Bacchus in Strauss' Ariadne auf Naxos in Chemnitz
The 'serious pair' is sung by Nancy Gibson and Edward Randall. The entrance of the latter was the vocal highlight of the evening. With a firm, and in the middle voice baritonal grounded tenor, he soars with grand phrases and powerfully shapes the extremely difficult Bacchus passages of the final duet.
www.klassik.com Uwe Schneider, 13.05.2006
"Edward Randall delivers Bacchus with great tenoral power and radiance."
Sächsische Zeitung Jens Daniel Schubert, 15.05.2006
Arindal in Wagners Die Feen in Würzburg
"The tenor role of Arindal demands youthful fire, a tragic figure a la Tannhäuser and Tristan, and flexible melisma as well as helden tenor power and stamina. Edward Randall brought all of these qualites in such a degree that enabled him to create an enthralling portayal of this torn, happless Prince . His beautiful as well as flexible voice with remarkable soaring high notes conquered the evil forces".
Der Neue Merker Sieglinde Pfabigan, März 2005
"The vocal realization is a major feat, which thanks to a number of guests is achieved. Edward Randall creates an Arindal with vocal and dramatic intensity, in his hopelesness, brokenness, and bewilderment that one will not quickly forget..."
Fränkisches Tageblatt Monika Beer, Februar 2005
"To the good theater ensemble came a few guests, the most important, Edward Randall (from Chemnitz) who optimally sang and personified the demanding tenor role of the prince Arindal."
Der Neue Merker, Februar 2005
Hoffmann in Offenbach's The Tales of Hoffmann in Chemnitz
"Edward Randall delivers a brilliant Hoffmann"
"In this work all is for nothing, without a tenor. Even the colleagues applauded Edward Randall, as he was righlty celebrated in the generous final applause for his grandiose Hoffmann."
Sächsische Zeitung Irene Tüngler, March 2004
"Edward Randall, in the titel role, offered everything that was demanded: passion, lyrical swooning and staying power until the end of the enormous role."
Neues Deutschland Laura Naumburg, March 2004
Lenski in Tschaikowsky's Eugen Onegin in Chemnitz
" Edward Randall is a very solid and powerful Lenski, who never the less leaves no wishes unanswered with his vocal lyricism and sweetness of tone."
Das Orchester March 2004
Max in Carl Maria von Weber's Der Freischütz in Chemnitz
Edward Randall sang
like one expects a tenor in a German Romantic Opera : not held back in the
lyrical passages only to be over taxed in the dramatic scenes, not with
italianate exaggeration or sobbing tenor mannerisms, not with the stiffness of
the heavy Heldentenors, rather he posseses something of all of the virtues of
these vocal types, beautiful timbre, strength in the dramatic outbursts and
energy to shape the psychological foundation of his figure."
Erik in Wagners Der fliegende Holländer
delivered as Erik secure, metallic, rising high notes.
" The role of Erik was entrusted to the theater's lyric tenor. Respectable and with many beautiful tones Edward Randall mastered the ungrateful and difficult part with no conditional deficits. "
Das Opernglas March 2002
"Edward Randall's performance as Erik was remarkable. He unites equally the lyric and the dramatic - for his vocal resources he exceeds himself and offers a convincing portrait of the role."
Blitz February 2002
"Most impressive was Edward Randall as Erik, the true lover of Senta. One would not have been surprised if Senta had spontaneously changed her mind."
AD Rem. February 2002
Erik in Wagner's Der fliegende Holländer in Minden
A Trump of the production is
Edward Randall's Erik, who let his baritonal grounded tenor shine
in full brilliance. "
Edward Randall as the
hunter of the lost treasure did his thing well ... he had no problems with the
difficult tessitura of this role. "
|Siegmund in a concert performance of the first act of Wagner's
Die Walküre with the Knoxville Symphony
There were moments when it almost
seemed like a real opera, especially when Edward Randall, singing the role of
Siegmund, took over the stage with his vigorous presentation of the
brother/lover of Sieglinde...
|King David in Kurt Weill's The Eternal Road at the Brooklynn Academy of Arts|
Edward Randall sang David's initially
amorous, then grieving music in handsome, charged tones. Conviction and
commitment were evident from every performer
Tom Rakewell in Rakes's Progress
The cast of this difficult piece, made up entirely of soloists from the Chemnitz ensemble, was convincing throughout. Versatil and emotional, Edward Randall used his outstanding vocal and acting skills to create an agil and careless Tom whose hunger for fame and fortune, his wavering opposition to temptation and his insane desire to be a young Adonis could be personally experienced by the audience.
|Almaviva in Rossini's Il Barbiere di
Edward Randall as Almaviva mastered the roles difficult "cliffs" with elegance and astounding vocal warmth. As an actor he was most surprising as a first rate comic talent. Whether it was as the stinking drunken soldier or as the wily music teacher he was convincing throughout and moreover in the end created a lover of manly intimity.
|The Serenade for Tenor, Horn
and Strings Benjamin Britten
Mozartfest im Schloss Schwetzingen
"...It was followed by a both dreamily technically performed and deeply emotional reading of The Serenade for Tenor, Horn and Strings from Benjamin Britten... Britten wrote the work as many of his works for Peter Pears and for the phenomenal horn player Dennis Brain. In Schwetzingen Tenor Edward Randall managed with his both lyrically controlled and heroically unrestrained voice to reach this overwhelming example set by this historical pair and produced as if by magic, together with the excellent hornist Tobias Liedtke, a richly complicated and endlessly subtle world of sound. Especially in the Epilog unfolded a throat gripping sadness of unbelievable tenderness and poetry ."
"Für den Sänger erwiesen sich die "Erleuchtungen" als eine immense herausforderung an sein stimmliches Vermögen und an seine Gesangstechnik. Enorme Intervalle galt es da zu meistern, belcantohafte Momente unvermittelt in ein hartes Fortissimo zu steigern. Nur so sind die scheinbaren Wahnsinnigkeiten des sich kein Maß setzenden Rimbaud in der Vertonung durch Britten nachvollziehbar zu machen. Auch wenn man es leider unterlassen hat, gelang es Randall, dem Publikum jene Entgrenzung zu signalisieren, die dem Dichter wie dem Komponisten vorschwebten. Eine hohe Musikalität, eine strapizierfäige Stimme, gapaart mit Sinn verständnis, brachten einen Eindruck zustande, der das Publikum hingerissen applaudieren ließ."
|Jesus-Passion Oskar Blarr (In Hebrew)
"Edward Randall rose above the excellent singer sextette with his radiant powerful Tenor."
MOZ Frankfurt (Oder)
" Edward Randall was convincing in the Role of "Gerontius" and the "Soul". His sensitive Piano with "How still it is" or the painful despairing "Take me away" were equally impressive.
Gerhard Mieth, Magdeburg
"Above all Edward Randall was able demonstrate his creative powers in the contemplative passages and in the recitatives of Obadjah he was able to employ his refined technical skills and broad palette of vocal colors.