Reviews

The Latest Press:

“The most convincing tenor was that of Blake Friedman as Iago, whose voice has a plummy fullness and dusky hue.  His duet with Otello was taut and exciting…”

The New York Times

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Review: ‘Elixir of Love’ is less sweeping than many operas, but more fun than most

“the top of his range, which Friedman handled effortlessly”

Masterclass with The Human Race Theatre

‘Master Class’ Review – Human Race Theatre Company

“As confident tenor Anthony Candolino, the charming, sunny Blake Friedman, who appeared as tenor soloist in “Liebeslieder Walzer” with New York City Ballet at Lincoln Center, dynamically interprets a portion of Puccini’s “Tosca,”

 

AOP-NYU Writers Workshop

BWW Opera Review: PARK AND BARK – The Next Generation, from NYU and AOP

“The productions were helped enormously by the thoughtful work of the four singers involved, bass Sam Carl and tenor Blake Friedman, along with mezzo Heitzel and soprano Watkins, who all showed great flair in roles that called on their ardent singing as well as comedic as well as dramatic abilities.”

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Review of Van Gogh’s Ear with ENSEMBLE FOR THE ROMANTIC CENTURY

The Berkshire Edge: REVIEW: Ensemble for Romantic Century unlocks mysteries of Van Gogh and Nature

Illustration by Carolyn Newberger

“Blake Friedman, performed Beau Soir with tenderness, delicacy, and a sense of emotional sympathy.

Here is the distinguished German baritone, Dietrich Fischer-Dieskau, performing Beau Soir. Although there is nothing to criticize in this magnificent performance, it is well to note that Friedman’s French diction is far more intelligible.”

“The other musically illuminating highlight of the evening, summoning not just a sense but an identification with Van Gogh’s conflicted emotions and lofty aspirations, was a performance of Faure’s song, Prison, Op. 83, No. 1, sung once again, with perfect French and moving dynamic nuances by Blake Friedman”

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Review of Impresario Now! with WENDY TAUCHER DANCE OPERA THEATER

MVPBS: Opera Theater company tours “Impresario Now!”

“The bold and funny, Blake Friedman, sounds out by giving somehow charming character to the slimy sort that was his role in “Impresario Now!,” with a strong, husky vocal performance that will not soon be forgotten – an outstanding tenor, indeed!” 

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Review of Il Barbiere di Siviglia with ST. PETERSBURG OPERA

Tampa Bay Times: St. Petersburg Opera delights with its take on ‘Barber of Seville

“Tenor Blake Friedman takes on the role of Almaviva, and though his voice is silken and strong, he shines brightest in his comedy chops (you’d be forgiven for thinking of an operatic Jack Black).”

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Review of Le Nozze di Figaro with HUBBARD HALL OPERA

“Blake Friedman, who plays the dandy Basilio, has a fine Italianate tenor and although his aria is usually cut, it was nice to be able to hear that voice shine in this production.” – Berkshire Fine Arts

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Reviews of Tchaikovsky: None but the Lonely Heart with ENSEMBLE FOR THE ROMANTIC CENTURY

“tenor Blake Friedman joins the musicians with his powerful vocals.” – Jenny Thompson, Eye on Dance

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“sung beautifully by tenor Blake Friedman… Mr. Friedman appears as an elusive object of attraction.” – Cecly Placenti and Jerry Hochman, Critical Dance

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“world-class… lovely” -Weston Clay, Theatre is Easy

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“Blake Friedman is skilled as the tenor.” – Marcina Zaccaria, Theater Pizzazz

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Reviews of The Rivals with BRONX OPERA

Riverdale Press: Bronx Opera sings life into Mechem comedy, ‘The Rivals’

The Rivals, Riverdale Press

“compelling”

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Rivals Revel in Fun, Outer Stage

“the over-the-top-in-a-fun-way Blake Friedman”

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 Reviews of Mitridate, re di Ponto with LITTLE OPERA THEATRE OF NEW YORK

“Blake Friedman made a sleazy, boo-hissable Roman, and impressed me with the strength and agility of his bright voice. He sang the murderous “Se di regnar sei vago” with great panache…” – Opera Obsession

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Reviews of Later the Same Evening with MANHATTAN SCHOOL OF MUSIC

Opera News:
Review of Later the Same Evening

Later the Same Evening

“Among the men, Blake Friedman, as the young man from Virginia, made the strongest effect. Not only did he have the best-written role, but the character’s zestful nature lived in the very tone of his fresh lyric tenor.”

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Reviews of MANHATTAN SCHOOL OF MUSIC Scenes Program

Mondo[Q]:
Manhattan School Examines the Musicking of the Bard of Avon

“Friedman’s interpolated climactic high notes were welcome.”

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