Tenor Anthony Dean Griffey produced large and gleaming tone and displayed subtle musical and verbal intelligence. He is an altogether exceptional artist.” – Boston Globe

San Francisco Opera – WORLD PREMIERE

“Mitch’s short, earnest phrases (tenderly, believably sung by Anthony Dean Griffey) stand out against Blanche’s ever more extravagant hysterics.”

Justin Davidson, Newsday (New York), September 21, 1998

“Anthony Dean Griffey sang touchingly and surely in the tenor role of Mitch.”

Bernard Holland, The New York Times, September 21, 1998

“Anthony Dean Griffey gave a strong performance as the desperate Mitch.”

John Allison, The Times (London), September 23, 1998

“Griffey’s Mitch veered heartbreakingly between pathos and macho stolidity.”

Stephanie von Buchau, Chicago Tribune, September 21, 1998

“The singing is mostly excellent, but only Anthony Dean Griffey as Mitch seems equally gifted as an actor.”

Richard Dyer, The Boston Globe, December 30, 1998

“Anthony Dean Griffey, as Mitch, was excellent. His big tenor and shy-eager wooing delineated the role well, and his duet with Fleming that closes Act II, containing some of the strongest music in the score, was forcefully sung.”

Patrick J. Smith, Opera News, November 1998

“Anthony Dean Griffey brought a sweet, limpid tenor to the part of Mitch, bringing out the character’s touching blend of insecurity and moralism.”

Joshua Kosman, San Francisco Chronicle, September 21, 1998

“Anthony Dean Griffey, an imposing tenor who’s had considerable success as Peter Grimes, gave unexpected comic energy to the straight-arrow role of Mitch.”

Alex Ross, The New Yorker, October 5, 1998

“Anthony Griffey’s compact tenor and lumbering deportment generated a Mitch who was both touching and desperate; his was the finest diction of all.”

Allan Ulrich, San Francisco Examiner, September 21, 1998

“Anthony Dean Griffey’s sweet, pure tenor embodies the kind of innocence that made his casting for the role of Mitch ideal. His equally unaffecting acting brought out Mitch’s insecure, shy nature, and illuminated his heart-breaking disillusionment when he finds out about Blanche’s sordid past. Griffey also summoned plenty of vocal heft for Mitch’s confrontation scene without sacrificing vocal purity or line.”

Kelly Snyder, ConcertoNet.com, September 19, 1998

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