Reviews

 
 

“Noah Grove’s much put-upon Papageno clearly relished being on stage.  He played the comedy unabashedly, but when he sang, he revealed a well-trained, rich baritone that would undoubtedly garner approval in a role calling for a more serious persona.”

— Bill Rankin, Opera canada

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“Noah Grove as Papageno was the most polished of the principals. His baritone, if not plummy, was firm, and he projected his spoken dialogue clearly. Looking a little like Oliver Hardy in his bowler hat, he was a confident comedian.”

— Arthur kaptainis, ludwig-van

 

“Noah Grove’s Papageno [is] really the one who pulls this show together and brings it alive.  He sings very well but it was his characterisation and comic timing in the dialogue that impressed more.  I’m not sure Magic Flute is supposed to be “about” Papageno but that’s how it felt last night.”

— John gilks, operaramblings

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“Noah Grove was a rich toned and very creepy Satan.”

— John Gilks, Operaramblings

 
 
 

“The star of the show, though, is undoubtedly Noah Grove as a Papageno with a feather fetish. He has a winning combination of self-deprecating comic acting and, contrastingly, a rich baritone.”

— Mark Morris, Edmonton Journal

 
 
 

“The most accomplished singer of the night was baritone Noah Grove (Papageno). His is a light voice, with a seductive vibrato and masterful phrasing. Warm, mellow and intuitively musical, Grove’s sound cocoons the ear. His singing appears effortless. He is also a delightful actor who eats up the stage, and his ability to play with words turns lyrics into conversation.”

— Paula Citron