PRESS
RECENT REVIEWS
Falstaff in Verdi’s Falstaff, West Bay Opera
“Watching and hearing the molten and smoky baritone blend of Richard Zeller’s Falstaff celebrating his belly and getting a good roasting is theatrical gold. An experienced Metropolitan Opera singer, Zeller’s animated and agile Falstaff prompts laughter both with him and at him, with continual lashings of charisma and spots of sympathy for the ridicule he receives. Zeller makes his performance all the more impressive because every moment on stage is given conviction as Falstaff engages, dismisses, plays and grapples with his townsfolk. ”
Falstaff in Verdi’s Falstaff, UNCG ~ University of North Carolina Greensboro
“The ebullient personality that Zeller crafted in Act One was meticulously maintained inn the two subsequent acts. It was only in the sense of the character’s more advanced age that Zeller was an obvious veteran performer amongst a cast of twenty-somethings: he brought a buoyant impishness to Falstaff’s antics. Int eh first scene of Act Two, he voiced the brilliant soliloquy ‘Va, vecchio John’ with the rich tone and dramatic finesse that it deserves.”
In Recital with Dr. Beth Nam
“Zeller’s magnificent bass baritone poured forth the anguish of Beethoven, revealing his innermost thoughts.”
Kurt Weill’s Seven Deadly Sins, Detroit Symphony, Carnegie Hall
“But certainly the greatest anticipated highlight of the night was Richard Zeller’s demonically lustful Scarpia, and his performance was entirely authentic and wholly dominating - he was nasty from first note to last. Whether singing poisonous sweet tones of his feigned attraction for Tosca in Act I, or his tortuous cruelty and barbarous domination of her in the second act through unremitting brutality to Cavaradossi, Zeller’s venomous acting and flawless vocal mastery had me entirely convinced all night.”
Germont in Verdi’s La Traviata David McVicar dir., Scottish Opera
“Alongside her was another local star and colleague from the Met, baritone Richard Zeller, who as Count di Luna matched her in expression, presence, and power (when he opened up at the end of the second act, he could easily have swept the mike aside and still filled the amphitheater without sounding strained). Especially given the outdoor setting, hearing Meade and Zeller together was like watching two great hitters at a ballpark on a hot, humid day with the wind blowing toward the outfield; they just knocked it out of the park, again and again.”
“The cast of the production excels from top to bottom. The success of the production rides first on the able shoulders of Richard Zeller, a classic Falstaff. With the aid of costumery, makeup, and wig, he looks the part of the corpulent rogue, but his commanding presence and ebullient acting yields the required brio and debauchery. Of course, the proof of the pudding is in the singing, and Zeller charms with a playful high end, a strong and clear middle, and a resonant low.”
“Richard Zeller brings his big-sounding baritone into full play as he barrels through with rum-reddened nose the antics that his Sir John employs to set up his hoped-for duo-trysts with two women whom he believes “keep the keys to the money box” of their rich husbands. As John fills his belly while dreaming how to satisfy his lust for love, he is clearly also vested in filling his pockets with the gold he needs to continue his life of tavern luxury. Everything Zeller does is hilariously over-blown and wonderfully over-done, from the voluminous layers of clothing he dons to the grand sweeps of his arms used to accent his words to a mouth that can open in cavernous proportions both to eat and to sing forth his propositions and promises. So intent is he on his own greatness and so hungry to appease his ever-gnawing appetite for a beautiful woman’s kisses and her husband’s gold that he is as blind as a bat to all the obvious schemes playing out around him that are meant as righteous and roisterous revenge for his own devilry of sending the exact same two letters of love to two women who are best of friends. ”
“As Iago, Richard Zeller repelled with his evil while embracing with his vocal might and warmth; he delivered emphatic notes like a heavyweight champ delivers punches, with focused, visceral impact.”
AWARDS + HONORS
•Emmy nominated nationwide television broadcast Live from Lincoln Center:
Mozart Requiem, Mostly Mozart Festival, Beverly Sill, Presenter, Gerard Schwartz, cond.
