Twilight and At last to be identified!

CD Review: Experience, Albany Records
Natalie Mann, soprano and Jeffrey Panko, piano

“… this Montana native is rapidly making a name for himself not only a composer but also as an innovative force for drawing young people into music. His music has a rhapsodic vitality to it, even in his quietest songs, and a disarming sense of spontaneity that draws us into each piece. He writes very effectively for the voice and also knows how to set lyrics with clarity and sensitivity. His cycle Twilight features three texts by Christina Rossetti, whose colorful and evocative poetry seems a perfect fir for Thomas’s warm hearted and impassioned music.”
Gregory Berg, NATS Journal of Singing March/April 2015

A Wake or a Wedding

November 2014
“Lots of silly fun.” 
Gloria Talamas, Offbway

A Wake or a Wedding

November 2014
“… the opera brings together beautiful singing, outrageous slapstick and romantic entanglements for an evening of farcical fun. Mr. Thomas has written a delectable denouement, each character divulging their secret and topping the previous confession, to the audience’s delight.Mr. Thomas’s orchestrations are sublime.”
Navida Stein, StageBuddy

A Wake or a Wedding

November, 2014
“Opera is best suited for madness and comedy. Why else would all these people be singing to you about everything from their most private desires to the need for someone to answer that door?! Richard Pearson Thomas’s comic opera, A Wake or a Wedding is a fine example of both these elements of opera. There’s madness in it, and comedy, of course, both well-made and enjoyable.
Plot-wise, this would make a good musical. But this is an opera, with the music not only supporting the characters but creating and shaping the drama too. The characters carry the comedy, leaving the music free to deliver an unexpected depth of feeling.”
George Grella, New York Classical Review

A Wake or a Wedding

November 2014

"A Wake or a Wedding is charming, entertaining and funny … an amusing comedy with several completely unexpected and mad plot turns – true to the style of comic opera. [Thomas’s] score is accessible and lyrical. Most importantly for an English opera, the score allowed the singers to effectively communicate the story.”
Nitya Thomas, Broadway After Dark

Far Off