InterArts Management, Inc.

LA TRAVIATA
“David Templeton’s Germont, full in tone, eloquent in expression, came much closer to the mark.”
(OPERA NEWS)

“In the role of Germont, baritone David Templeton displays a strong voice and a convincing air of authority.”
(OPERA / ENGLAND)

“Faultless enjoyment on this evening was provided by David Templeton as Father Germont, who impressed with his evenly measured, fully formed baritone and pleasantly simple demeanor.”
(DAS OPERNGLAS)

“Plangent-voice baritone David Templeton as the Elder Germont made the most of his fully restored scenes in Act II – and in the extended final scene; he reminded me of the young James Morris.”
(AMERICAN RECORD GUIDE)

“David Templeton’s interpretation of Giorgio was right on the mark. The young baritone was convincing as the manipulative father bent on protecting his family’s honor at almost any cost. Giorgio is one of the great Verdi baritone roles and Templeton handled the role with dignity in a performance that was quite affecting.”
(WINSTON-SALEM JOURNAL)

“David Templeton as the father Germont anchors the trio with his deeply resonant baritone voice.”
(TAMPA TRIBUNE)

“Templeton’s Giorgio is a prig, but his baritonal heft lends the character a bluffly, sympathetic tone.”
(ST. PETERSBURG TIMES)

“Baritone David Templeton as Giorgio Germont brought new meaning to the role of Alfredo’s father. Rather than the usual, bland character who is notable primarily for the melodious aria “Di provenza il mar is sol,” this Germont emerged as the self-righteous, manipulative, even cruel figure that he really is. Templeotn’s rich baritone voice and tall, imposing persona are impressive assets in creating the role.”
(SARASOTA HERALD-TRIBUNE)

“David Templeton is a standout in his Sarasota debut as Alfredo’s father Giorgio. The duets he sings with Violetta when he convinces her to leave his son, and again when he asks for her forgiveness are breathtaking.”
(SARASOTA ARTS REVIEW)

LE NOZZE DI FIGARO
“A magnificent Count in stature, the young baritone David Templeton was incisive in a crescendo of excitement in his third act aria “Vedro mentr’io sospiro”.
(OGGI AMERICA)

“As the Count, David Templeton was a commanding physical presence on stage and when needed, got the right look of bewilderment on his face.”
(EDMONTON JOURNAL)

“David Templeton is the most convincing Count I’ve ever seen. He’s young and handsome, so we finally see why Rosina loves him. Since his behavior is mostly chilly and arrogant, he’s an enigmatic figure, but with Templeton, who has a fine baritone voice, we see what he could be if he’d just straighten out.”
(EDMONTON SUN)

“He presented a three-dimensional, character on stage with a fine, dramatically nuanced voice. His Count clearly cut the form of a sexually active, handsome aristocrat who spends much of is time on the prowl. Templeton’s voice was in fine form Saturday night.”
(THE ADVOCATE / STAMFORD, CT)

“The Count Almaviva was David Templeton, and he not only sang well, but understood the menace inherent in the man, who has the power of life and death over everyone in his domain.”
(NEW HAVEN REGISTER / NEW HAVEN, CT)

LUISA MILLER
“Baritone David Templeton gave a riveting performance in the pivotal role of Miller. (He frequently reminded me of Sherrill Milnes in this role; although the vocal timbres differ, there were resemblances in appearance and approach.”
(AMERICAN RECORD GUIDE)

“David Templeton embodied the ideal father – loving, protective, and understanding – his lyrical baritone perfectly suited to the role.”
(SARASOTA HERALD-TRIBUNE)

“Most impressive was baritone David Templeton, as Luisa’s father, a strong, sure voice and assured stage presence, reinforcing the favorable impression he made last season in ‘La Traviata.”
(LONGBOAT OBSERVER)

“David Templeton, so good in last season “La Traviata,” sings Miller with dignity, drama and distinction. A wonderful interpretation.”
(VENICE GONDOLIER)

FAUST
“David Templeton found the pathos needed as Marguerite’s brother Valentin, singing with firm tones and delivering a moving death scene.”
(WINNIPEG FREE PRESS)

“Valentin was played by David Templeton, who endowed his role as a soldier with a heroic voice.”
(THE PHOENIX / BOSTON, MA)

“David Templeton, a highly accomplished singer, delivered Valentin with flair and aplomb.”
(WORCESTER TELEGRAM & GAZETTE)

“David Templeton as Valentin, Marguerite’s soldier brother, displayed a wonderful baritone.”
(CAPE COD TIMES)

ROMÉO ET JULIETTE
“Mercutio’s (David Templeton) song of Queen Mab was engagingly sung and the tall baritone a dominating presence whenever he was on the stage.”
(EDMONTON SUN)

“The vocal and stage performances of George Dyer (Tybalt) and David Templeton (Mercutio) were so exciting and edgy they made the opera’s centre seem a bit tepid.”
(OPERA CANADA)

CARMEN
“Playing the matador Escamillo was David Templeton. No doubts about one’s masculinity here. Escamillo raged hormonal confidence and had the booming voice to back it up. He was terrific!”
(TOLEDO BLADE)

“Escamillo was played by Baritone David Templeton. He played Marcello in last season’s La Bohéme. I thought he was terrific then. I was right. He not only sang Escamillo. He WAS Escamillo. Suave, boastful, energetic and athletic.”
(OPERA LINK / TOLEDO, OHIO)

EUGENE ONEGIN
“David Templeton sang the title role with a pleasing, dark timbred baritone voice that had a good bit of power, occasionally sacrificing tonal quality for dramatic impact as he project Onegin’s world weary attitude and aristocratic arrogance.”
(OPERA JAPONICA / JAPAN)

“David Templeton’s dark, rich, virile baritone and tall stature portrayed the quintessential Onegin, mitigating a physical stiffness that belied aristocratic lineage.”
(HONOLULU STAR-BULLETIN)

LA BOHÈME
“Opera Columbus regulars all ready recognize the talents of David Templeton, which grow more impressive with every appearance. As the painter Marcello, Templeton suggests that he is poised to emerge as one of the next great American baritones.”
(THE COLUMBUS DISPATCH)

MADAMA BUTTERFLY
“Baritone David Templeton brought genuine humanity, as well as a superb voice to the role of Sharpless.”
(THE COLUMBUS DISPATCH)

I PAGLIACCI
“Baritone David Templeton, slender, handsome and with a pleasant voice, rendered a believable lover.”
(HONOLULU STAR-BULLETIN)

DIE FLEDERMAUS
“Although he was obviously too young for the role of Dr. Falke (Eisenstein’s prank-playing friend), baritone David Templeton’s performance was notable for the highly promising quality of his voice and a certain elegance of bearing onstage. His aria, the lovely waltz, “sing to love,” in the finale of Act II, was poetically and stirringly sung.”
(CAPE COD TIMES)

CONCERT
“Baritone David Templeton performed next. The powerful singer boasted a deep, rumbling voice with volume that rivaled that of the entire choir. The audience seemed to under his intimidating voice with every sharp crescendo.”
(BROWNSVILLE HERALD)

CONCERT
"David Templeton was the guest soloist for the single presentation on the second half of the program – the Five Mystical Songs of Ralph Vaughan Williams, in a version for baritone, chorus, piano and strings. The breadth and beauty of Templeton’s voice brought an interest to the 1911 English work that might have otherwise suffered, coming as it did after the Mozart."
(THE COLUMBUS DISPATCH)

"And with David Templeton’s singing of Vision fugitive, from Massenet’s Herodiade, we were treated to the rarest of qualities: truly soft singing."
(SARASOTA HERALD-TRIBUNE)

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