Opera

Photos

sound clips

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

Photos

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."

"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

Photos

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."

Photos

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."
MDR January 2003

Erik in Wagners Der fliegende Holländer

"… Edward Randall delivered as Erik secure, metallic, rising high notes. „

Opernwelt March 2002

" 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. "

"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."

"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."

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. "
Mindener TageblattUdo Stephan Köhne, 11/2002

"… Edward Randall as the hunter of the lost treasure did his thing well ... he had no problems with the difficult tessitura of this role. "
Opernglas K.G. v. Karais, 11/2002

"… 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...

Knoxville News October 2001

"…Edward Randall sang David's initially amorous, then grieving music in handsome, charged tones. Conviction and commitment were evident from every performer…"

Patrick Giles Opera News June 2000

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.

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.

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 ."

Rhein-Neckar-Zeitung

"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."

Meininger Tageblatt

"Edward Randall rose above the excellent singer sextette with his radiant powerful Tenor."

" 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.

"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.