THE CRUCIBLE (Opera Santa Barbera 2019)
"Wayne Tigges and Audrey Babcock were unforgettable as John and Elizabeth Proctor, the embattled couple who are improbably brought closer together by his human weakness and her vulnerability to false accusations of witchcraft. " -The Independent
"Mr. Tigges as John Proctor showed moments of booming helden-baritone, mixed with gorgeous piano singing. He clearly is in control of quite a formidable instrument". -Soundstage
BILLY BUDD (San Francisco Opera 2019)
"SF Opera Delivers a Near-Perfect Production of Britten’s Billy Budd."
"Vere’s senior officers Mr Redburn and Mr Flint (both plum roles in “Billy Budd’s” large cast) were respectively played, both with power and dramatic effectiveness, by New York bass-baritone Philip Horst and Iowa bass-baritone Wayne Tigges." -Opera Warhorses
"Other standouts included bass-baritones Philip Horst as Mr. Redburn, Wayne Tigges as Mr. Flint ." -San Francisco Examiner
"......Mr. Tigges was the standout in this group of officers, offering the best singing of the group." -Seen and Heard
La Traviata (Los Angeles Opera 2019)
"Among other supporting artists, Wayne Tigges made a convincingly stiff-necked, humorless baron." -Operawire.
"Wayne Tigges as a sonorous Baron Douphol". -Broadway World
"The ensemble includes Christopher Job as Doctor Grenvil, Erica Petrocelli as Annina, Juan Carlos Heredia as Marquis d’Obigny, Alok Kumar as Gastone and Wayne Tigges as Baron Douphol. Good voices . . . Good ensemble."
"Last, but not least, Wayne Tigges is charismatic as Baron Douphol"
The Flying Dutchman (Atlanta Opera 2018)
"Climers costume for the Dutchman-part trench coat loner, part Bowie space oddity, perfectly brings to life an interesting modern version of the Dutchman. It's a vision that Wayne Tigges as a grave, pessimistic Dutchman capably embodies with his darkly brooding vocals and strong performance."
"Moore and Tigges give the show a captivating beating heart with a stunning performance of Act 2's crucial love duet."
"Moore and Tigges bring a cosmic legendary love, but also give the scene touches of the recognizably human...as theDutchman exposes his vulnerability.
-Atlanta Journal Courier
"Making his Atlanta Opera debut, bass-baritone Wayne Tigges portrays the title role of the Dutchman, the captain of a ghost ship who is cursed to roam the seas, allowed to come ashore only once every seven years to find a wife who can redeem him through her faithfulness to death. Tigges cuts a kind of “badass pirate” figure as the cursed Dutchman, whose eye patch and black clothing, draped over with a long red coat, parallels the production’s imagery of the ghost ship itself, with its blood red sails against a black, tumultuous sky. The red-and-black color pairing proves significant in symbolism for the rest of the opera, as the production makes a strong use of such visual leitmotifs as Wagner does with the musical ones. "
"First, there was the entrance of the Dutchman--no name, just a description--and what an entrance it was, in the hands of bass-baritone Wayne Tigges. Before he's had the chance to tell us his story, we're drawn to him, with his red leather coat to match the sails of the ghostly vessel he commands and otherwise fitted out with black leather head to toe. Unlike some productions of this work, where the Dutchman is an eerie presence from the moment he walks on stage--a kind of sea-born Dracula--this one's a rock star, someone who the opera's heroine, Senta, could be obsessed by.
Tigges bursts forward to the lip of the stage like Otello making his entrance into Cyprus, filled with confidence and bravura--and the vocal chops and colors to match in his introductory "Die frist ist um"--"The time is up." Yes, his story reeks of desperation: Only once every seven years is he allowed to seek the woman who can bring him redemption and a finish to his endless wanderings. Still, he hasn't given up hope that things will be different this time"
Gianni Schicchi (Utah Opera 2018)
"The true comedy of the night began with “Gianni Schicchi,” which had the audience laughing as a group of relatives crowded around the bed of their dying patriarch, fake tears transforming into genuine tears of grief when they discover he has left all of his money to a monastery. Cue the crafty Gianni Schicchi who, moved by his daughter Lauretta’s plea, suggests they hide the body of the real Buoso Donati so that he might pose as the dying man and dictate a new will for the family. Wayne Tigges was both comedic and conniving in this role — his connivery this time a more entertaining extension of his earlier role as the villain Tonio in “Pagliacci.”"
An American Soldier (Opera Theater St. Louis 2018)
"There are increasingly awful incidents at boot camp and in Afghanistan, where he endures vulgar hazing from his fellow soldiers and sadistic humiliations from the racist sergeant (the bass-baritone Wayne Tigges, who is chilling)." -New York Times
"Baritone Wayne Tigges menacingly convinces as Marcum, a military man who is the product of power run amok." -Operawire
"bass-baritone Wayne Tigges was appropriately brutal as Sgt. Marcum."
-Wall Street Journal
"Wayne Tigges delivers a compelling performance"
"Bass-baritone Wayne Tigges is the sadistic Sgt. Aaron Marcum, a fictional composite of multiple abusive officers. A classic bully, Marcum compensates for his own feelings of weakness and inferiority by abusing those over whom he wields power. Mr. Tigges's powerfully sung performance makes the character's repellent evil chillingly real." - KDHX
"The villain of the piece, Sgt. Marcum, is sung by bass-baritone Wayne Tigges. He does it with power and commitment". -BWW
"Wayne Tigges is the very incarnation of the loathsome, violent Sgt. Marcum, but he delivers a gorgeous bass-baritone." -Dallas Morning News
Falstaff (DMMO 2017)
"The fat, aging rascal Sir John Falstaff dominates as he must, with stylish and thoughtful singing from bass-baritone Wayne Tigges, who first displayed his extensive vocal and acting powers here two years ago in Rossini’s "Count Ory." Tigges has clearly mastered the unique blend of power and delicacy that Verdi wrote into this role." -Des Moines Registar
" Baritone Wayne Tigges distinguished himself with a delightful interpretation of the “fat knight” that traced his journey from pompous fool to humiliated penitent with insight and polished musicality." -Opera News
"Wayne Tigges, in a role debut, is already a tremendous Falstaff in every way. His imposing physicality houses a big, pointed voice that rang out in the house as he blustered, boasted, and bellowed with ample reserves of power. That said, Mr Tigges was also capable of a highly polished characterization that found nooks and crannies and nuances that he was able to convey with conviction and subtley. Indeed, his might just have been the most richly detailed Falstaff of my experience, summoning real pathos in his poignant Act III aria..................he is destined to become a much sought after Sir John. -Opera Today
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