•Outstanding Alumni Award – George Fox University
•Licia Albanese-Puccini Foundation Study Grant
•Richard Tucker Foundation Career Grant Winner
•Baltimore Opera Competition: 1st Place Winner and Audience Prize Winner
•New Jersey Opera Competition: 2nd Place Winner
•Irma M. Cooper Opera Columbus Vocal Competition: 2nd Place Winner
•Opera Index Award
•Richard Gold Grant from Shoshana Foundation
•Liederkranz Competition Award Winner
•Sullivan Foundation Award Winner
•Musicians Emergency Fund Contest: 3rd Place Winner
•Metropolitan Opera: Member of Lindemann Young Artist Program
•Oratorio Society of New York Competition: 1st Place Winner
•San Francisco Opera: Merola Opera Program Winner
•Portland Opera Eleanor Lieber “Stars of Tomorrow” Contest: 1st Place Winner
•College Conservatory or Music CCM, University of Cincinnati, Teaching Assistantship,
DMA program adjunct voice teacher
•Norman Treigle Memorial Scholarship Winner,
College Conservatory of Music CCM, University of Cincinnati
•Corbett Scholarship award, College Conservatory of Music CCM, University of Cincinnati
•Dieterle (Louise Nippert) Scholarship Winner, College Conservatory of Music, CCM, University of Cincinnati College Conservatory of Music CCM, University of Cincinnati, Masters & Doctoral Student with Full Scholarship
•Who's Who Among Students in American Colleges and Universities.
REPRESENTATIVE REVIEWS
Howard Hanson MERRY MOUNT
Rochester Philharmonic, Spring for Music Festival,
Carnegie Hall
“Merry Mount,” which had an acclaimed premiere at the Metropolitan Opera in 1934, now seems a period piece. Based on a Hawthorne short story, it centers on a Puritan preacher’s crisis of faith in a New England village, but atop this intimate personal struggle are laid the trappings of grand opera, all out of scale… Michael Christie, who conducted here, offered a well-prepared and meticulously executed performance. Richard Zeller and Sara Jakubiak sang the lead roles ardently and effectively”.
- James R. Oestreich, New York Times, 5/14
“The performance was, if nothing else, ambitious. Michael Christie, a guest conductor, enforced momentum enthusiastically. The youthful Eastman choir chirped brightly, and the Rochester orchestra roared deftly. The large, uneven cast was dominated by the robust baritone Richard Zeller, apparently unfazed by the anti-hero’s endless self-pity and cruel tessitura”.
- London Financial Times 5/14
Zeller, a proper barrel of a man, looks like an opera singer should in the lead role of Wrestling Bradford, the minister wracked by carnal dreams. He also played the role in the most-recent dusting-off of Merry Mount, two 1996 performances by the Seattle Symphony. One of his major concerns, he admitted, was singing some of the arcane words of the story, derived from "The Maypole of Merry Mount," a short story by Nathaniel Hawthorne. "The Puritans' language," he said, "is Nathaniel Hawthorne on steroids."
Wednesday's audience was aided by lyrics and story narration projected on the wall behind the musicians. When Zeller sang words like "athwart," it came off like it belonged. Many of the 17 operatic actors — about half from Rochester, the rest imported from the opera world — couldn't resist acting out their roles just a bit.
And Hanson and Stokes showed they knew how to end an opera, with the two main characters perishing in a fire. That drew a standing O, although curtain calls were limited to two or three, depending on how one counts such things.
- Jeff Spevek, Democrat & Chronicle, 5/14
Opera Review: Burn This
“The plot of Merry Mount is driven by the preacher Wrestling Bradford, sung here by baritone Richard Zeller. With a burly stage presence and sonorous tone, Mr. Zeller made this desperate, love-struck minister a study in internal conflict. As he rained hellfire upon his congregation in the opening act, Mr. Zeller rode huge, sometimes drowning waves of orchestration, buoyed by expert choral support. In the later acts, he had more opportunity to bring his voice and acting skills to the fore, particularly in the "damnation" scene where the good Reverend has a vision of hell that ends in copulative bliss. The two leads were even stronger in the final scene, as the good preacher accuses Lady Marigold of witchcraft, reveals his allegiance to Satan and charges headlong into the burning town church”.
