Gregory Dahl Reviews

Die Fledermaus - Manitoba Opera
“Dahl gave a strong performance as the title character. He has great stage presence - totally commanding. His rich-toned voice carried throughout the hall more than any other performer, staying impeccably in tune and assured.”
Gwenda Nemerofsky, Winnipeg Free Press, November 27,2006

Don Giovanni - Edmonton Opera
“. Gregory Dahl plays Giovanni as outsized, obsessive, blustering, boorish and eminently likable. Even when he alternately bullies and flatters new husband Masetto (Phillip Addis) as he's chasing him off in an attempt to scoop up his wife Zerlina (Angela Welch), you can't help but find him charming -- in a high school Lothario way. With superb vocal and acting performances by the leads -- Nielsen and Elzinga were obvious fan favourites, as well as Dahl -- and the ESO performing Mozart under the baton of conductor Timothy Vernon, Don Giovanni is both an aural and visual treat, with a climax as much out of an Alice Cooper concert as traditional opera.”
Tom Murray, Edmonton Journal, November 06, 2006

Falstaff - Opera Lyra Ottawa
“And he wasn't the only one to turn in a strong performance. Gregory Dahl's Ford was particularly successful in the vocal department and convincing enough dramatically.”
Richard Todd, The Ottawa Citizen, April 09, 2006

Turandot - Vancouver Opera
“Ping, Pang, and Pong (Gregory Dahl, Peter Blanchet, and Michel Corbeil), who wheel around in giant robes, have much more depth and charisma than the oversize push toys they usually become.”
Janet Smith, Georgia Staight, October 27, 2005

“..my faves Gregory Dahl, Peter Blanchet and Michel Corbeil as the likeable Ping, Pang and Pong.”
Fred Lee, Vancouver Courier, November 7, 2005

“Take Turandot's advisers, Ping, Pang and Pong, the commedia dell arte trio oddly plunked down in Peking. Under Deedrick's direction baritone Gregory Dahl and tenors Peter Blanchet and Michel Corbeil become the voices of reason: three nice old guys who'd rather be gardening.”
Louise Philips, Vancouver Courier, October 27, 2005

Die Fledermaus - Saskatoon Opera
"The show is stacked with great performances, led by the always-great Dahl. He is in top form, his voice effortlessly and powerfully reaching both top and bottom notes. Dahl is a consummate comic opera actor, offering a performance that instills confidence and delights with its stylish presentation."
Joanne Paulson , The Star Phoenix, July 18, 2005

The Creation - Vancouver Symphony
"Gregory Dahl, who did double duty in the bass role of the archangel Raphael and the baritone part of Adam, possesses a round, resonant voice and impressively clear diction."
David Gordon Duke, Vancouver Sun, May 16, 2005

L'Elisir d'Amore - Manitoba Opera
"Gregory Dahl was an appropriately pompous Sergeant Belcore in both voice and demeanour. In Come Paride vessoso, he extolled his own gallantry, boasting how no woman can resist a man in uniform. Dahl's resonant baritone was a perfect fit for the role."
Gwenda Nemerofsky, Winnipeg Free Press, April 18, 2005

An Evening in Paris - Manitoba Opera Gala
“Special mention must be made of former Winnipeg baritone Gregory Dahl - no relation to Tracy - who filled in with three days’ notice for an ailing Peter Barrett. With nerves of steel, his portrayal of protagonist Hamlet in Ô vin, dissipe la tristesse showed his rich hearty voice, while appearing completely at ease with the orchestra and chorus.”
Holly Harris, Winnipeg Free Press, February 27, 2005

Madama Butterfly - Vancouver Opera
“In Dahl’s nuanced performance the pragmatic Sharpless is a grounded contrast to Butterfly’s dreamy romance and Pinkerton’s greedy lust.”
Briana Doyle, Canada.com, November 28, 2004

“Baritone Gregory Dahl shows vocal depth and versatility in the sympathetic role of Sharpless, the American Consul.”
David Gordon Duke, The Vancouver Sun, November 29, 2004

“Gregory Dahl lends dramatic weight and colour to the consul Sharpless.”
Vancouver Courier, Louise Phillips, December 1, 2004

Don Pasquale - Opera Ontario
“Gregory Dahl was roundly convincing as Malatesta…Dahl’s Bella siccome un angelo was a highlight in Act I.”
Leonard Turnevicius, The Hamilton Spectator, October 19, 2004

