Into the Woods: Annapolis Opera, Maryland Hall, March 2022
"Annapolis Opera’s production of Into the Woods is an emotionally thrilling evening of glorious music and singing...Patrick Kilbride plays the Baker with an emotional honesty, an ordinary man trying to do his best in the face of curses, magic beans, and giants. Colleen Daly brings a practicality to his Wife...their duet “It Takes Two” is a lovely reconciliation, bringing them together to accomplish their wish. “No More” is Kilbride’s most powerful performance, with sadness and exhaustion leading to determination...The singers navigate the stage and each other perfectly, with lots of movement. They capture the emotional range of the songs and the story, from comedy to heartbreak; “No One Is Alone” is particularly moving."
-Charles Green, DC Metro Theater Arts
"AO’s Into the Woods had a large cast of excellent singer/actors...Patrick Kilbride, in excellent musical theater voice, played the earnest Baker with steady consistency in a role where he is constantly struggling with the ethics of his choices."
Venus and Adonis: Corcoran Gallery & El Museo del Barrio, November 2019
"We enjoyed the soprano of Véronique Filloux, the countertenor of Daniel Moody, the tenor of Patrick Kilbride, and the bass-baritone of Jonathan Woody, all of whom were exceptionally delightful to the ear."
-Voce di Meche
La Susanna: Kennedy Center Terrace Theatre & Brooklyn Academy of Music, April/May 2019
"So the only men in this telling of “La Susanna,” then, are the two Elders: Patrick Kilbride, a menacingly delicate tenor, and Paul Max Tipton, an imposing bass-baritone. It’s such a simple switch — changing the gender of characters — but it is also the difference between this story being one of a helpless woman’s male savior, or of a young feminist’s coming into her own."
-Joshua Barone, The New York Times
"With Opera Lafayette, it is never just an opera or a concert; it is always an extraordinary experience. Their collaborative effort with Heartbeat Opera to give us La Susanna is no exception...Mr. Kilbride and Mr. Tipton have pleasant, strong voices and delivered their vocals effectively, revealing their character traits as well as the appeal of their voices and singing, some of which we as men must own and confront...Opera Lafayette/Heartbeat Opera’s La Susanna is the sort of arts experience that stays with you for a while, raising questions, provoking discussion."
"Fascinating and amazing...Ultimately, however, the show belongs to soprano Lucia Martin-Cartón and her two would-be attackers...Paul Max Tipton and Patrick Kilbride are appropriately morally bankrupt as the corrupt judges; their smarminess and relentless horny energy pair well with their fluid duets...The soaring melodies and vocal stylings are gorgeous all on their own, and it’s amazing to see people within this medium challenging what it means to put on an opera in the fallout of Trumpism."
-Helen Holmes, Observer
"As the wicked judges we heard two fine singers who had the unenviable task of making us hate them. Tenor Patrick Kilbride and bass-baritone Paul Max Tipton were scarily convincing in their lust and deceit. Moreover they sang a particularly fine trio with Ms. Couden in Act I. "
-Meche Kroop, Voce di Meche
"The entire cast is able to create a variety of emotions inflecting essentially sweet music with lust, desire, fear, and a panoply of subtler emotions...In La Susanna, all are felled as Saddam Hussein was, at the end of the opera. Would that the world were as just as this wonderful opera production."
-Susan Hall, ConcertoNet.com
"The second Judge, sung by velvet-voiced tenor Patrick Kilbride, adds his voice. They lace their simpatico duet with red-gloved gesturing – jollity before the trauma...Fortunately for us, the creative minds of two modern-day opera companies have focused equally on the past and the present to devise a superb production."
-Jon Sobel, Blogcritics.org
"The two judges were buffo characters, here performed by tenor Patrick Kilbride and bass-baritone Paul Max Tipton, both elegant singers well-versed in the style of the Baroque. Wearing black robes adorned with white jabots and impressive red leather gloves, they embodied moral authority until the sight of the naked Susanna inflamed their passions...What I embraced most was the opportunity to hear Stradella’s music performed with such style and sensitivity."
-Rick Perdian, Seen and Heard International
"The two dastardly judges, Patrick Kilbride and Paul Max Tipton, sang as if they believed they had done nothing wrong. To be fair, each introduced himself in an aria bewailing the lust besieging his heart, and furthermore Kilbride’s suave tenor and Tipton’s smooth, even soothingly hypocritical bass made us happy to hear their excuses and their vicious denunciations."
-John Yohalem, Parterre Box
Cerere Placata: Kennedy Center Terrace Theater & New York Times Center, October 2018 (Giove)
"The singers all had pleasing, full, room-filling voices...Patrick Kilbride sang placatingly as Giove from the machine."