- Paul J. Pelkonen, Superconductor blog, May 8. 2014
“Richard Zeller tried to convey the internal struggle of Bradford, the village minister, with his own ‘weakness of the flesh’ by eliciting as much passion as his moderate vocal powers could generate. His moving aria following Marigold’s was a fervent plea for the courage to repent, and their duet before their immolation at the end of the opera was also impressive”.
- Lewis M. Smoley, Classical Source May 7, 2014
“The mere characters of the story were also well sung. Richard Zeller, a sturdy figure with a tidy baritone, proved capable of Wrestling Bradford’s enormous range and of suggesting his passions…”
- John Yohalem, Parterre Box, May 8, 2014
MENDELSSOHN
ELIJAH
Chorale shares wonder and warmth of Mendelssohn's biblical epic
Baritone Richard Zeller gave Elijah operatic flair and presence with a warm, open, ample tone. He was at times irrepressibly pleased to be doing the Lord's work, confidently mocking the Hebrews' misplaced trust in Baal, delivering God's word with stentorian aplomb; but he also brought stoic gravity to "It is enough," resigned to the possibility of death, anxious whether his best efforts have been for naught.
- Matthew Guerrieri, Globe Correspondent, June 2, 2008
Concert report: BBC Elijah
And the baritone. Richard Zeller. Mr. Zeller's bio says, "He is known for his beautiful dramatic voice and presence as well as his outstanding musicianship" which in my opinion pretty well covers it. He was a splendid Elijah. His two arias in the second act in particular were really special. There are times during a performance when something touches you and you know that you are part of the audience, and you are all being touched together in the same way, and something really special is happening. And then there are times when the music touches you and you know it's personal, that only you are responding that way at that moment. Both types of moments are equally special in different ways. The first aria, "It is enough, O Lord" was an example of the first - it was the emotional high point of the performance. But the second, "Though the mountains shall depart," felt as if it reached out to me personally - it was just so lovely, and such a giving, gentle performance. I don't generally feel a great deal of affinity for Mendelssohn, but I could feel Zeller's performance of that aria physically chipping away at my opinion, and changing my Mendelssohn attitude permanently for the better.
- Allegra Martin, CurrentConductor.blogspot.com, May 30, 2008
“Zeller was confident as Elijah, his voice full of sharp nuance and shading, but always free of sentiment. . .”
- Kurt Loft, The Tampa Tribune
“[Richard] Zeller, an opera singer, brought unusual expressiveness to Elijah. His prophet was not just an ornery, wrathful character; he was sensitive, and comforting when he promised ‘the Lord will send rain again upon the earth.’”
- John Fleming, St. Petersburg Times
“Richard Zeller stepped in and proved the search to be an unqualified success.”
“Zeller, on loan Thursday and tonight from Lyric Opera of Chicago, embodied the Old Testament hero from the moment he stepped forth in the introduction. His declamation was forceful throughout, his baritone lustrous from top to bottom and his ability to express the myriad nuances in Mendelssohn’s score complete.”
“Elijah travels a long psychological road in this oratorio, and Zeller’s compelling artistry kept the man’s humanity in fresh, eloquent focus. How lucky that Cleveland secured such a charismatic replacement.
- Donald Rosenberg, The Plain Dealer
“Zeller consistently displayed a seamless sound throughout his voice, and a magnificent expressive range with seemingly limitless nuance. His voice was sheer pleasure to hear, particularly in ‘Ego sum abbaas.”
- Margaret M Barela, Albuquerque Journal
“. . . baritone Richard Zeller’s strong yet sensitive handling of Elijah’s music. The prophet’s bitter sarcasm in the scene with the priests of Baal came through vividly, as did his profound despair and longing for death (‘Es ist genug’).”
- John von Rhein, Chicago Tribune
ORFF
CARMINA BURANA
The baritone has most of the solo work in “Carmina Burana,“ and Richard Zeller demonstrates a magnificent range of dramatic effects. His romantic rubato, sneering self-mockery and decadent pomposity emphasize the emotional involvement “Carmina Burana” demands of its audience.
- Angela Lehman-Rios, Richmond Times-Dispatch, 9/28/09
The vocal soloists were outstanding. Baritone Richard Zeller, who has performed with the symphony in several previous programs, made a meal of his prominent role here, delivering everything from near-crooning to rattling speech-song.