“Gregory Dahl was a vigorous and compelling Dr. Malatesta.”
Hugh Fraser, Opera Canada, Winter 2004

Madama Butterfly - Opera Lyra Ottawa
“Gregory Dahl, with a rich, full baritone, was ideal as Sharpless.”
Earl Love, Opera Canada, Winter 2004

Madama Butterfly - Opera Lyra Ottawa
"Sharpless, the American Consul and the closest thing Pinkerton as to a conscience, received an unusually three-dimensional incarnation from baritone Gregory Dahl, whose voice had sufficient authority to support the characterization, wthout going overboard."
Richard Todd, The Ottawa Citizen, September 13, 2004

"Speaking of Dahl, his performance as the troubled consul added an emotionally textured dimension to the love story I haven't seen before."
Dennis Armstrong, The Ottawa Sun, September 13, 2004

Il Barbiere di Siviglia - Saskatoon Opera
“Il Barbiere mi ha fatto ridere. That's Italian for "the barber made me laugh:" I'm still in the Barber of Seville mood. Laugh out loud I did at the magnificent Gregory Dahl, he of the expressive face and limber baritone voice. Dahl was wonderfully comic in the title role of Figaro Thursday at the opera's preview night. Saskatoon Opera could not have found a better Figaro for its funny 2004 offering, and without a strong Figaro, you don't have a production of The Barber of Seville. Throughout the opera, and notably during the famous aria Largo al Factotum, Dahl imaginary people off with a guitar, and was generally captivating.”
Joanne Paulson, Star Phoenix, July 24, 2004

“Gregory Dahl, as a side-splitting Figaro … Dahl and Einfeld must certainly be on their way to greater Canadian and, eventually, international recognition. Dahl’s brilliant characterization, not to speak of his vocal excellence, were indeed world class.”
Walter Theissen, Opera Canada, Winter 2004

L’Elisir d’Amore - L'Opéra de Québec
“Le Belcore vantard et suffisant incarné par le baryton Gregory Dahl ne manque pas d'air.”
(Boasting and sufficient Belcore which incarnated by the baritone Gregory Dahl does not miss air.)
Richard Boisvert, Le Soleil, March, 2004

Turandot - Canadian Opera Company
“Wheeling around the mandarins Ping, Pang, Pong (splendidly impersonated by Gregory Dahl, Luc Robert and Michael Colvin) like chess pieces suited a fairy tale milieu perfectly…”
William Littler, Toronto Star, January 23, 2004

“Gregory Dahl, Luc Robert and Michael Colvin capered agreeably as the courtiers Ping, Pang and Pong, whose earthly nostalgia and jaded ways are what we might have got if Rodolfo’s artist pals in La Bohème had all taken jobs in the civil service.”
Robert Everett-Green. The Globe and Mail, January 23, 2004

“Gregory Dahl, Luc Robert and Michael Colvin all deliver both comical and heartwarming moments as Turandot’s ministers.
Wilhelm Kuelke, Torontostage.com, February, 2004

Turandot - Edmonton Opera Association
“Gregory Dahl, Peter Blanchet and Michel Corbeil were a delightful Ping, Pang and Pong. Their second-act scene at home conveyed amusingly the three ineffectual ministers’ pleasure in their royal sinecure as court sages. The singing and comic acting were always enjoyable. The trio conveyed the nostalgic resonance of Ho una casa nell’ Honan wonderfully and the Edmonton Symphony, conducted by Tyrone Paterson, played the sentimental accompaniment beautifully.”
Bill Rankin, Edmonton Journal, December 1, 2003

Filumena – Calgary Opera
“The principal singers showed the benefit of a return to their roles, all of them clearly more comfortable with the music and therefore able to concentrated even more upon the dramatic aspects of their performances. This was particularly evident in Gregory Dahl’s performance of Filumena’s husband Charlie, this time noticeably more vocally comfortable and nuanced than in the Calgary opening.
Kenneth Delong, Calgary Herald, August 8, 2003

Mikado - Toronto Operetta Theatre
“Gregory Dahl captures the youthful glee of the Mikado but not much of his menace. Rather more maniacal laughter in "My Object All Sublime" might be in order. But it is wonderful to hear this famous song by so powerful a voice.”
Christopher Hoile, Stage Door, May, 2003

