Aida – L’Opéra de Montréal
“Best of the singing actors was the veteran Canadian baritone Gregory Dahl as Amonasro, who persuades his reluctant daughter Aida to forgo love for patriotic duty. His climactic accusation that she is nothing but a slave – la schiava! – was perhaps the most chilling of the evening’s many moments of interpersonal melodrama.”
– Arthur Kaptainis, Montreal Gazette, Sep. 19, 2016
Samson et Dalila – L’Opéra de Montréal
“Gregory Dahl combined a focused baritone and grim demeanour as the High Priest”
– Arthur Kaptainis, Montreal Gazette, Jan. 27, 2015
Madama Butterfly – Canadian Opera Company
“Gregory Dahl’s Sharpless completed the draining away of dramatic tension in this Butterfly – the moral probity of Dwayne Croft was replaced by a hearty, cynical realism.”
– Robert Harris, The Globe and Mail, Oct. 12, 2014
“The fourth member of this superb quartet was Canadian baritone Gregory Dahl as Sharpless. He sang with warm, sturdy tone and exuded the requisite dignity and empathy as the American Consul.”
– Joseph So, La Scene Musical, Oct. 12, 2014
Pelleas et Melisande – Against the Grain
“Gregory Dahl makes an excellent Golaud as one might expect. Dahl’s Golaud is ultimately a sympathetic figure who repeatedly tries to suppress his jealously toward his half-brother Pelléas even though doing so only increases his anguish. His scene with Pelléas in the grottos is especially fine since Dahl makes us feel within his character the ongoing battle between malice and restraint.”
– Stage Door, Christopher Hoile June 2015
“Perhaps most impressive is Dahl’s Golaud, needy and increasingly menacing, sometimes in a suave fashion.”
– NOW Magazine, Jon Kaplan, June 2015
“Gregory Dahl was also astonishing in his portrayal of the antagonist Prince Golaud, a complex role requiring a deep understanding of the philological trauma of someone who has lost their way.”
– Musical Toronto , John Terauds, June 2015
Macbeth – L’Opéra de Québec
“Quelques instants plus tard, c’est au tour de Gregory Dahl de faire craquer la salle avec un somptueux Pietà, rispetto, amore. On ne peut que succomber au charisme de ce superbe Macbeth, au coffre de cette voix de baryton.”
– Le Soleil, Richard Boisvert, May 2014
“La distribution est de très grande qualité. Le baryton Gregory Dahl joue bien les hésitations de Macbeth, qui se questionne sur le mal qu’il va répandre, pour s’imposer, ensuite, vocalement au troisième et quatrième acte.”
– May 2014
“Gregory Dahl, a vivid and steady baritone, embodied both the heroism and villainy of the title character. He was more incensed by, than afraid of, the visions that haunted him. One positive result was a drama that remained active to the final curtain: This guy might be a match for fate.”
– Montreal Gazette, Arthur Kaptainis, May 2014
Aida – Manitoba Opera
“We didn’t see baritone Gregory Dahl (Amonsaro, King of Ethiopia/Aida’s father) until late in the opera, but his warm, powerful voice and commanding presence were worth the wait.”
– Gwenda Nemerofsky, Winnipeg Free Press, April 5, 2013
La Traviata – Opera Lyra Ottawa
“Gregory Dahl sang the role to chilling perfection.”
– Richard Todd, The Ottawa Citizen, March 22, 2013
“When Gregory Dahl as Giorgio Germont, Alfredo’s father, appears on stage early in Act II it is with such a commanding presence, that we sense a physical change in Violetta; we sense her listening acutely to his every word as he explains that he has come to ask her for a sacrifice. In his beautifully resonant baritone, Mr. Dahl gives a finely nuanced performance as the emotionally conflicted Giorgio.”
– Nan Cormier, The Charlebois Post, March 22, 2013
Otello – Calgary Opera
“Baritone Gregory Dahl, could not have captured the role of the duplicitous Iago better, and beguiled his nemesis all night long with his serpentine poison, ingratiating himself with malevolent cunning. Mr. Dahl succeeded in pulling off the greatest villain in the opera repertoire, and his Act II Credo, where he affirms his genesis as evil incarnate, was chilling.
For his venomous portrayal, he was lustily booed with great approval when he came out for his final curtain call.”
– Calgary Herald, November 12, 2012
Macbeth – Pacific Opera Victoria
“Baritone Gregory Dahl, as Macbeth, is a commanding presence from the start, but really starts to come into his own in the banquet scene at the end of Act 2, as his character becomes unhinged, and he is particularly impressive in Acts 3 and 4, giving vent to Macbeth’s mounting psychological fever.”
– Kevin Bazzana, The Victoria Times Colonist, Oct. 6, 2012
Il Trovatore – L’Opéra de Montréal
“Gregory Dahl un interprète sensible, à la voix large et aux aigus faciles, qui compose un personnage davantage habité par sa passion pour Leonora que mû par les instincts barbares que lui dicte son amour contrarié. Faisant lui aussi ses débuts dans ce rôle, le baryton manque peut-être un peu de mordant, mais impressionne par sa superbe musicalité et une forte présence scénique.”
– Louis Bilodeau, Avant-Scène Opéra, Jan 21, 2012
Salome – Manitoba Opera
“Special mention must be made of Winnipeg baritone Gregory Dahl’s chain-shackled Jokanaan, who immediately asserted his booming presence even from the depths of the cistern with his first vocal entry, “After me, will come one.”
The charismatic singer brought both requisite strength and nobility to the role, with his robust voice trembling with fury as he foretold the coming of the Son of Man.”
