Chris Merritt: Reviews
Schoenberg's MOSES UND ARON
in Amsterdam
London Times
"....CHRIS MERRITT 's flamboyant,
articulate showman of an Aron were enthralling.
For MERRITT...this performance surely marks his
conversion to the art of the actor-singer."
[Hugh Canning]
| Wagner's DAS RHEINGOLD
in Amsterdam Trouw, 6 September 1997 [Amsterdam] "....A fabulous debut in the Wagnerian world...the Loge of CHRIS MERRITT was the biggest surprise. This was a discovery; to cast MERRITT in this role was a stroke of genius! For MERRITT (once considered a Rossini specialist and last season a remarkable Aron in Amsterdam and the Salzburg Festival), this was the first leading role in Wagner. The cunning Loge was characterized by MERRITT 's voice in a phenomenal way..." [Franz Straatman] "...A special toast to him who foresaw that CHRIS MERRITT, with his distinguished voice known for bel canto, knew exactly how to portray vocally that cunning opportunist...." [Peter van der Lint] West Deutsche Allgemeine Zeitung, 10 September 1997 [Köln] "... the Mephisto-like Loge of the overwhelming CHRIS MERRITT ..." [Michael Stenger] La Libre Belgique, 8 September 1997 [ Brussels] "...and above all, the Loge of CHRIS MERRITT: for his debut in this role the great tenor, known earlier in his career for Rossini roles, succeeded his Moses und Aron by Schoenberg with a new, brilliant, and utterly convincing development ..." [Nicolas Blanmont] Le Soir, 6 September 1997 [Paris] "CHRIS MERRITT is the intriguing Loge that one could only wish for..." |
Rossini's GUILLAUME TELL
in San Francisco
San Francisco Examiner, November 1997
"In 1997, staging Guillaume Tell without MERRITT
's Arnold seems like a foolhardy proposition...
MERRITT consistently musters the heroic quality and the
stamina for the role....In Act III, "Asile heriditaire"
was a special moment. The singer is capable of delicacy, as
well..."
Opera News, 31 January 1998
"...the tenor tackled his heroic part with ardor and
machismo, dominating the stage and flinging out
a baker's dozen of high Cs like confetti..."
[Stephanie von Buchau]
| Stravinsky's OEDIPUS
REX in Amsterdam Opera News, May 1998 "...his performance proved a worthy sequel to his Netherlands Opera Aron and Loge..." [Paul Korenhof] |
Messiaen's SAINT FRANÇOIS D'ASSISE
in Salzburg
Halle Orchester Manchester
Kent Nagano, Conductor
New York Times, September 1998
"Coming to the virtues of the present revival, it is hard to
know where to start. Triumph was general
at Monday night's performance... CHRIS MERRITT
writhes with vocal fury as the Leper..."
[Paul Griffiths]
Opern Welt, September/October 1999
"The quiet, calm strength, which exists in the meaningful depths of the stage production is naturally
encountered on this recording, as well.
"In the same manner the dramatic roles are also encountered , in particular CHRIS MERRITT, vocally so
intensely protraying bitter-angry impatience as the Leper, who long refuses St. Francis' encouragement
until the monk at last kisses him, by which the Leper is healed -- a scene which remains immensely
exciting and agitating even in the confines of the CD package."
[Bernd Feuchtner]
Das Opernglas, September 1999
"Several cast changes took place for the soloists, most importantly of course in the roll of the Leper,
which was now sung by CHRIS MERRITT....
The transformation of the tenor CHRIS MERRITT, from an 'on-target-deliverer' of high C's in the Italian
repertoire into a singer openminded to the modern, contemporary repertoire--intelligent and highly
motivated as a singer/actor-- comes as very agreeable to this writer.
With the role of the LEPER he broadens his modern repertoire in an expressively strong part, which
contains vocally emotional extremes ranging from doubt to aggression and then to a nearly childlike joy
over the miracle of his own healing. For this, MERRITT 's tenor possesses an abundance of 'tenorial'
power. And he uses his enlightenedly emphatic, brightly metallic tone to great success."
