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'Don Carlo' - San Francisco Opera

Stephen Smoliar - Examiner.com
"Equally compelling was Pape’s ability to contrast Philip’s autocratic authority in the first two acts of the opera with his solitary confrontation with the consequences of his actions in the fourth act."
James Ambroff-Tahan - San Francisco Examiner
"The great bass René Pape was a regally stirring Philip, showing poise ruling almighty Spain, but also fretting over his marriage to Elizabeth, knowing full well that her heart belongs to his son. Pape’s stentorian voice resonated throughout, especially in the Act 4 aria “Ella giammai m’amo,” in which he is as much a man with feelings as Europe’s most powerful monarch."
Georgia Rowe - The Mercury News
"The cast's other powerhouse was René Pape as Philip. Singing with dark, magisterial tone, the German bass made the king a commanding, intriguingly complex character . . ."
SFGate - Joshua Kosman
"Yet perhaps the afternoon’s most commanding contribution came from bass René Pape as King Philip II, Carlo’s father and rival in both love and war. With his gleaming, polished sound and impeccably focused phrasing, Pape created a character at once formidable and sympathetic; his long Act 4 soliloquy, accompanied by the San Francisco Opera Orchestra’s great principal cellist David Kadarauch, was a virtuoso display of fierce pathos."
The Opera Tattler
"René Pape is completely believable as King Philip II, his rich tones sounded mature . . ."

13 June 2016 — "Equally compelling was Pape’s ability to contrast Philip’s autocratic authority in the first two acts of the opera with his solitary confrontation with the consequences of his actions in the fourth act."

Stephen Smoliar - Examiner.com

"The great bass René Pape was a regally stirring Philip, showing poise ruling almighty Spain, but also fretting over his marriage to Elizabeth, knowing full well that her heart belongs to his son. Pape’s stentorian voice resonated throughout, especially in the Act 4 aria “Ella giammai m’amo,” in which he is as much a man with feelings as Europe’s most powerful monarch."

James Ambroff-Tahan - San Francisco Examiner


"The cast's other powerhouse was René Pape as Philip. Singing with dark, magisterial tone, the German bass made the king a commanding, intriguingly complex character . . ."

Georgia Rowe - The Mercury News

"Yet perhaps the afternoon’s most commanding contribution came from bass René Pape as King Philip II, Carlo’s father and rival in both love and war. With his gleaming, polished sound and impeccably focused phrasing, Pape created a character at once formidable and sympathetic; his long Act 4 soliloquy, accompanied by the San Francisco Opera Orchestra’s great principal cellist David Kadarauch, was a virtuoso display of fierce pathos."

SFGate - Joshua Kosman


"René Pape is completely believable as King Philip II, his rich tones sounded mature . . ."

-The Opera Tattler