-John Yohalem, Parterre Box
"Giove, or Jupiter, the deus ex machina of the story, was sung by Patrick Kilbride with a dramatic and flourishy flair."
-Elle Marie Sullivan, mdtheatreguide.com
Erismena: Théâtre Gérard Philipe, Festival de Saint-Denis, June 2018 (Alcesta)
"Alcesta la nourrice est formidablement campée par l'excellent ténor de Patrick Kilbride à la faconde réjouissante, saluée par le public."
"Alcesta the nurse is tremendously encamped by the excellent tenor of Patrick Kilbride with delightful inflection, hailed by the public."
- Joël Heuillon, Olyrix
Erismena: Opéra Royal de Versailles, December 2017 (Diarte)
"...le ténor américain Patrick Kilbride parvient à caractériser de manière convaincante le court rôle du suivant Diarte, grâce à un médium impérieux et à des mimiques bien senties."
"...the American tenor Patrick Kilbride succeeds to characterize in a convincing manner the small role of the pursuant Diarte, thanks to a compelling timbre and well-felt expressions."
-Bruno Maury, BaroquiadeS
"Musicalement, on est face à une oeuvre superbe, et ici interprétée par une distribution presque sans failles...Même le micro-rôle de Diarte est parfaitement tenu par Patrick Kilbride."
"Musically, we are faced with a superb work, and here interpreted by a distribution almost without any flaws...Even the micro-role of Diarte is perfectly held by Patrick Kilbride."
-Laurent Amourette, Classicagenda
"Grace aux chanteurs d’abord, qui tous ont à cœur de faire intensément vivre leur personnage...tout comme Patrick Kilbride en Diarte, qui réussit lui aussi à rendre mémorable un rôle sans aucune épaisseur psychologique."
"Thanks to the singers first, who all have at heart richly brought to life their characters...as Patrick Kilbride in Diarte, who manages to make a role without any psychological depth memorable."
-Guillaume Saintagne, Forum Opera
"À leurs côtés se trouvent trois adjuvants: Argippo chanté par le baryton Andrea Vinvenzo Bonsignore, Diarte par le ténor Patrick Kilbride et Clerio Moro par le contre ténor Tai Oney apportent une variété bienvenue parmi les seconds rôles."
"At their side are three adjuvants: Argippo sung by the baritone Andrea Vincenzo Bonsignore, Diarte by tenor Patrick Kilbride and Clerio Moro by countertenor Tai Oney bring a welcome variety among the supporting roles."
-Caroline Mounier-Vehier, Olyrix
"...le Diarte de Patrick Kilbride n’a pas démérité...Très homogène et très engagée dans la caractérisation vocales des personnages, cette distribution est la principale contribution au succès de cette représentation."
"...the Diarte of Patrick Kilbride did not disappoint...Very homogenous and very engaged in the vocal characterization of the characters, this distribution is the principal contribution to the success of this performance."
-Jean Luc, Operaphile
Il Combattimento & Madrigali, Monteverdi: Elebash Recital Hall, October 2017 (Tancredi)
"Another astonishing work was the scene "Il combattimento di Tancredi et Clorinda" in which the unwary Tancredi, sung by the terrific tenor Patrick Kilbride, battles his unrecognized Clorinda, sung by the superb soprano Liv Redpath...If this did not move you, nothing would!"
-Voce di meche
"Other vocal standouts were Patrick Kilbride, his tenor forwardly placed and vibrant..."
-Fred Cohn, Opera News
"Patrick Kilbride as Tancredi was excellent."
Berlioz Te Deum: Washington National Cathedral, October 2016 (Tenor Soloist)
"...a halo around the solo line of the tenor Patrick Kilbride, a worthy, sweet-voiced, last-minute replacement for the scheduled soloist in 'Te ergo'."
-Anne Midgette, The Washington Post
Acis and Galatea: Théâtre du Puy-en-Velay, Festival de la Chaise-Dieu, August 2016 (Damon)
"Tout dans ce spectacle enchante et la joie qu'ont les comédiens et chanteurs de nous conter fleurette est flagrante...Produit par le Centre Lyrique Clermont-Auvergne, met aussi en avant deux jeunes lauréats du vingt-quatrième Concours international de chant de Clermont-Ferrand, Patrick Kilbride incarnant un Damon qui portait bien son nom...Le public présent, lui, n'a pas boudé son plaisir et a ovationné la troupe pendant de longues minutes."
"Everything in this show delights and the joy that the actors and singers have inspired in us is obvious...Produced by the Centre Lyrique Clermont-Auvergne, also highlights two young winners of the twenty-fourth international competition of singing of Clermont-Ferrand, Patrick Kilbride embodies a Damon who portrays greatly his name...The present public, did not hide its pleasure and cheered the troops for long minutes."
