Robert Petillo ~ Reviews
J.S. Bach Cantatas BWV 12 & 34 First English Lutheran Church Handel Choir of Baltimore dir. Melinda O’Neal
“Two Bach cantatas received dynamic performances from the choristers, who were
backed stylishly by a period instrument orchestra (occasional rough patches
caused minimal damage). Three fine soloists did a good deal of elegant work:
Jay White (countertenor), Robert Petillo (tenor) and Phillip Collister (bass).
It was a thoughtfully constructed, entertaining program delivered
with an informed sense of historic style.” Tim Smith
November 10, 2008
G.P. Telemann Die
Donner-Ode Lutheran Church of
the Reformation The Washington
Kantorei directed by Dale Voelker
“A period-instrument ensemble, led by the fine baroque violinist Risa
Browder, rendered Telemann’s various “meteorological” orchestral effects with
brio and wit, and a trio of Washington’s finest early-music singers—soprano Rosa
Lamoreaux, tenor Robert Petillo, and bass Steven Combs—were in top form,
phrasing their solos with pearly tone and sterling musicianship.” -- Joe Banno, The
J. S. Bach Mass in B
minor Schlesinger Hall New
Dominion Chorale directed by Thomas
Beveridge
“Both mezzo Barbara Hollinshead and tenor Robert Petillo have compelling
voices, singing Sunday with intently focused clarity and soaring over the
orchestra.” -- Cecilia Porter, The
Claudio Monteverdi Vespers
(1610) Strathmore Hall City
Choir of Washington, Shenandoah Conservatory Choir, Children’s Chorus of
Washington, and Blue Ridge Choristers directed by Robert Shafer
“No less commendable were the soloists Laura Lewis, Danielle Talamantes,
Robert Baker, Michael Forest, Robert Petillo, James Shaffran, and Gary Poster.
Repeatedly their amazing skill shone through in lengthy melodic embellishments
of crucial words, cluing us in on the elaborate ornaments Monteverdi’s singers
might once have improvised on the spot.”
-- Cecilia Porter,
The
J.S. Bach Coffee Cantata Harman Center for the Arts The Washington
Bach Consort directed by J. Reilly Lewis
“Music Director J. Reilly Lewis’s lengthy “Many Moods of Bach” program
bloomed with everything from an extended solo work to a hilarious semi-staged “Coffee
Cantata.” This generation-gap story, set
at “Starbach’s,” featured bass Steven Combs as the irascible father,
complaining about his coffee-loving daughter in a resonant voice—on his
cellphone. As his fashionista daughter,
soprano Kate Vetter Cain sang with lightness and verve—and tuned out her father’s
tirades by donning an MP3 player. With help from tenor Rob Petillo, a
rapprochement bloomed—and if the antics distracted from the music at times,
this was still a stirring approach.” --
Mark J. Estren, The
J.S. Bach St. Matthew
Passion Strathmore Hall The National Philharmonic Chorus &
Orchestra directed by Stan Engebretson
“…tenor Robert Petillo, as the Evangelist (Bach’s narrator), provided a
much-needed emotional center. The way he stretched and colored the word “bitterlich,”
describing Peter’s denial, was just one example of his thoughful performance.”
-- Dave McKenna, The
G.F. Handel Messiah Strathmore Hall *** The National
Philharmonic Chorus & Orchestra directed by Stan Engebretson
“Among the soloists, bell-toned soprano Danielle Talamantes and tenor
Robert Petillo (one of the enduring joys of the local early-music scene) sang
with the lithe phrasing, stylish ornamentation and notable purity of sound that
bespoke firm grounding in period practice.”
-- Joe Banno, The
Mozart Mass
in C Minor The Master Chorale
of Washington directed by Donald
McCullough
“The mass featured four fine
soloists: soprano Jennifer Casey Cabot, soprano JiYoung Lee, tenor Robert Petillo
and baritone Andrew Garland. Cabot's sweetly tender phrasing was complemented
by Lee's rich, jewel-toned voice. Petillo's elegant sound was likewise buoyed
by
Anon.
St. Luke Passion National
Presbyterian Church *** The Washington Bach Consort, director J. Reilly Lewis
“Tenor Robert Petillo sang …the role of the Evangelist from the pulpit with
surpassing sweetnes….”