[Nora Eckert]
| Meyerbeer's LES
HUGUENOTS in Berlin Die Welt, 14 December 1998 [Berlin] "CHRIS MERRITT learned the role of Raoul in German especially for Berlin : a 'power act' of tenorial singing yet not sacrificing beauty..." |
| Schoenberg's MOSES
UND ARON in Chicago Chicago Tribune, 27 March 1999 "Both David Pittman-Jennings as Moses and CHRIS MERRITT as Aron were fully realized performances that reflected the singers' long stage experience in these roles. Pittman-Jennings declaimed his baritonal speech-song with grave intensity, while MERRITT sang the cruelly taxing tenor part with a seductive beauty of sound..." [John von Rhein] Chicago Sun-Times, 25 March 1999 "But in the right hands, the music itself is a marvel of crystalline images and immediately understandable emotions. And all the right hands were assembled Wednesday night...Baritone David Pittman-Jennings as Moses and tenor CHRIS MERRITT as Aron created distinctive characters full of human foibles as well as transcendent virtues... Of course, the people preferred Aron, who in Merritt's outstanding portrayal shrewdly shifted between seductive snake-oil salesman and selfless committed leader." [Wynne Delacoma] |
Schoenberg's MOSES
UND ARON in Berlin
Der Berliner Morgenpost, 3 April 1999
"The absolutely unsingable tenor part of Aron was presented
by CHRIS MERRITT whose portrayal
illuminated as though drawn and sketched with a brightly glowing
pen: a fanatic straight from the political
bureaus of 'religious beliefs.'"
[Klaus Geitel]
Die Welt, 3 April 1999
"The contrasting differences between the visionary and the
pragmatic came forward with great thrust in the
two central scenes between Moses and Aron...the messenger, Aron,
sings- and this conventional operatic form
serves its purpose, even when the dizzying vocal lines (which
CHRIS MERRITT follows with tonal security and
drama) are anything but conventional."
[Manuel Brug]
Berliner Zeitung, 3 April 1999
"CHRIS MERRITT's Aron was an exemplary
profile of the demagogue's attributes, the enlightening speaker.
His acoustically far-reaching vocalization reminded one of
Tannhäuser or Cavaradossi, and seemed even somewhat
Dionystic in his expression, which was of great importance in
many artistic works from the beginning of this century."
[Klaus Georg Koch]
| Berlioz' Benvenuto
Cellini in Amsterdam Rotterdam Philharmonic Orchestra Valeri Gergiev, Conductor Het Parool, 17 May 1999 "CHRIS MERRITT performed the vocally murderous title role, richly infusing it with a great variety of depth and inner emotions..." [Erik Voermans] Trouw, 17 May 1999 "...an absolutely outstanding cast for this 'jewel of a matinee'...tenor CHRIS MERRITT brought to life the frighteningly difficult part of Cellini, singing with as much verve as with subtle expressivity." [Franz Straatman] Opernglas, July/August 1999 "The Netherlands Radio Broadcasting Company VARA.... had put Benvenuto Cellini on their season plan of the much-beloved series, 'Matinee on Free Saturdays', and had the luck to be able to replace the cancelled Jerry Hadley with CHRIS MERRITT , who is an equally prominent interpreter of the title part. MERRITT was an outstanding interpreter of the title role. Naturally the voice has become heavier, more heroic and now possesses a broader foundation through the singing of more dramatic roles, compared to his Rossinian past. The timbre might be a matter of taste, yet one witnessed with delight not only his great stylistic security but also the shining, radiating power of his top notes, which at moments he appropriately produced with a voix miste.....Enthuastic cheering, naturally with standing-ovations, especially for Netrebko, MERRITT and Gergiev." [Peter Schuenemann] |
| Schoenberg's Moses und
Aron in Berlin New production, Deutsche Oper Berlin Conductor, Christian Thielemann Premiere, 1 October 1999 Opera News, February 2000 "...Chris Merritt had an easy time, vocally and histrionically, shaping Aron into this production's only significant figure. ...[the tenor] sang vigorously, his voice reflecting passion, raw sensuality, and despair; surprisingly, his acting was also more refined than that of Boysen (Moses)." [Jochen Breiholz] Opernglas, November 1999 "The role of Aron found itself in the best of hands with Chris Merritt, who gave the demagogue a towering vocal and acting profile with a beamingly shining, well-seated tenor voice; great textual clarity and understanding; and elegant stage entrances. Effortlessly and distinctly he dominated the Moses of this production, as, of course, was the intention of the composer." [U. Ehrensberger] Opernwelt, November 1999 "With a vocal power of almost southern European sparkles and glitter, and with enormous brilliance of textual elegance, Chris Merritt