in Concert, März/April 1999, pp. 46-7:
       “Tenor Charles Reid (was) the most effective of the lot as Jonathan… Again, Charles Reid
       (this time as Joshua) was outstanding, with clear and manly tones evenly produced.”
Messiah, Monmouth Civic Chorus, vom Doris La Mar, Classical New Jersey, Dez. 23, 1998
       “Possessed of a large voice, dead-on intonation, and perfect diction, Mr. Reid was a
       delight to hear.”
Annapolis Opera Vocal Competition, vom Mary P Johnson, The Sun in Anne Arundel, Feb. 5, 1997
       “Charles Reid, a tenor from College Park, won first place from the judges and the audience at the
       annual Maryland Vocal Competition. For the first time in memory, the audience chose the same
       artist selected by the judges. Reid was magnificent in both arias he performed.
       His rich tenor has great power, and he displayed amazing breath control as he sustained
       high notes with apparent ease.”
Belshazzar, Maryland Händel Festival, vom Joseph McLellan, The Washington Post, Nov. 8, 1994
       “The principal male singers, tenor Charles Reid as Belshazzar…were as well prepared as their
       female counterparts for the highly ornamented style of Handel’s arias. By any name, the
       performance of ‘Belshazzar’ Sunday at the Maryland Handel Festival was the most intensely
       operatic experience in the Washington area last weekend and one of the year’s most memorable.”
Messiah, Western Maryland Symphony, vom Joan DeVee Dixon, The Cumberland Times, Dez. 5, 1994
       “Following the Overture, tenor Charles Reid demonstrated why he was a regional finalist in the
       1993 Met Opera Auditions. His performances of…(tenor arias from Messiah)…were exceptional.
       His ornamentation of each piece was tastefully done, and his selections were most enjoyable.”
Die Fledermaus, Brevard Music Center, vom John Bridges, Ashville Citizen-Times, Aug. 10, 1992
       “The Italian-style tenor role of Alfred had the benefit of Charles Reid’s lyric brightness and he also
       caught the spirit of parody in his portrayal.”
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