-- Tim Page, The
G.F. Handel Messiah Strathmore Hall *** The National
Philharmonic Chorus & Orchestra directed by Stan Engebretson
“This hybrid “Messiah,” [Mozart arrangement] rarely performed, got a
rousing rendition Saturday night at
“Tenor Robert Petillo brought dignity, depth and drama to his taxing
Evangelist role.” -- Cecelia Porter, The
“The sense of a drama being enacted carried over to the superlative team of
soloists: soprano Christine Brandes (in gleaming, forthright voice for her two
arias), countertenor Steven Rickarts, tenors Alan Bennett and Robert Petillo (a
moving and supple-voiced Evangelist), baritone Christopheren Nomura (a
dignified, gorgeously sung Jesus), and bass Curtis Streetman.” – Joe Banno The Washington Post March 15, 2005
Lully Acis and Galatea with
Opera Lafayette
“Smaller roles were also cast from strength and deserve acknowledgment,
whether Francois Loup's refined Neptune, Robert Petillo's Tircis or Jennifer
Ellis's Aminte.” -- Tim Page, The
J.S. Bach St. Matthew Passion The
“Robert Petillo's Evangelist voiced powerful, wrenching pathos” -- Cecelia
Porter The Washington Post May 11, 2004
J.S. Bach St. John Passion at St.
Paul's K St. with the Modern Musick orchestra and the parish choir, directed by
Jeffrey Smith
"In a quintet of familiar Washington-based soloists, basses James Shaffran
and Steven Combs sang with their accustomed nut-brown tone and easy production,
tenor Robert Petillo once again sound tailor-made for Bach's Evangelist role,
and Barbara Hollinshead's tangy mezzo contrasted well with the ever-pearly
soprano of Rosa Lamoreaux." -- Joe Banno, The
Monteverdi Vespers
1610 The Folger Consort
“This was superbly accomplished by 10 singers whose splendid
virtuosity and love for this music was unmistakable from the opening bars:
sopranos Barbara Hollinshead and Rosa Lamoreaux, tenors Timothy Leigh Evans,
Jeffrey Fahnestock, Robert Petillo, Bryce Westervelt and Scott Williamson,
baritones Peter Becker and William Sharp and bass Paul Shipper. A period
orchestra of exotic strings, cornettos, trombones and continuo supported
vibrantly and with pinpoint precision.” – Ronald Broun The
“Tenor Robert Petillo was excellent as the Evangelist, while
bass Brent Stater’s resonance and intensity were memorable as Jesus.”
– Mark Kanny,
J.S.Bach St.Matthew Passion; with
the Raleigh Oratorio Society directed by Alfred Sturgis
"Petillo [singing the arias]...is in some respects the ideal tenor, for he
is devoid of all those troubling mannerisms that plague so many of his
brethren--instead he simply sings, beautifully, on cue."
--John W. Lambert, The
J.S.Bach St. Matthew Passion with
the Raleigh Oratorio Society directed by Alfred Sturgis "
“Blessed with a pure, clear, light voice, tenor Robert Petillo drew attention
to his appealing aria..."
--Alwin Tonkonogy, The News & Observer, Raleigh, NC 4/18/2000
J.S.Bach Cantata 60 "O Ewigkeit, du
Donnerwort" with the Northeastern Pennsylvania Philharmonic
directed by Hugh Keelan
"...Hope (of eternal life) [was] sung tenderly by Robert
Petillo...especially impressive...."
--Robert Miner, The Times Leader,
J.S. Bach Cantata BWV 148
"Bringet dem Herrn Ehre seines Namens" with the
Washington Bach Consort
"Opening its 20th season, the Washington Bach Consort brought the wonders
of J.S. Bach's music downtown again Tuesday in one of the group's resplendent
noonday interludes at the Church of the Epiphany. J. Reilly Lewis led the
consort's vocal and instrumental forces in the ebullient Cantata BWV 148,
"Honor the Name of the Lord," .... Alto
Grace Gori and tenor Robert Petillo outdid themselves throughout Bach's
endlessly unfolding melodies, which allow singers no time to breathe."
