“In this performance, that voice belongs to tenor Marc Molomot, whose intrepid singing of the Hauptmann’s angular, awkwardly high-lying music is one of this Wozzeck’s greatest strengths. Precisely what motivates the Hauptmann’s idiosyncratic actions is one of Büchner’s and Berg’s gnawing enigmas, but Molomot, ever a shrewd artist with an uncanny ability to topple façades […]
“It was meant to be nasty inside as well. The O’Neill (formerly the Center Theater) had been turned into Club Fairy Queen in “sultry Las Vegas,” and on offer was “A Midsummer Night’s Dream” package….It is Puck who undergoes the most touching transformation. Moreover, the example of a brilliantly Falstaffian performance by French tenor Marc […]
“The nucleus around which the supercharged particles of this Fairy Queen whirred was the Puck of tenor Marc Molomot… The tenor’s voicing of the epithalamium ‘Thrice happy lovers’ was the performance’s finest instance of Purcellian vocal authenticity.” — Read more at Voix des Arts.
“With his flaming pink hair and expansive waistline, tenor Marc Molomot’s Puck blended the shambling shtick of comic Henny Youngman and the menace of the Master of Ceremonies in Cabaret.” — Read more with a subscription at musicalamerica.com.
The fellow who almost stole the show was tenor Marc Molomot. He turned his one solo, “Olim lacus colueram” (the swan who is being roasted on a spit), which is normally done as a lament, into a self-deprecating, humorous event that included terrific interaction with the men of the choir. – Read more at Northwest […]
“Baritone Michael Kelly (the father) negotiated his solos with luxurious warmth and a firm line.” “Soprano Cyndia Sieden (the mother) sang clearly and elegantly, handling the high stuff with aplomb.” “Tenor Marc Molomot (the passenger) managed the Swan’s song evenly and eloquently, without, it would appear, resorting to falsetto.” Read more here.
“Also outstanding…Marc Molomot’s stuttering sponger Irus.” Read more here.