– Holly Harris, Winnipeg Free Press, Nov. 20, 2011
Cavalleria Rusticana/I Pagliacci – Edmonton Opera
“Gregory Dahl was a gem as the snake Tonio…”
– Elizabeth Withey, October 23, 2011
“Gregory Dahl, who has charisma for days, was a powerfully jealous Alfio.”
“Gregory Dahl transitioned the evening into Leoncavallo’s I Pagliacci with some wonderfully timed comedy as Tonio the clown.”
– Mark Wilkinson, October 22, 2011, Sound and Noise.
Pelleas et Melisande – Opera Theatre of St. Louis
“In the hands of the director David Alden, alas, most of the characters were not only unknowable but also unlovable. Golaud, however earnestly enacted and strongly sung by Gregory Dahl, was a squalid brute from the start.”
– Steve Smith, June 19, 2011, New York Times
“Gregory Dahl is terrifically unhinged as Golaud. His grand downward spiral into madness is played to perfection with an authoritative performance. He brings a rough and raw sense of paranoia and delirium to Golaud that propels the tension in the opera. His baritone voice balances perfectly with Winters’ to create a dynamic onstage force. Dahl makes the difficult task of letting Golaud evolve from a lost soul into a sinister and cunning antagonist look easy.”
– Rob Levy, KDHX blog, June 10, 2011
Lucia di Lammermoor – Opera Lyra Ottawa
“Gregory Dahl had the vocal power to make a strong impression as Lucia’s stone-hearted brother, Enrico and he acted the part with chilling poise.”
– Richard Todd, Ottawa Citizen, March 28, 2011
Lucia di Lammermoor – Vancouver Opera
“Gregory Dahl (Enrico, Lucia’s brother) instantly projected a character of strength and undisciplined anger.”
– Elizabeth Paterson, Review Vancouver, November 2010
“Dahl’s Enrico, full of harsh swagger and cunning, had a commanding baritone that easily propelled the story forward.”
– Andrea Rabinovitch, The Vancouver Observer, Dec, 6, 2010
Prima Donna – Luminto Festival (Toronto)
“Baritone Gregory Dahl was impressive both vocally and dramatically as the butler Philippe, his outburst in Act Two a real scene-stealer.”
– Joseph So, La Scena Musical, June 15, 2010
Otello – Edmonton Opera
“…while Gregory Dahl is just short of demonic as Iago, attempting to destroy Othello and his wife Desdemona, as he plays out his nature as spiritual brother to Shakespeare’s Richard III. Both are formidable stage presences and excellent singers, though Dahl is more arresting in this instance because of the sheer malevolence of his role.”
– Tom Murray, Edmonton Journal, April 26, 2010
L’Gala – Opera de Montreal
“There were many high points starting with Gregory Dahl’s impressive and moving Rigoletto Act II aria “Cortigiani, vil razza dannata.” Dahl’s baritone had previously impressed in Montreal Opera’s season opener where his double performance as Tonio in Pagliacci and Schicchi in Gianni Schicchi revealed in him Canada’s next great Verdian baritone. Ample tone and impeccable legato are the order for a great Verdian baritone, and Dahl’s performance of the Rigoletto aria and the famous “Te Deum” from Tosca did not disappoint.”
– Wah Keung Chan, La Scena Musicale, Dec. 7, 2009
The Rake’s Progress – Pacific Opera Victora
“As Tom’s diabolical nemesis, Nick Shadow, the baritone Gregory Dahl cuts an imposing figure both vocally and physically, and projects a personality that is charming and subtle but still too powerful to be resisted.”
– Kevin Bazzana, The Times Colonist, Nov. 15th, 2009
Pagliacci/Gianni Schicchi – Opera de Montreal
“The baritone Gregory Dahl was wonderful; his subtle acting and lush voice the more impressive for doing the most work (he sings Tonnio in Pagliacci and Schicchi in Schicchi).”
– Lev Bratishenko, Roverarts.com, September, 30, 2009
“Both were delivered on a near-empty stage by the indefatigable baritone Gregory Dahl.”
“Dahl was the mainstay of the evening, performing Schicchi with canny vitality and summoning the stronger sounds and feelings of the rejected (but not so noticeably hunchbacked) Tonio in Pagliacci.”
– Arthur Kaptainis, Montreal Gazette, September 28,2009
“Dahl fut brillant et amusant dans le rôle-titre de Gianni Schicchi…”
– Claude Gingras, La Presse, Sept. 28, 2009
“Le baryton Gregory Dahl, le seul à faire partie des deux distributions – l’infâme Tonio et l’opportuniste Gianni Schicchi – revêt sans peine le costume de la vengeance et celui de la ruse. C’est son jeu scénique qui prime dans les deux rôles. Notons au passage que Tonio n’est pas difforme. C’est plutôt sa méchanceté, sa hargne qui le rend si poignant. Il serait tentant d’en faire le véritable héros de la soirée.”
– Jacques Hétu, ResMusica.com Oct. 1, 2009
Salome – Opera Theatre St. Louis
“Soprano Kelly Kaduce and Gregory Dahl are given special attention and respect here for their beyond-extraordinary realizations of the roles of Salome and Jokanaan (John the Baptist).”
– Robert W. Duffy, St. Louis Beacon, May 31, 2009
“Her love, and her victim, John the Baptist, was sung by baritone Gregory Dahl, whose voice was the most traditionally matched to the role. He was an uncomfortably believable prophet, vocally authoritative, and at times almost pastoral in his warnings to Salome. He dominated the orchestral texture more than the other singers, which meant he had an unusually large impact on the drama.”
– Philip Kennicott, The Gramaphone, May 31, 2009
Beethoven Ninth Symphony – Winnipeg Symphony Orchestra
“Soloists were sound. Dahl has the ideal instrument for this work – commanding, with nice timbre and super diction.”
– Gwenda Nemerofsky, Winnipeg Free Press, April 13, 2009