--Cecelia H. Porter, The
J.S. Bach Cantata BWV 177 "Ich ruf zu dir, Herr
Jesu Christ" with the Washington Bach Consort
"Robert Petillo's distinctive lyric tenor voice, at once concise and warm,
united an agile quartet accompaniment of oboe, cello, violin and bassoon,
played by James Bolyard, in raising Verse 4's intricate counterpoint to exalted
levels." -- Mark Longaker, The
J.S.
Bach Mass in B Minor Laurel Oratorio Society
“After the reflective chorus "Gratias agimus tibi," the
"Domine Deus" duet with tenor Robert Petillo and soprano [Amanda]
Balestrieri was an elegant effort by two intellegent singers with strikingly
beautiful voices. The two often sang as one in duet with an exquisite flute
obbligato by Karen Johnson.” -- Carolyn
Bock The
J.S. Bach St. Matthew Passion
"Tenor Robert Petillo gave an ideal characterization of the
Evangelist. He quickly became a trusted guide and friend, essential to the
development of the drama. We are unlikely to hear so convincing an Evangelist
any time soon."
--The
Anon. St. Luke Passion
"It is to the Evangelist Luke, however, that the narrative and vocal burden
of the 'Passion' falls, and Petillo was up to the challenge. His soaring tones
were effortless, and he imbued the part with eloquence." --The
Handel's Messiah with The Handel Choir of Baltimore
"Tenor Robert Petillo's lyrically voiced and sensitively ornamented
rendition of 'Ev'ry valley' set high standards . . . ."
--The
Mendelssohn's Elijah with the Laurel Oratorio
Society
"Robert Petillo . . . gave fresh breath to the familiar air, 'If with All
Your Hearts Ye Truly Seek
"As the Evangelist, tenor Robert Petillo sung with a light, buoyant voice
and captured the essence of his role"
--The Washington Post 3/20/1993
As King Ahasuerus in Handel's Esther
with the
"Robert Petillo negotiated a difficult part as Esther's husband King Ahasuerus,
demonstrating good diction and fluid ability."
--The
"Robert Petillo brought his light, perfectly controlled
tenor to the role of the king, skillfully maneuvering scales and sensitively
inflecting the words."
--The
J.S.
Bach's cantata Gloria in Excelsis Deo with The Choral Arts Society of
"There was a brief but shining moment for the silken-voiced tenor
Robert Petillo, who sang a duet with soprano Rosa Lamoureux in the Bach. He is
certainly someone to watch." -- The
Maryland Handel Festival
"There, joined by other winners of
the Daniel L. Pomeroy Memorial Prize, an annual award given at the University
of Maryland for excellence in 18th-century musical studies, Petillo and
Donnelly demonstrated the kind of skills that suggest bright futures." --The
Washington Post 11/6/1990
"The
soloists--sopranos Allis Druffel and Rebecca Littig, mezzo-soprano Molly
Donnelly, countertenor Graham Pushee, tenor Robert Petillo and baritone David
Evitts--were at the peak of baroque sensitivity, vividly vocalizing the
demanding bel canto style of Handel's time."
--The
Handel "Jupiter" in Semele at the Handelfest in Halle,
Germany
"From the first to the last beat, the ensemble from the USA, which must
count among the best in its genre, was able to offer a consistently thrilling
experience. This was in large measure also due to the outstanding vocal
soloists Gillian Fisher (in the title role), Robert Petillo (Jupiter), Maria
Petrasovska (Juno/Ino)…" Die
Mitteldeutsche Zeitung 6/9/1990
J.S. Bach St.Matthew Passion
"Tenor Robert Petillo, stationed in the pulpit high above the chorus, was
a wonderful Evangelist, narrating the story with a subtlety that balanced the
clarity of an objective observer with the empathy of a participant." --The
"Robert Petillo, in an Esther recitative and air, confirmed his
reputation as one of our most eloquent Handelian tenors."
--music critic Andrew Porter in The New Yorker magazine
12/4/1989
J.S. Bach St.Matthew Passion
"The soloists ranged from adequate to extremely good. Tenor Robert
Petillo, in the all-important role of evangelist, the passion's narrator,
seemed the best, maintaining strong voice and crisp diction throughout, while
singing his story with spirit and feeling."
--The Washington Post 4/1/1983