REVIEWS

Albert Herring  Bronx Opera

January 18, 2015

“The Bronx Opera has mounted an excellent production...the performances are earnest and truthful, filled with specificity. Bravo to the Bronx Opera Company...for bringing to effervescent life the story of Albert Herring!” Navida Stein, StageBuddy

 

January 17, 2015

“Bronx Opera’s Albert Herring made a modest but pleasing late entry in the celebration of 2013’s Britten bicentennial (sic)... For the Bronx-based group, Rod Gomez directed a straightforward, fond but never too arch account of the piece… a successful collaboration.” David Shengold, Opera News

 

January 11, 2015

“The opera was an excellent choice for Bronx Opera. The weather was bitterly cold and perhaps the best compliment we can pay them is that the evening was well worth the two-hour round trip. The singers were excellently cast… the acting could not have been better...Professionalism of the highest degree was noted in the fluid direction by Rod Gomez...The production we saw last night was in no way less impressive [than the Santa Fe Opera’s]” Meche Kroop, Voce di Meche

 

Giulio Cesare in Egitto Opera Roanoke

March 25, 2014

“The many moods of Handel’s Julius Caesar by Opera Roanoke were on display Friday night….This Baroque opera seria is a challenge because of its length, its difficult vocal writing, its convoluted plot, and its requirement of elaborate visual effects. On all these counts, the company delivered a winning rendition, sparking an appreciative standing ovation at the end of the evening.” Timothy Gaylard, Professor of Music, Washington and Lee University, Special Contributing writer to the Roanoke Times

 

CARMEN Opera Roanoke

April 29, 2012

“A sold out audience showered applause Friday evening on Opera Roanoke’s thoroughly enjoyable performance of George Bizet’s ‘Carmen’ ….comes through in solid style.” Michael Saffle, The Roanoke Times

 

La Clemenza di Tito  Basoti Opera

“BASOTI presents Mozart’s final opera” July 17, 2011

Tito is not a particularly popular opera. However, for the BASOTI production Stage Director Rod Gomez made the bold decision to transplant the setting from Rome 79AD to contemporary Washington. This take on the unfolding of the plot progressed at a well-paced clip....which comfortably reinforced Gomez’ dramatic pace. All the performers in this cast were firmly established in their roles’ respective characterizations. Stephen Smoliar, SF Examiner

 

SUOR ANGELICA  Basoti Opera

December 25, 2010

“A very good year in review”:

July: Giacomo Puccini’s “Suor Angelica” performed by the students of the Bay Area Summer Opera Theater Institute (BASOTI) under the stage direction of Rod Gomez. One might have expected things to slow down in July, but this was a month when too many good things were happening. However, while I am far from Puccini’s greatest fan, this was a production that mined every detail of the scenario’s psychological complexity with harrowing results. Indeed, Gomez’ achievement was all the more notable in the context of the highly effective staging by James Robinson that the San Francisco Opera presented the preceding fall. The BASOTI schedule offered this production only three times, each by a separate student cast; but as I reported at the time it was definitely a “must see” event for the summer. Stephen Smoliar SF Examiner

 

Die Konigskinder   dell’Arte Opera Ensemble, Gerald Lynch Theater, New York City

Decemeber 22, 2010

“Rare Humperdinck Opera a Treat”

The stripped down staging by Rod Gomez (no live geese but very cute hand puppets instead) allowed the action to flow clearly through the three acts without requiring any delays for set changes. Mike Silverman, AP/ABC News

 

Basoti Opera

July 30, 2010 “A stunning end of season”:

“... Last night’s program of seventeen opera and operetta scenes served as a “graduation ceremony” for the eighteenth season of (BASOTI)....Two of the most compelling stagings were duets. The first was the “Presentation of the Rose” scene from Richard Strauss’ Der Rosenkavalier....witnessing it executed by performers who, themselves, are on the threshold to such maturity escalated the opera to a higher level of understanding; and director Rod Gomez deserves much credit as the enabler of this experience....[from the second act of Giuseppe Verdi’s Aida]....Again the director was Rod Gomez, who seems to have a special skill in dealing with such crucial situations... this is a scene that involves a complex web of moods and those moods were skillfully realized... both worked excellently with Gomez in establishing the complexities of their respective characters. Stephen Smoliar, SF Examiner

 

July 22, 2010 “Worlds without desire”(Suor Angelica, Bay Area Summer Opera Theater Institute [BASOTI]):

“....The result is a narrative that abounds with psychological complexity. It is an ambitious project for any opera company and a major undertaking in a pedagogical setting, such as BASOTI. In this latter the opera has received all the theatrical attention it merits from Stage Director Rod Gomez...The only cause for regret is that these theatrical and musical insights will only be available for two more performances at the San Francisco Conservatory of Music...this is very much a “must see” event for this summer. Stephen Smoliar, SF Examiner

 

 

“Critics’ Pick 2010” Time Out NY (Cosi fan Tutte) Pocket Opera NY

 

 

Madame Butterfly  Pocket Opera

July 19, 2007: “Pocket Opera’s ‘Madame Butterfly’ is marvelous” (Napa Valley Opera House):

“...larger than life results. The company’s heart-rending performance proved that opera can be at once high-brow and accessible, technically rigorous and intelligible.... zeroed in on the opera’s most touching attribute: its story....[Butterfly] evoked the complexity of a woman torn between two worlds. She was both butterfly and something more powerful, undergoing a complicated transformation onstage - from heart-breakingly demure to bravely heroic and, finally, to nothing short of tragic.” Jillian Jones, Napa Valley Register

 

 

I Pagliacci Chelsea Opera

June 9, 2006

“The production, directed by Rod Gomez, was endearingly homey...The eager chorus looked rather poignant....The palpable involvement of the entire cast was winning.” Anthony Tommasini, The New York Times