REVIEWS 

CARNEGIE HALL- La Forza del Destino

"Perretti was well partnered by the lustrous baritone of Fredrick Redd who the necessary round middle voice as well as the top needed for this impassioned clash between the holiness of the cloister and the taunting thirst for revenge...Peretti and Redd under the steady baton of Maestro Vincent LaSelva made "Le minaccie, i fieri accentia"(the duet) a wonderful sampling of opera at its best!"

THE ITALIAN VOICE, Nino Pantano

 

CARNEGIE HALL - Beethoven's Ninth Symphony


"Fredrick Redd's authoritive and resplendent baritone was truly the herald and the chronicler of triumph as Schiller's 'Ode to Joy' prevailed through the herculean efforts of the entire ensemble."

THE ITALIAN VOICE, Nino Pantano
 

 

 

 

EMPORER JONES

 


"Fredrick Redd was a powerful Jones, metamorphosing from a strutting Idi Amin type to a disintegrating wreck. The parlando vocal writing didn't give him much of a chance to soar, but he was a compelling vocal actor."

OPERA NOW (London)  Heidi Waleson

 

"Fredrick Redd, a baritone with a sizable instrument..." 

NEW YORK TIMES, Anne Midgette

 

"Baritone, Fredrick Redd looked the part of Emperor Jones and sang resonantly..."

THE WESTSIDER , Bill Zakariasen

 

"Naturally, the basic question in presenting either the play or the opera is whether you have an Emperor. The role demands a performer capable of presenting the power and turbulence of the Emperor, and also the skill and experience to maintain the role through what is largely a monologue after the first scene with the cockney Smithers. Director Patrick Casey was fortunate in his choice of Fredrick Redd as the central figure. A large, barrel-chested man, Redd expressed the necessary confidence and charisma in the first scene… Redd has an excellent voice and was particularly moving when singing a spiritual."

THE EUGENE O’NEILL REVIEW, Robert S. McLean, City University of New York.

  

UN BALLO IN MASCHERA

"Renato (Riccardo's secretary and murderer), was masterfully sung by Fredrick Redd.  His strong yet mellow baritone negotiated the dramatic, vengeful and poignant passages of Verdi with many memorable moments, among them his soulful singing of "Eri tu", towards the end of Act 2. Redd's voice challenged to the limit by this aria and he met the challenge by making us feel Renato's heartbreak earning him an ovation as well." 

THE ITALIAN VOICE, Nino Pantano

 

CARNEGIE HALL - Giovanna D'Arco

"Fredrick Redd impressed as Giacomo, father to Giovanna, his Italianate baritone always projected with a combination of robust mellowness and great drama in his condemnation scenes. Remember the composer always was best in father daughter scenes and Joan of Arc is no exception especially when Joan of Arc forgives her lamenting father at the finale." 

THE ITALIAN VOCE, Nino Pantano

 

TOSCA

"And what a consummate villain Scarpia was as sung by baritone Fredrick Redd! How he made you hate the character he played!"

THE RECORDER, Ray Harris

 

"The villainous Scarpia was sung by baritone Fredrick Redd, whose full-bodied sound completed the triumvirate of principal vocal power."

UNION-NEWS Clifton J. Noble, Jr.

          

AIDA

 

"Fredrick Redd brough Amonasro a pleasant tone...."

OPERA NEWS, David Shengold

 

CARMEN

 

"The singing was superb, especially that of Fredrick Redd who played Escamillo.."

CEDAR CLIFF SENTINEL, Kate M.

 

"Fredrick Redd's mellow baritone had the audience clapping in union to the rhythm of the Toreador Song from Bizet's Carmen and a beautifully rounded account of Per me giunto from Verdi's Don Carlo.  Redd's lyric quality caresses the ear and his stage deportment is another plus". 

THE ITALIAN VOICE Nino Pantano

 

LA BOHEME

"Marcello was sung with mellow plangent tone by baritone Fredrick Redd. Redd moved the audience with his sincerity, musicality and vocal warmth."

BORO PARK, Nino Pantano