-Richard Beaune, Radio France 3
Acis and Galatea: Opéra Théâtre de Clermont-Ferrand Centre-Lyrique, February 2016 (Damon)
"L’excellent ténor Américain Patrick Kilbride, lauréat du 24e Concours international de chant de Clermont, possède le charisme naturel et l’autorité bien dosée d’un personnage plus complexe qu’il n’y parait. Porté par un médium lumineux et un grain délicat aux accents authentiquement baroquisants, il en traduit avec intelligence toute la profondeur et la sagesse. « Stay, shepherd, stay ! » est nourri de la distinction d’un vécu comédien racé et juste."
"The excellent American tenor Patrick Kilbride, laureate of the 24th International Competition of singing of Clermont, possessed the natural charisma and well-proportioned authority of a character more complex than it seems. Bringing a luminous medium of expression and a fine grain with authentically baroque accents, he expressed the role with intelligence through depth and wisdom. 'Stay, shepherd, stay!' is fed with the distinction of an experienced actor distinguished and true."
-Roland Duclos, Forum Opera
Acis and Galatea: Opéra Grand Avignon, October 2015 (Damon)
"Enfin, le ténor américain Patrick Kilbride – Lauréat du 24ème Concours International de chant de Clermont-Ferrand... prête à son « Monsieur bons offices » sa voix claire et bien projetée."
"Finally, the American tenor Patrick Kilbride - Winner of the 24th International Competition of Singing Clermont-Ferrand...ready for his "Mr. good offices" his voice clear and well projected."
-Emmanuel Andrieu, Opera Online
"Jeune ténor américain qui fait ce soir ses premiers pas en Europe, Patrick Kilbride confie à Damon un timbre clair au diapason de l’inspiration pastorale de la partition."
"The young American tenor who made his début tonight in Europe, Patrick Kilbride entrusts Damon with a clear timbre in tune with the pastoral inspiration of the score."
-Gilles Charlassier, Concerto Net
"Les jeunes chanteurs font tous preuve de talent scénique et vocal, se mouvant avec aisance et élégance dans cet espace restreint, prompts à suggérer d’un geste, d’une mimique, d’une intonation, les sentiments qu’expriment leur texte et la musique...Patrick Kilbride doté d’un timbre séduisant et d’une excellente diction."
"The young singers are all proof of scenic and vocal talent, moving with ease and elegance in this restricted space, quick to suggest a gesture, a facial expression, an intonation, the feelings expressed by their text and music...Patrick Kilbride with a very attractive timbre and excellent diction."
-Fabrice Malkani, Forum Opera
"Heureusement Acis (Cyril Auvity) et Damon (Patrick Kilbride) tirèrent davantage leur épingle du jeu, s'illustrant dans quelques magnifiques airs."
"Happily Acis (Cyril Auvity) and Damon (Patrick Kilbride) pulled further ahead of the game, performing in some magnificent arias."
-Christophe Floquet, Zibeline
"Quant à Damon (Patrick Kilbride) outre sa belle voix de ténor, il séduit par le sens qu'il donne à son amitié pour Acis, voilà un chanteur qu'il nous plaira de retrouver."
"As for Damon (Patrick Kilbride) besides his beautiful tenor voice, he seduces by the sense he gives to his friendship toward Acis, here is a singer that we are pleased to find."
-J.B., OPMUSA, "On a vu pour vous à Avignon; L'oeuvre de Haendel:
Acis et Galatée a retrouvé une seconde jeunesse"
"...Et l'autre ténor Patrick Kilbride (Damon) produit un joli timbre élégiaque..."
"...And the other tenor Patrick Kilbride (Damon) produced a lovely elegiac timbre..."
-François Jestin, Scènes Magazine
Tanglewood Music Center:
"Your voice is fabulous!"
-Mark Morris, acclaimed choreographer/director
Il Ritorno d'Ulisse in Patria: Boston Early Music Festival, June 2015 (Iro)
"The first scene of Act V belongs to Iro--As sung, and superbly acted, by Patrick Kilbride, he was more than a figure of ridicule and disgust, even evoking our sympathy as he lamented his loss and the suitors’ bodies were dragged off the stage."
-Virginia Newes, The Boston Musical Intelligencer
"...other notably satisfying performances came from Patrick Kilbride as Iro, a hanger-on of the suitors..."
Albert Herring: University of Maryland Opera Studio, November 2013 (Albert)
"A standout performance came from tenor Patrick Kilbride, who brought spot-on intonation and a sweet tone to the title role."
-Charles T. Downey, The Washington Post
Sweeney Todd: Aspen Opera Theater Center, July 2012 (Beadle Bamford)
"The two other tenors stole their scenes - Patrick Kilbride as a flamboyantly nasty Beadle Bamford, all high notes and grease..."
-Harvey Steiman, The Aspen Times