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Reviews for Mark S. Doss as Germont at WNO

Mark S. Doss is currently receiving acclaim as Germont in Verdi’s “La traviata” at the Welsh National Opera. Read here below what the press has to say:

“Mark S Doss was impressive as Alfredo’s father, Giorgio”

Terry Canty, Rhyl Journal

“The three leads are truly outstanding, with deep, passionate performances from each of them.”

“Mark sang Georgio Germont, Alfredo’s father. From the moment he entered the stage you were taken by his impressive presence and incredible baritone voice. It is warm and rich and is the perfect tone for a man attempting to dominate his son’s relationship with Violetta with his own misguided superiority.”

South Wales Life

“A strong impression is also made by American Mark S. Doss as Alfredo’s father Giorgio, who provides gravity and pathos, and whose character serves to highlight the theme of moral hypocrisy.”

Shaun Tougher, Art Scene in Wales

“Equally strong performances come from the rest of the cast,(…) and possibly most of all of Mark S. Doss as Giorgio Germont; his nuanced presentation of what can easily be a deeply unsympathetic character is coupled with impressive technical precision, and well deserving of the enthusiastic applause it received.”

Chiara Strazzulla, Opera Scene

“That commitment is on display in spades in Act 2, where the tension ramps up as Violetta is confronted by Alfredo’s father, Giorgio Germont. The role of Germont is played superbly in this production by Mark S Doss who manages to capture both the torment of a father who is torn between his two children, and the arrogance of a man who is so clearly used to getting his own way, no matter what the cost to others. The fraught exchange between Violetta and Germont is one of the highlights of the production, played out against the backdrop of Violetta’s increasing fears about her health.”

Emma Schofield, Wales Arts Review

“….there are also beautiful soft tones and an acute feeling for situation. I like the touch of his only removing his hat in Violetta’s drawing-room when he recognises her true nature: no doubt a director’s idea, but part of a portrait very well drawn by the singer”

Stephen Walsh, The Arts Desk

“…(…) Mark S. Doss, his tense, inhibited Giorgio Germont fits the dramatic bill expertly.”

George Hall, The Stage

“As his father, Germont, Mark S Doss brings dignity and eventual compassion to this difficult role, virtually ordering Violetta to save Alfredo’s reputation by renouncing him, but finally remorseful at the sacrifice this dying woman has made.”

Christopher Morley, Midland Music Reviews

“The role of Alfred’s father Giorgio Germont is demanding in that Germont senior is an unsympathetic character (particularly so in today’s mores) and is sung here by Mark S Doss’s, whose baritone strengthens as it reaches the finale.”

Barbara Michaels, The Reviews Hub

“Mark S Doss delivers gravitas and parental authority as Giorgio Germont, Alfredo’s father. His commanding, but gentle, presence serves to underline the morality tale at the heart of Verdi’s work.”

Leo Greenway, South Wales Argus

“She is stronger in the second act with Mark S Doss, playing Alfredo’s father Giorgio Germont, and the final dying scene. Mark S Doss has a beautiful baritone voice. He gives an excellent performance.”

Eva Marloes, Get The Chance Wales

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Press review Beethoven’s 9th Symphony in Venice


“The four soloists engaged (soprano Federica Lombardi, tenor Michael
Schade, mezzo-soprano Veronica Simeoni, and bass Mark Steven Doss) did
their best: very successful was the famous recitative with which the vocal
section of the last movement of the Symphony opens, articulated with great
incisiveness and effectiveness by the American bass…)”
Stefano Pagliantini, Musica

“Bass Mark S. Doss introduces the Ode to Joy with a solid vocal production.”
Luca Benvenuti, Non Solo Cinema

“Of good level were the four soloists starting with bass Mark S.Doss,
vigorous, luminous vocality, and elegant phrasing…”
Alessandro Arnoldo, Artes News

“Vocally, Federica Lombardi, Veronica Simeoni, Michael Schade, and Mark S.
Doss were impressive.”
Monika Wogrolly, Living Culture

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Reviews: Peter Grimes (La Fenice Venice, 2022)

“Mark S. Doss met both the vocal and expressive requirements of the role of Captain Balstrode.”
Roberto Mori, l’Opera

“… the excellent Mark S. Doss, an extremely believable Captain Balstrode, the only other positive character in addition to Ellen.”
Stefano Pagliantini, Musica

