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“Huge-voiced bass-baritone Michael Dean sounded like a heaven-sent Old Testament prophet in ‘Thus saith the Lord of hosts’.” TJ Merek Boston Sunday Herald George, Of Mice and Men (New York City Opera) “Michael Dean is a rough-edged George able to communicate vulnerability and conflict, yet always by using a beautifully smooth and translucent tone.” Willa J. Conrad Newark Star-Ledger Handel: Messiah (Boston Baroque) “The bass-baritone Michael Dean has a voice of substance and ring and an agile Handelian technique. He was most impressive at the beginning when the sheer size and sound of his voice made an overwhelming impact … and later on, he delivered every desirable quality.” Richard Dyer Boston Globe Polyphemus, Acis and Galatea (Opera da Camera Linz) “The virtuosic passages were mastered with vocal bravura by Michael Dean as Polyphemus … he received enthusiastic curtain calls.” Irene Judmayer O.O. Nachtrichten George, Of Mice and Men (New York City Opera) “As George, the rich timbre of Michael Dean’s bass-baritone enlivened both his solo turns and ensembles.” Allan Kozinn New York Times Figaro, Le Nozze di Figaro (De Vlaamse Opera) "Figaro was a revelation: Michael Dean, a baritone of supple timbre, making his mark strongly upon the role." Christophe Vetter Concerto Somnus, Semele (Skylight Opera) "Michael Dean sang the deliciously comic Somnus with sweet tone, caressing phrases and charming effect." Lawrence Singer Opera News Handel: Messiah (Apollo’s Fire) "Michael Dean sang with thrilling vocal quality and a seemingly endless supply of breath." Wilma Salisbury Cleveland Plain Dealer Arsace, Partenope (Skylight Opera) "Michael Dean stood out from the fine company, for the heft and richness of his bass-baritone voice, his elegant phrasing, and his way of changing timbre to reflect his character's state of mind." Tom Strini Milwaukee Journal Escamillo, Carmen (Buffalo Philharmonic) "As Escamillo, Michael Dean was a showstopper." Mary Kunz Buffalo News Handel: Messiah (Boston Baroque) "Michael Dean takes your breath away from the very first notes ... His sound is rich, magnificently solid, with a tenorial freedom in the upper reaches. Every word has meaning; the recitative "Behold, I tell you a mystery" was sung with utmost tenderness and persuasiveness." Ellen Pfeifer Boston Globe |