Facing South – Tapestry New Opera Works
“The four singers in Facing South were all excellent, starting with the booming baritone of Gregory Dahl, who attracted and held our attention the second he stepped on stage. His brooding Peary was effective and beautifully voiced.”
The Globe and Mail, April, 2003

“..as we follow the despair of American explorer Robert E. Peary, performed by excellent baritone Gregory Dahl...”
Paula Citron, Opera Canada Summer 2003

La Bohème –Opera Ontario
“In Gregory Dahl, we had a Marcello who looked every inch the lad who could rock n’ roll with Musetta and sing magnificently while doing it.”
Hamilton Spectator, October, 2002

“The battling Gregory Dahl (Marcello) and Mirela Tafaj were in good voice..”
Wayne Gooding, Opera Canada, Winter 2002

“Canadian Gregory Dahl is already well known. He brings his full, rich baritone and finely honed acting skills to the role of Marcello. His performance is so strong that the Marcello-Musetta relationship becomes not merely a diversion but the parallel contrasting plot it is meant to be. “
Christopher Hoile, Stage Door, October 2002

“As Marcello, Gregory Dahl in his first major assignment sang strongly and used his imposing height to advantage.”
Joseph So, La Scena Musicale, October, 2002

The Magic Flute – Saskatoon Opera
“Baritone Gregory Dahl often stole the show in this role, capitalizing on every opportunity for humour. His meeting with the delightful Papagena and their plans for many little namesakes was a highlight of the evening.”
Jenni Mortin, Star Phoenix, May 2001

Beatrice Chancy – The Queen of Puddings
“Dahl was perhaps the finest singer on stage..”
John Charles, The Edmonton Sun, February 10, 2001

“While Gregory Dahl’s role as the odious slave owner and father gives him some of the most over-the-top text to sing, his musical performance is fine indeed.”
D.T. Baker, Edmonton Journal, February 10, 2001

“Baritone Gregory Dahl in the unsavoury part of Francis, who declares ‘slaves and women are things,’ is vocally secure but more pitiable stereotype than monster.”
Geoff Chapman, The Toronto Star, June 222, 1999

“…Gregory Dahl, terrifying and yet eerily recognizable as Francis Chancy;”
The Globe and Mail, Urjo Kareda, June 22, 1999

“Gregory Dahl sang up a storm as the hateful Francis Chancy…”
William Littler, The Toronto Star, June 19, 1998

“And Gregory Dahl is supremely odious as Francis…”
Elissa Poole, The Globe and Mail, June 1998

The Shivaree – Opera In Concert
“Baritone Gregory Dahl was outstanding as the bridegroom, Quartz. He’s an expressive singer blessed with a rich, bold voice.”
Paula Citron, Opera Canada, Summer 2000

“Baritone Gregory Dahl bit into Quartz’ words and hardened his resonant voice to suit the character.”
John Lehr, The Toronto Star, April 17, 2000

“Gregory Dahl had a great time as the comic villian William Quartz; his ability to point the text dramatically was delicious.”
The Globe and Mail, Urjo Kareda, April 17, 2000

The Marriage of Figaro – Saskatoon Opera
“Gregory Dahl and Karen Charlton were top-notch as Figaro and Susanna…He was strong and wily, she vivacious and resolute, and the moment in the first act when he sat on her knee showed how well they meshed.”
Jenni Mortin, Star Phoenix, May 2000

Arcifanfano – Modern Baroque Opera
“The high-octane performance never faltered in Kate Hutchinson’s exuberantly inventive staging, with a particular nod in the direction of Gregory Dahl’s authoritative Arcifanfano..”
Floyd St. Clair, Opera Canada, Fall 1999

Linda di Chamounix – Opera In Concert
“Baritone Gregory Dahl was warm and effective as Antonio (Linda’s father) and pulled off punchy duets with bass Kenneth Baker as the Perfect...”
Geoff Chapman, The Toronto Star, November 9, 1998

Paul Bunyan – Opera Division – University of Toronto
“Gregory Dahl, as the hulking Hel Helson, must have been a casting dream, with a physique that might challenge Bunyan’s own and a powerful baritone deployed confidently."”
The Globe and Mail, Urjo Kareda, March 16, 1998