Superb comic bass Stephen Eisenhard provided a very funny Benoit, the angry but bumbling landlord.
Attempting to thwart the budding romance and marry Rosina for himself was Stephen Eisenhard as Rosina's guardian, Dr. Bartolo. Eisenhard's wonderful befuddled comic presence and his ability to reel off patter songs at breakneck speeds in his booming bass-baritone added no end to the comic enjoyment of the evening.
Patrick Klink, Baltimore Opera Examiner
Stephen Eisenhard, as Bartolo, was a classic and ideal basso buffo: huge, beautiful, booming voice, flawless diction even in the patter sections, and a tall, robust physical stature that is at once intimidating and capable of great comic flourish.
The Sarasota Observer
Stephen Eisenhard, as the devilishly
deceptive Don Alfonso, shows a real flair for comedy.
Stephen Eisenhard, well known as a basso-buffo,
was at his best so far as Dulcamara. His rich, round
voice negotiates the rat-a-tat patter in the Donizetti
patterns and, he managed to combine fine singing and
acting with spot-on diction.
Nevada Review – Jack
Neal's Music Reviews
Stephen Eisenhard (Dr. Bartolo) scores
– but not as his character might like. He's a marvelous
old fuss-budget and a distinguished singing actor. His
aria, A un Dotto dell mia sorte, admonishing Rosina "to
tell better lies," is great fun and gorgeously sung.
Stephen Eisenhard displayed nice comic
timing as Don Alfonso, with a rich bass baritone.
Classical Voice of North Carolina
Stephen Eisenhard's plangent and solid
bass made Mozart's failure to write full arias for Don
Alfonso even more regrettable than usual.
The Nashville Scene
The best comic performance of the evening
came from Stephen Eisenhard as Dr. Bartolo. He was the
only one in the cast who really seemed comfortable with
the tradition of Italian patter songs, and this is precisely
what was necessary to bring off a satisfying performance
of most of Bartolo's numbers. A very few exceptions aside,
Eisenhard managed a fleeter velocity than his fellows,
and his interactions with the other characters were the
best of the lot.
And what review would be complete without
a nod toward the wonderful singing of bass-baritone Stephen
Eisenhard as the cure-for-everything, good “doctor” of
everything, Dr. Dulcamara. His bass-baritone is range
appropriate for his voice and because of this is a joy
to behold. I have heard some in that cross-over range
who strain at one end or the other. The nice thing about
listening to Mr. Eisenhard is that he seems comfortable
singing wherever the score takes his considerable range,
just like he was selling his Elixir: we and he believed
everything he said. Great job!
Stephen Eisenhard is the diamond-in-the-rough
prison warden, Frank, with a smooth baritone and charming
Opera NOW Magazine, UK
Stephen Eisenhard is a real smoothie-chops of an Alfonso
with a rich, mellow bass-baritone.
Stephen Eisenhard's Melitone was sturdily sung and humorously
Stephen Eisenhard (Melitone) is making
a career specialty of buffo roles, but his strong musically
sensitive baritone would be welcome in any part. This
singer should have a strong career ahead of him.
Dayton Daily News
Most notable for his depth of character
is Stephen Eisenhard as Dr. Bartolo. Variously described
as lascivious, greedy, even wicked, Bartolo as played by
Eisenhard becomes a sympathetic, if imperfect, soul. You
can't help but feel a little sorry for the fellow, as everyone
seems to plot against him. Eisenhard's sure-footed
handling of the role, as well as his proficient vocal abilities,
made him easy to like.
The most enjoyable performance came
from Stephen Eisenhard as the blustering, grumbling
Fra Melitone. His robust
bass-baritone matched his belligerent comic portrayal
of a monk unsuited to his calling.
A stuttering bass-baritone? That's what
Tartalgia's aria from Mascagni's "Le Mascere" called
for and Stephen Eisenhard delivered. A big voice, clever
acting and agile vocal gymnastics distinguished his appearance.
He is naturally and superbly well equiped to perform
many of opera's great buffo roles.
Bass-baritone Stephen Eisenhard showed his versatility
as an actor in the non-buffo role of the suave De Bretigny.
Bass-baritone Stephen Eisenhard,
usually cast in buffo roles, displayed his versatility
as an actor. As
the Baron Douphol, Violetta's current sugar daddy, his
portrayal had a dignified cynicism which lifted the role
out of its usual insignificance.
Again, bass-baritone Stephen Eisenhard
rises to whatever role comes his way. As the abrasive
lout Metifio, also obsessed with the Arles girl, he was
loudly menacing and boorish. Yet, as he described
his love/hate life with L'Arlesiana he managed to elicit
your sympathy with his infernal obsession. His dark
vocal quality and declamatory style made him a forceful
Stephen Eisenhard is lovable as Don Alfonso, his vibrant
bass-baritone lending authority to him portrayal of this
amused observer of human nature.
The Gondolier, Venice, FL
A telling and slyly evil performance
was given by bass-baritone Stephen Eisenhard as De Bretigny.
Sarasota Arts Review
Eisenhard has all the fun in the
role of a blustery brother who is not endowed with the
impulse for charity that the local poor expect. His
voice is big and he enriches it with humor and character.
The Commercial Appeal, Memphis, TN
Opera Memphis hired the same able-voiced
bass-baritone, Stephen Eisenhard, to sing the title
role in every show, and he did so richly and with remarkable
Pasquale was comic - a fleshy, pie-faced buffoon with wiry
Stephen Eisenhard's stuffy satirization of Dr. Bartolo,
his porcine expressions and his able handling of the patter
songs for the bass role all contributed significantly to
Los Angeles Times
Eisenhard's deft comic touches and informed musicianship
The Times, Shreveport, LA
The production was fortunate in having the excellent vocal
talents of bass-baritone Stephen Eisenhard as Don Pasquale.
The Plain Dealer, Cleveland, OH
Stephen Eisenhard is a model windbag
as Dr. Bartolo, with a nimble basso buffo and goofy penchant
for bungling things royally. Eisenhard offers
a terrific imitation of a castrato, jumping several octaves
without apparent strain.
The Cincinnati Enquirer
As Don Magnifico, Stephen Eisenhard
used his solid vocal ability and facile buffo diction
to bring his foolish character to life. Eisenhard
astounded the audience with the furiously paced Italian
in his second act aria.
The Cincinnati Post
Stephen Eisenhard struck comic paydirt as the landlord
Benoit and Musetta's hapless admirer Alcindoro.
The Columbus Dispatch
A special kudo to Stephen Eisenhard's amusing and well-sung