Review: Richmond Symphony
Sept. 26, Carpenter Theatre, Richmond CenterStage
“Baritone Richard Zeller’s solo was pure and controlled as the strings accompanied his song of a boy’s lusty springtime desires (‘April shows her face; the confident heart rushes to love, and overall delights, the boyish god rules’).”
- Anne Voegtlin, The Oregon Columbian
“Adding enormously to the sensuality of the performance, was baritone Richard Zeller’s often ravishing vocalism. Shading his voice with one suggestive nuance after another, he tapped the deepest of each solo. His smooth, warm tones in ‘Omnia sol temperat’ were especially compelling.”
- Tim Smith, Miami Sun-Sentinal
“Perhaps the most bite was injected by the compelling presence of bass-baritone Richard Zeller/ He displayed an impressive repertoire of expression and vocal color in ‘Omnia sol temperat,’ and continued to impress with his admirable attention to word and detail.”
- Janelle Gelfand, The Cincinnati Enquirer
“Zeller, no stranger to Cincinnati concert-goers, is a graduate of the University of Cincinnati College-Conservatory of Music. He delivered this tremendously witty music with unusual skill and managed to negotiate the incredible falsetto passages along with the velvet true bass baritone sounds.”
- Betty Dietz Krebs, The Cincinnati Post
Howard Hanson Merry Mount
Recording reviews 2007
The Seattle Symphony plays magnificently and the principal singers, while not household names, are well suited to their roles, notably baritone Richard Zeller (Bradford) soprano Lauren Flanigan (Marigold), and Walter MacNeil (Gower).
- Andrew Quint, Absolute Sound, September 2007
As a spectacular display, Merry Mount must have seemed the great American opera. There are elaborate choruses with syncopated rhythms for the children, the maypole dances and Bradford's nightmare; passionate Puccinian arias; and sensuous orchestral textures recalling Hanson's unabashedly romantic symphonies. The leading roles are splendidly characterized by Lauren Flanigan and Richard Zeller, well supported in a rehabilitation that is a credit to all involved.
- Peter Dickinson, Gramophone, September 2007
Soprano Lauren Flanigan brings fine expressive power to the role of Marigiold, well matched by baritone Richard Zeller in the central role of Bradford.
- Lawrence A. Johnson, Miami Herald, August 2007
Of the singers praise must be given to Richard Zeller for sustaining, both dramatically and technically a role in which he is not only the main character of the opera but on stage almost all the time. Even in a conflation of two performances such as this one that is very impressive. While his voice is not as beautiful as that of Lawrence Tibbett or Jerry Crawford he is their equal for drama and competes well with Tibbett in the latter’s signature aria “Tis an earth defiled” (Act1-Track 4) (see below).
- William Kreindler, MusicWeb International, July 2007
The major roles, particularly the part of the pastor, Wrestling Bradford, are taxing, Richard Zeller, both ample in vocal weight and characterization, going high in the baritone range with total conviction.
- David Denton, David's Review Corner, June 2007
VERDI LA TRAVIATA
SCOTTISH OPERA 11/08
Opera Review: La Traviata
“The issue then is finding a cast that can combine the intense vocal demands of the roles, together with a level of dramatic conviction sufficient to do McVicar (and Verdi) justice. In Carmen Giannattasio, Scottish Opera has probably found a startling Violetta. Her opening on Thursday was nervous, possibly in answer to Federico Lepre's uncomfortably lightweight Alfredo, which itself struggled to keep in tune in Act 1. But the transformation in Act 2, where Violetta encounters the imperial Germont, was astonishing, spurred on no doubt by the inspirational solidity of Richard Zeller. Their partnership is one of the most thrilling moments in this stimulating production, from which point Giannattasio's performance rockets in stature to its tragic apotheosis.”
- Kenneth Walton, The Scotsman, November 1, 2008
Impressive sets and superb musicality convince in another absorbing production from Scottish Opera
“A true gem in this performance appears in the form of Alberto’s father, Giorgio (Richard Zeller), whose impressive stage presence and strong, stirring tones move the audience to at once feel pity for his predicament, whilst condemning him for keeping the lovers apart. His remorse at the close was one of the most affecting aspects of this emotionally fraught scene.”
