Richard Bernstein
Bass
Press Reviews
Click here to read an interview and see pictures of Richard from Don Quichotte
Angelotti in Tosca (Metropolitan Opera)
"The very first voice one hears in Tosca belongs to the agitator Angelotti, and Richard Bernstein's lush, ebony tones made it a memorable one. " (Click here for full review.)
-Marion Lignana Rosenberg, The Classical Review, 1/11/2012
Lord Krishna in Satyagraha (Metropolitan Opera)
"The later trio with Prince Arjuna and Lord Krishna (Bradley Garvin and Richard Bernstein) was ravishing..." (Click here for full review.)
-Christopher Purdy, Classical 101, 11/21/2011
"The other singers were splendid.... among the men, two bass baritones, Alfred Walker and Richard Bernstein. Bernstein is a comprimario at the Met. In any other house, he would be playing lead roles. As Krishna, his rich, compelling voice brought the requisite aura of power and grace to the blue god as he launched mankind on this moral journey." (Click here for full review.)
-Arlene Judith Klotzko, ConcertoNet, 11/4/2011
"...Richard Bernstein as the blue-faced Lord Krishna sounded glorious in the Act I trio with Mr Croft. " (Click here for full review.)
-Corinna da Fonseca-Wollheim, The Classical Review, 11/6/2011
"Outstanding were... Richard Bernstein as Lord Krishna in act one." (Click here for full review.)
-Robert Levine, Classics Today, 11/15/2011
Sancho Panza in Don Quichotte (Seattle Opera)
"Both Sancho Panzas... Sunday's Richard Bernstein, brought to their roles the necessary ballast to balance the airy elocutions of their fellow knight-errants. Each man sang beautifully." (Click here for full review.)
-Sumi Hahn, The Seattle Times, 02/28/2011
Leporello in Don Giovanni (Opera Fairbanks)
"Last, and certainly not least for me, is the figure of Leporello. I have always had a soft spot for comic relief and Richard Bernstein's delightful portrayal of the long suffering servant didn't disappoint. His comedic instincts were on display, not to mention his rich and pliant bass. He was a perfect foil musically and dramatically to Don Giovanni and the other characters." (Click here for full review.)
-Robert Hannon, The News-Miner 07/10/2010
Raimondo in Lucia di Lammermoor
"Richard Bernstein is appropriately stiff, he's a Scottish Presbyterian chaplain after all, and one who is torn between his duties as spiritual guide and family retainer. His delivery of the stirring melody of his aria, "Al ben de'tuoi qual vittima" was as strong as any I've heard (and I've heard Ramey, Plishka, Raimondi and countless others)."
-TOPIX Starry Vere July 2, 2009
"One of America's most versatile and gifted bass-baritones, Richard Bernstein... As the black-clad - and black-hearted - confessor Raimondo, he - Bible in hand - makes the corruption of the church palpable. And he does this with a composed reserve that moves the figure beyond caricature."
-Wes Blomster Daily Camera 6/29/09
"Bass-baritone Richard Bernstein...as the misguided chaplain, Raimondo...possesses an appealing bass-baritone voice with a big, resonant lower register that fits this role well."
-Kyle MacMillan Denver Post 6/29/09
Orville Mason in An American Tragedy
"Richard Bernstein, as the D.A., showed off a dark, commanding bass-baritone."
-Alex Ross, The New Yorker 12/26/05
"The bass-baritone Richard Bernstein proves a stentorian district attorney at Clyde's murder trial."
-Anthony Tommasini, The New York Times 12/3/05
"The bass-baritone Richard Bernstein was solid as the District Attorney."
-Jay Nordlinger, The New York Sun 12/5/05
"The prosecutor Orville Mason was sung with wicked detail by bass-baritone Richard Bernstein, a fine singer."
-Willa J. Conrad, Newark Star-Ledger 12/5/05
"Richard Bernstein brings avid conviction to a dog-with-bone prosecutor, Orville Mason."
-Mark Swed, Los Angeles Times 12/5/05
"Richard Bernstein as the prosecuting attorney was riveting."
-John Rahbeck, Opera-L 12/3/05
Méphistophélès in Faust
"Richard Bernstein's rich bass-baritone had devilish seductiveness (appropriate for Méphistophélès). His character also functions to hold the plot together, and Bernstein made it look easy."
-David Patrick Stearns, Philadelphia Inquirer 10/12/04
Leporello in Don Giovanni (Théâtre du Capitole, Toulouse)
"The great ovation went to the Leporello of the American Bass-baritone Richard Bernstein. His sense of comedy is definitely superb."
-Christian Merlin, Le Figaro 01/31/05
"The style and energy of Leporello are very much present in Richard Bernstein's interpretation of the character; he is excellent onstage."
-Marie-Aude Roux, Le Monde 2/10/05
"While at his side, Richard Bernstein as Leporello, as lively and crafty as one could wish, steals the girl from him and tears around the stage. The voice is powerful and sweeping, with the conviction and insolence that is sometimes missing in his master, but the actor possesses a natural stage presence. The obvious pleasure he takes in acting is the same as the irresistible attraction that Leporello feels in following his master's bad behavior. The other side of the coin, this sparkling and charismatic Leporello, as dapper and seductive as the devil, only makes his master seem more colorless."
-Laurent Marty, ResMusica.com 2/1/05
"And with Richard Bernstein's Leporello, this Don Giovanni is flanked by an expert valet. A reflection of his cowardly master, and his equal in substance, this Leporello shows us a subtle singer, sparkling with finesse and talent. His catalogue aria is sung with a superb mixture of cunning and distinction."
-Laurent de Caones, L'Opinion Independente 2/18/05
"Leporello, his companion, is no longer his double or his conscience, but rather his jester. The American Richard Bernstein, who sang with a sonorous tone and a never-ending comic verve, makes the role a daunting quasi-hero."
-Caroline Alexander, Opéra/Classique 2/9/05
"A true double of Don Giovanni, Richard Bernstein is a Leporello in the world-class traditions of comedy and drama."
-Gérard Mannoni, altamusica.com 1/28/05
"Richard Bernstein is an excellent Leporello with clear diction. He establishes his character dramatically as well as vocally by separating himself clearly from the ensembles in which he takes part."
-Alain Zürcher, L'Atelier du Chanteur 1/30/05
(For more reviews, please click here.)