“Finally, the picture wouldn’t be complete without mentioning Mark S Doss’ firm, full-bodied Balstrode…”
Elena Luporini, Bachtrack

“Positive was the performance of Mark S. Doss, who gave sincere and severe accents to the character of Captain Balstrode.”
Cesare Galla, Le Salon Musical

“Mark S. Doss, with a bronze and secure voice, was a Captain Balstrode of great stage and vocal strength.”
Cristina Miriam Chiaffoni, Opera Libera

“Mark S. Doss’ dramatic Balstrode, with a markedly metallic voice.”
Roberto Campanella, GB Opera

“…and Balstrode (a convincing Mark S. Doss)”
Ugo Brusaporco, La Regione

“…Captain Balstrod, a Mark S. Doss blunt and incisive either in his singing and in his acting, who is trying to do the right thing without believing in it entirely, until he collapses under the wight of his sense of guilt.“
Paolo Locatelli, OperaClick

“Bass-baritone Mark S. Doss created a strong, well-defined portrait of Captain Balstrode, in which he captured the nuances of the character, and his position within the community as a source of ballast. His exchange with Grimes at the end of Act one, scene one not only allowed him to show off the engaging quality of his voice with its rich timbre and commanding air, but illustrated perfectly his ability to develop sensitively crafted phrases that revealed his complex relationship with Grimes.”
Alan Neilson, Operawire

“…and Mark S. Doss, a perfect Balstrode under every aspect.”
Gian Giacomo Stiffoni, El Hype

“Mark S. Doss with his vocal timbre characterizes very well Captain Balstrode’s personality.”
Marina Bontempelli, Agora Vox

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Reviews: Rigoletto (Welsh National Opera, 2019)

In the eponymous role was as rich a bass-baritone as I have heard anywhere, emanating from the powerful diaphragm of Mark S. Doss.  He has the ability to project even his whispers, and at full pelt can make your seat vibrate with his mighty voice.

Robert Gainer, bachtrack (Read Full Article)

Mark S. Doss has a big bass-baritone which seems almost to reach out and grasp the audience, compelling them to share in Rigoletto’s trials and agonies.

Claire Seymour, Opera Today (Read Full Article)
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Reviews: Tosca (Welsh National Opera, 2018)

… but the night belongs to Scarpia, played by Mark S Doss. Darkly comic, Doss brings out the chancer in Scarpia; he is the career politician at the top of his game not through merit, but circumstance.

Helen Tope, The Reviews Hub (Read Full Article)

As for Scarpia, American Mark S Doss was quite brilliant in the role – which is undoubtedly one of the greatest in opera… A strong punchy baritone, he chewed up the stage with an elegant but menacing flamboyance – at times fastidious, at times revelling in his forthcoming conquest – not to mention a suitably louche silk gown… He was overall the best Scarpia I have seen performed live, mixing beauty with brutality.

Will Frampton, The Daily Echo (Read Full Article)

Mark S Doss, however, is spot-on as Scarpia, avarice and evil wrapped up in swagger, menace and dangerous charm.

Rohan Shotton, bachtrack (Read Full Article)
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Reviews: The Flying Dutchman (Teatro Comunale di Bologna, 2013)

Mark S. Doss books a Dutchman of great stature, to the noble foundation. One hears a powerful reserve that never deploys gratuitously, instead cultivating the art of nuance while in the service of the drama, with a refined sensibility, infinitely worthy, he makes the title role a positive character, in accordance with the staging.

Bertrand Bolognesi, Anaclase (Read Full Article in French)

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Reviews: Mark S. Doss in Concert (Cleveland, 2012)

Mark S. Doss has the kind of voice you could listen to for hours.

Daniel Hathaway, Cleveland Classical (Read Full Article)
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Reviews: The Flying Dutchman (Teatro Regio di Torino, 2012)

With Mark S. Doss, the cast includes one of the most beautiful voices that I can imagine in the title role… Full of innumerable colors, timbre, his voice has a unique harmonic richness that creates an irresistible attraction for this character…. Restrained in his gestures, with his large, warm and captivating voice, Mark S. Doss expresses marvelously the weariness of the eternal wandering Dutchman.

Jacques Schmitt, ResMusica (Read Full Article in French)