- Anna Fenton, The Journal, December 9, 2008
An old warhorse comes to life again
Besides, Giannattasio is small and fragile-looking anyway, especially in her confrontation with Giorgio Germont (Richard Zeller) in Act II Scene 1, even more so in her skimpy nightie in the last act. Zeller plays the part sympathetically, and his character-change from the bluster at the start of the scene to an admiration of Violetta's sacrifice is most convincing - and deliciously sung. His rendition of 'Di Provenza il mar, il suol' is beautiful.
- Catriona Graham, The Opera Critic, November 2008
Tale of a fallen woman stands out for style
“In this incarnation for Scottish Opera it is extremely well acted, more than decently sung and visually contextualised in a way that engages the mind while touching the senses… Richard Zeller, an imposing physical presence, harmonises Germont’s hypocrisy and humanity, and deserves his cabaletta.”
- Andrew Clark, Financial Times, November 2, 2008
Carmen's electric in Verdi's opera
“Her misgivings, you realise, are present even before the intervention of Alfredo's father, whose arrival in the resonant, massively self-pitying person of Richard Zeller gives the opera an even more than usually lethal turning-point.”
- Conrad Wilson, The Herald, November 3, 2008
La Traviata at Scottish Opera
The real stars of the show are Carmen Gianattosio, with her wonderfully tragic Violetta, and the fantastically solid Richard Zeller as Giorgio Germont, father of Alfredo.
- Aaron McGregor, MusicalCriticism.com, November 26, 2008
SCOTTISH OPERA: LA TRAVIATA
Above all she has star quality; when she leaves the stage, the audience pines for her return. It is a shame that Lepre's light tenor is no match for her, lending the major duets an unevenness which robs them of some of their fire. Luckily Richard Zeller's Germont senior had the depth and strength to compensate for his onstage son.
- Jennie MacFie, Hi-Arts, November 13, 2008
VERDI FALSTAFF
WITH PORTLAND STATE OPERA 4/08
Falstaff puts new spin on gut instinct
“It's also true that in Richard Zeller, who played Falstaff with delirious delight, the students had some world-class inspiration. Zeller, a leading baritone in this country and abroad, lives in Milwaukie and often performs with Portland Opera. But those roles are usually serious Germont in "La Traviata," Macbeth, Lindorf in "The Tales of Hoffmann."
This was a rare chance to see Zeller let it rip, and rip he did. A few memorable scenes: Petting his big-as-Utah belly while singing its praises, "My stomach is my kingdom. I will enlarge it." And prancing about Carey Wong's multilevel set in ridiculous flirtations with Alice Ford. And on his knees, wheezing and puffing after being dumped into the Thames in the famous laundry basket, a vestige of his former virility.
Zeller's singing had power, charm and conversational ease as he hefted the vast acreage of himself around the stage. For the final fugue, one of the grandest pieces of virtuoso writing in opera, he sat center stage, happy to realize he’s not the only fool, leading the cast, which had fanned out into the auditorium, in telling us that all the world's a joke, we are born jesters and were all cheated.”
- David Stabler The Oregonian April 14, 2009
Zeller and Portland State Opera team up for hilarious Falstaff
“It might seem odd to place a seasoned professional in the midst of fine young opera singers who are still getting their ears wet, but Richard Zeller and the opera students at Portland State University performed Verdi’s “Falstaff” with gusto. Zeller, who has sung many times at the Met and other stages around the world, made the most of his debut in the title role, one of the choice plumbs for any baritone. His colleagues from Portland State showed some unevenness, but they more than held their own. As a result, the performance on opening night (April 13) at St Mary’s Academy (Portland State’s Lincoln Hall is still undergoing renovation) satisfied the senses.
Whether he sauntered about in a bathrobe or donned a dandy’s costume (with a huge Muskateer's hat and gaudy outfit), Zeller commanded the stage with his presence. He could easily throw his ample weight around but never carelessly. He always used it to his advantage, even when pursuing the fairer sex.
The richness of Zeller’s voice, as well as its agility and heft seemed to be tailor made for this role. The way that he could grumble, demand, accuse, and tease was spellbinding, and they were just a few of the vocal qualities that he employed in the first scene. But he topped it all with a cooing falsetto that almost tickled the ears.”