was not merely the sharp-tongued seducer of the populace, but moreover was the very urgent 'other I' of Moses." [Eckart Schwinger] Orpheus, December 1999 "The splendid interpreter Chris Merritt was offered as protagonist...with a tenor full of power and character. Cutting through with ease in the upper register, Merritt presented a sharply defined and articulating Aron with seeming effortlessness." [Brend Hoppe] Berliner Morgenpost, 3 October 1999 "In some ways Friedrich's production reverses the title, reading Aron und Moses. Contributing to this, naturally, is Chris Merritt, this unusual [and] uncommon singer, who has literally 'sung himself over'...out of the heroically-toned bel canto into Schoenberg's expressive lines; a vocally overwhelming herald of the spiritual argument- unyielding, sharply accentuated, at once mighty and distinct of word. Merritt is already assured a nomination as the most thrilling interpreter of the yet barely begun season." [Klaus Geitelwa] Frankfurter Allgemeine Zeitung, 4 October 1999 "Star tenor Chris Merritt, who...as Aron already infatuated the crowds in Salzburg and Amsterdam with glorious vocal sweetness and soaring high notes, has gotten his particular vocal inclinations even better under control. He delivers a convincing portrait of this cooly calculating fisher-of-men: with the erotic charisma of a propagandist and animator...This Aron is a strong counterpoint to the always lightly overheated Moses." [Eleonore Buening] Theater Rundshau, November 1999 "Chris Merritt as Aron is the exciting singer of the evening. He conquers the music, saturated with large vocal jumps and small half-tones, with no difficulty whatsoever." [C.D.] Premieren Nachlese "Yet his (Moses) speaking voice could not assert itself over the vocal attacks of a developing Heldentenor (Chris Merritt), who seems to be preparing for future engagements as Sigfried with his penetrating carrying power..." [Ekkehard Pluta] Morgenpost, 2 October 1999 "Chris Merritt is outstanding as Aron. He has formed a Parade-roll out of this tenor part." [G. L.] Der Tagesspiegel, 2 October 1999 "Chris Merritt triumphs over the touching 'thinker' Rolf Boysen (Moses)." [S. M.] Berliner Kurier, 3 October 1999 "...High esteem and respect above all for the tenor Chris Merritt..." [M. Brueckner] Hessische Allgemiene, 11 October 1999 "Chris Merritt's blazing Aron stands at the centerpoint, and one is amazed at his ability to sustain this murderous tenor part." [Andrea Hilgenstock} The Financial Times, 8 October 1999 "Chris Merritt embodies with utter conviction (the role of Aron), performing the large, ariose-filled role with a superiorly-guided tenor." [Roland Comes] Frankfurter Rundshau, 5 Oktober 1999 "Chris Merritt commanded the scene here effortlessly as Aron. He is the true achiever, the conqueror." [Georg-Friedrich Kuhn] Stuttgarter Zeitung, 8 October 1999 "The God-searcher Moses...his thoughts dogmatically crackling against his brother Aron. Not a chance. The role of Aron is so brilliantly sung and articulated by...Chris Merritt, that the values are turned around. This piece should be called Aron und Moses." [Rheinhard Beuth] Nuernberger Nachrichten, 5 October 1999 "The audience...rewarded with strong ovations...the Aron of Chris Merritt, who rose increasingly to impressive strengths of tenorial singing and acting." [Lorenz Tomerius] Neues Deutschland, 8 October 1999 "The statesman with a seductive Heldentenor voice which seemed to beam into the heights like the dawn, smoothly soaring Chris Merritt...with the gleam of his voice, the 'Tenorist' sometimes appeared to outshine the argument of the speaking alter-ego (Moses)..." [Hanjueergen Schaefer] Salzburger Nachrichten, 5 October 1999 "Chris Merritt actually transforms this contrary role of Aron into a positive hero: an opportunist, naturally, but one of conviction, guided by pure ideals and anything but a weakling...Merritt, whose astonishing development from a highly famous Rossini tenor to this role, as well as his extremely understandable articulation, deserves all respect..." [Gerald Felber] Sueddeutsche Zeitung, 4 October 1999 "Chris Merritt, on the other hand, soars as Aron..." [Hans-Joerg von Jena] NDR Radio-3 Musikforum, 4 October 1999 "Chris Merritt is just as impressive in his performance of the difficult tenor part of Aron- vocally effortless, powerful, utilizing expression and emotions..." [Brigitte Schubert-Riese] DW Radio, 8 October 1999 "Aron is sung by a Chris Merritt in top form..." [Thomas Simon] |
| Janacek's Katja Kabanova Season premiere, 17 December 2004 Metropolitan Opera, New York City "As the husband Tichon, Chris Merritt sings forcefully yet beautifully, with an anxious undercurrent mirroring the sad activities onstage..." |