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SOPRANO
- Saundra DeAthos
- MEZZO-SOPRANO
- Stephanie Rodousakis
- TENOR
- Michael Boley
- Harold Meers
- BARITONE
- Greg Frens
- Ryan Kinsella
- David Templeton
- BASS
- Bradley Smoak
- CONDUCTOR
- Louis Salemno
- Allan R. Scott
- STAGE DIRECTOR
- Alexander Gelman
BILLY BUDD
“Cast standouts were…especially tenor Harold Gray Meers in a heartrending performance as the Novice.”
(SAN FRANCISCO CHRONICLE / SAN FRANCISCO , CA)
“It’s easy to predict that future stars of opera will refer to the San Francisco “Billy Budd” as their first role of note…especially Harold Gray Meers, as the outstanding Novice.”
(SAN FRANCISCO CLASSICAL VOICE / SAN FRANCISCO, CA)
“Some of the evening’s most touching singing cam from Harold Gray Meers as the Novice: his sweet tenor and earnest portrayal encouraged maximum sympathy.”
(WWW.ANDANTE.COM / INTERNET)
SALOME
“Harold Gray Meers (Narraboth, the soldier who loves Salome without her even noticing) stood out impressively in the first minutes of the opera as the lone voice that carried over the orchestra.”
(AKRON BEACON JOURNAL / AKRON, OHIO)
“Finally, I want to comment on the one character that successfully sets the stage for every “Salome” I’ve ever seen- Narraboth. However briefly, he must look and sound like a dream to do both Herr Strauss, Mr. Wilde and the subsequent mood of the opera justice. Harold Meers upheld that thrust for us in Cleveland.”
(WWW.OPERA-L.ORG / INTERNET)
LA TRAVIATA
“There was never a question of searing passion when he was on stage. His wholehearted impetuosity was wedded to an even and firm tenor that had a nice ring to it. He could even bring a tear to its sound without any Gigli-like aspirations during his heart-wrenching final moments with Violetta.”
(CLASSICAL VOICE OF NORTH CAROLINA / INTERNET)
L'ELISIR D'AMORE
“Harold Meers was an ideal Nemorino. He was very handsome, yet appeared young enough to be so shy about love, and to be taken in by a quack with a love potion. His tenor was unusually rich and vibrant, and soared effortlessly throughout the performance.”
(THE POST JOURNAL / JAMESTOWN, NEW YORK)
RESURRECTION
"Harold Gray Meers was excellent as Tolstoy's mouthpiece, the idealistic schoolteacher Simonson."
(BOSTON GLOBE / BOSTON, MASSACHUSETTS)
"Harold Gray Meers particularly impressed with a noble performance as Peter Simonson, Maslova's lover."
(BOSTON HERALD / BOSTON, MASSACHUSETTS)
LA CLEMENZA DI TITO
“And Meers’ sturdy lyric tenor delivered plenty, with the promise of more to come.”
(BOSTON HERALD / BOSTON, MASSACHUSETTS)
DON GIOVANNI
"Tenor Harold Gray Meers made Don Ottavio, Donna Anna's cuckolded fiancé, unusually sympathetic with his sensitive acting and expressive singing. This character is often treated as a bit of a wimp, but Meers make him strong and sympathetic--and effective."
(THE TIMES ARGUS / MONTPELIER, VERMONT)
THE GRAND DUCHESS OF GEROLSTEIN
"Harold Meers sang elegantly as her favorite Fritz..."
(OPERA / ENGLAND)
"Harold Gray Meers is an irresistibly boyish Fritz, with a lovely lyric tenor."
(THE DALLAS MORNING NEWS / DALLAS, TEXAS)
"Harold Meers was appropriately strapping, handsome and likeable..."
(ST. LOUIS POST-DISPATCH / ST. LOUIS MISSOURI)
CONCERT
"Bjaland leads (Beethoven’s Ninth Symphony) with energy and abandon, but shifted the ensemble quickly to the transcendent peace of the Adagio and back again to the sometimes tumultuous and heart-pounding Finale. Everyone was in top form, including baritone soloist David Templeton and the rest of the vocal soloists, soprano Theresa Hamm-Smith, alto Paula Rasmussen, and tenor Harold Meers.”
(SARASOTA HERALD-TRIBUNE)