- James Bash, Northwest Reverb, Tuesday, April 14, 2009
OPERAMAN: Falstaff
“If your idea of a good time is to be thrilled by a 24-carat operatic masterpiece while being carried away by the sheer joy of watching some major comedic talent, then this one is definitely for you.
I expect most of you are pretty familiar with the plot of this opera, based as it is on Shakespeare's The Merry Wives of Windsor and will know that when it comes down to it the success of any production of this opera hinges on the ability of title character to carry the piece. In this production, Richard Zeller plays Sir John Falstaff - for the first time. I strongly suspect that he has discovered his signature role and that were he to choose to do nothing else for the next thirty years other than play Sir John Falstaff in opera houses around the world he could do so - and make a terrific living at it. His performance really is a tour-de-force. Vocally there is never a moment's discomfort but additionally, his portrayal of the knight is such a treat. He has the size and presence the role requires topped off by exquisite comedic timing. And that he manages to make us laugh so hard without ever letting the humour run away with him is a tribute to not only his own talents but, I suspect, the result of careful planning by him in concert with director Tito Capobianco.”
- Stephen Llewellyn, Portland Opera Online blog, April 13, 2009
Zeller Booms in Buffo PSU Student "Falstaff"
“Falstaff” is essentially a gut-busting laugh riot for some superlative buffo baritone, and PSU had the incredible luck of nabbing legendary Portland singer — and Metropolitan Opera regular — Richard Zeller for the role. Is Zeller a PSU student, or even a faculty member there? No. But he’s an Oregon native who was essaying the first Falstaff of his starry career in this production, and it was one hell of a performance: from pouring out an endless supply of burnished sound to prancing daintily around in a size XXXL bathrobe, Zeller looked to be having the time of his life.
While the raunchy aspects of his grabby, greedy character were underplayed (though some of the projected supertitles hinted at this — “This old flesh still squeezes out some sweetness for you,” Falstaff sings at one point), Zeller’s Falstaff had wit, humanity and even a surprising note of pathos, as when he sat down late in the opera to lament his declining physical and mental health. And he was good enough sport to let the PSU student singers stuff him, or attempt to, in an oversized hamper.”
- Stephen Marc Beaudoin, Portland Mercury, April 16, 2009
GLUCK ~ ALCESTE
(Collegiate Chorale and Deborah Voight, George Manahan, cond), Lincoln Center Jazz 5/09
Onstage, an Alceste-Like Struggle (as Alceste)
“The robust baritone Richard Zeller was strong in two roles, as a high priest and Hercules.”
- Anthony Tommasini New York Times, May 27, 2009
Voigt’s Alceste Battles Hell & Flu in Collegiate Chorale Concert
Richard Zeller brought a vibrant baritone to the roles of the high priest of Apollo, who learns what must be done to save Admète’s life, and the hero Hercules, who intercedes with death (Thanatos) and rescues the royal pair.
- Bruce-Michael Gelbert, mundoq.com, June 2, 2009
Big-voiced baritone Richard Zeller impressed in the roles of Hercules and the High Priest…
- Robert Levine, Classicstoday.com, 5/26/09
OPERA NEWS
Richard Zeller, in the larger baritone roles of Le Grand-Prêtre d'Apollon and Hercule, offered a nice differentiation between the two characters.
- Eric Myers, Opera News, 5/26/09
Well-sung, passionate 'Rigoletto'
The production is driven by two forces, the first being Rigoletto himself, baritone Richard Zeller. Despite a pre-show complaint of sinus infection delivered by proxy, Zeller showed fine resonance and, of greater consequence, convincingly portrayed the oafish and unlikable Rigoletto as a tragic hero. This Rigoletto was at his best in moments of weighty contemplation and hapless self-pity. He was capable of great tenderness as well as a bumbling Orson Wellesian misdirected wrath. Duets with daughter Gilda, soprano Eglise Gutierrez, were touching (especially the final "V'ho ingannato!") for their naked honesty.
- Anthony Ventuolo, The Star Ledger, February 03, 2008
Portland Opera’s brilliant Macbeth
“There's always the concern, of course, that all these pyrotechnics could distract from the singing, but the central trio of male voices provided plentiful insurance against that. Our Macbeth, baritone Richard Zeller, sang in richly even tones, drawing on an extra dose of forcefulness for his final aria, Pieta rispetto, amore (right before the "sound and fury" passage).”
- Michael Vaughn - The Opera Critic, February, 2006
Songs of a Pilot Crashing
“The baritone Richard Zeller was a stentorian Rivière.”
- Anthony Tommasini, New York Times, February 22, 2009
A ‘Messiah’ With Silvery Sopranos, Flowing Lines and No Bombast
“Richard Zeller, the baritone, exuded a warm fog of sound.”
- Anne Midgette, New York Times, Dec 23, 2006
Bach — St. Matthew Passion
“. . . Richard Zeller, who sang with a richly resonant voice.”
- Albert H. Cohen — Orlando Sentinel
Bach — St. John Passion
“Richard Zeller sang the part of Jesus honestly, surely and without bombast. The singer who takes this role has a more demanding task than in the ‘St. Matthew’ Passion, where the orchestra strings surround his words. Zeller highlighted his character without spotlighting it, relying on understatement more than assertion to make his point.”
- Michael Fleming, St. Paul Pioneer Press
“Zeller, a commanding figure physically, brought a sense of grandeur to his role. His long duet as Adam with Schellenberg’s Eve achieved a sense of exaltation as much for its humanness as for its spirituality.
- Neil Harris, Winnipeg Free Press
Beethoven — Symphony No. 9
“Soloist, Richard Zeller clearly felt the music in his soul. His powerful baritone resonated throughout the Carpenter Center, bearing Beethoven’s magnificent message to the masses: Be embraced, ye millions! This kiss is for the entire world!”
Debussy — Pelleas et Melisande
“Richard Zeller was a commanding Golaud, showing a character with a tender streak encased by a stony exterior. His character’s growth, from hopeful bridegroom to betrayed husband, to broken widower, was traced with variety of tone color and carefully shaded delivery.”
- Michael Fleming, Saint Paul Pioneer Press
Donizetti — Don Pasquale
”Baritone Richard Zeller was a first-rate straight man in the role of Dr. Malatesta, the friend of Ernesto and Norina who cooks up the scheme to foil Don Pasquale. His acting and singing styles were similar: straightforward, easy to follow, sans excess embellishment. Vocally, he revealed pleasant, solid tones that fit an authority figure well.
- Robert A. Masullo, The Sacramento Bee
Dvorak — Te Deum
“Baritone Richard Zeller was a resonating, dominating presence in the Te Deum. . . “
- Willa J. Conrad, Star-Ledger
“. . . baritone Richard Zeller was grandly stentorian.”
- Henry Wyatt, Classical New Jersey Society Journal
“ . . . baritone Richard Zeller, whose rich baritone cut cleanly through the ensemble’s mass.”
- Jerry Ben-Asher, NJJN
“. . . baritone Richard Zeller, both of whom have extraordinarily rich and mature voices.”
- Andrew Braid, The Times
Hanson, Howard - Merry Mount
“Richard Zeller was masterful in the role thoroughly deserving of the warm applause he got. . .”
- Gavin Borchert, Seattle Weekly
“It would be hard to find a more sympathetic advocate for that role than the excellent baritone Richard Zeller, whose big, lyrical voice and suave inflections brought a great deal of variety to his powerful performance.”
- Melinda Bargreen, Seattle Times
“Richard Zeller is superb as the troubled Bradford.”
- John Sunier, Audiophile Audition
Haydn — Creation
“But Zeller was not far behind, his smoothly produced baritone encompassing even the lower reaches of Raphael’s music, then lightening a bit for Adam. (I especially enjoyed the touch of humor he brought to Haydn’s depiction of the animals. . .).”
- William S. Goodfellow, Deseret News
Verdi — La Traviata
“[Richard Zeller’s]. . . voice, comparatively light-hued, is warm and attractive and he is a poetic singer, rising to a touching level of passion and sadness when his son is stricken by the fateful letter.”
- Raymond Monelle, Opera
Verdi — Rigoletto
“Richard Zeller, the baritone as Rigoletto . . . dominated the dialogue with fine and complimentary vocal efforts.”
“Zeller played him like a Hollywood hunk, who, in the end, emerges as a hero who can hold to honesty and sincerity.”
- The Patriot News
