George Cordes © All rights reserved
Critical Acclaim
Pecheurs de Perles, Opera Boston, 2007
"Lastly, we can't forget the resonant bass
voice of George Cordes. Mr. Cordes' portrayal of the high priest, Nourabad, was right
on the mark and, coupled with the considerable vocal ability he displayed, added
just the right amount of compassion and menace to whatever scene he was in." OperaOnline.us
Midsummer Night's Dream, Lyric Opera of Kansas City, 2005
"In the role of the buffoon,
Bottom, bass-baritone George Cordes stood out. His handsome, powerful voice was even
throughout its range and was exemplary in enunciation."
Belgian Operaguide
Figaro (Le Nozze di Figaro)
"plush-toned" Opera News
"George Cordes portrayed a Figaro who seemed to grow to maturity over the course
of the work, a touch not usually considered."
New York Times
"... an outstanding Figaro. Blessed with a fine bass-baritone voice and good stage
presence, he brought the valet to vivid life ..."
St. Louis Post-Dispatch
"Bass-baritone George Cordes fully inhabited the title role ..."
Chicago Tribune
"... a convincing Figaro with a strong, flexible voice, cleverly and with humor dispatching
events towards a happy ending ..."
Opera Canada
"George Cordes as Figaro impresses as yet another captivating American baritone -
handsome, relaxed on stage, mellow of voice."
Columbus Dispatch
"The emotionally involved Figaro of George Cordes stood out in a first-rate cast ..." Opera Canada
"a sturdy Figaro in stature, appearance and voice"
Columbus Alive
"It was Cordes ... who provided much of (the) fun ... Blessed with a grin as big
as his voice, all this guy has to do is smile and the audience smiles with him; that
he happens to be a fine singer and actor is icing on the cake."
Akron Beacon Journal
Colline (La Boheme)
"... a warm, rich voice which ... has presence ... He is a confident stage actor who brought the requisite gravity to (Colline) without turning him pompous ..." New York Times
"George Cordes handled eloquently the aria in which he sings his farewell to the
coat he is to pawn."
New York Daily News
Leporello (Don Giovanni)
"The premier acting came from George Cordes as the title character's loyal, yet realistic,
servant, Leporello. He made the most of the scene-stealing comedy."
Syracuse Post-Standard
"The Leporello of George Cordes was especially fine in the catalog aria, and Cordes'
mimicry of his master's serenading of Elvira was very funny without being hammy."
Ithaca
Journal
Sarastro (Die Zauberflöte)
"George Cordes was a standout presence and power as Sarastro."
Binghamton Press &
Sun-Bulletin
The Rev. Hale (The Crucible)
"Bass George Cordes ... sang with authority and command of the music, more than holding
up his end in an all-around superior cast."
Bay Windows online
"George Cordes (was an) effective ... villain, all sneer, until (he) rounded his
characterization when Hale sees through the treachery."
The Boston Phoenix
"... (a) strong performance ..." OperaOnline.us
Timur (Turandot)
"Timur's lament at the death of Liù was deeply touching in George Cordes' performance." Opera News
Monterone (Rigoletto)
"Good acting was at a premium. George Cordes' dignified Monterone exemplified a singer
whose vocal and dramatic abilities were fully in sync."
New York Times
"Cordes's delivery of Monterone's curse (is) lyrically haunting."
Houston Press
Escamillo (Carmen)
"As the strutting matador, George Cordes charmed the audience with a winning smile,
an easy chuckle and a cannon of a voice."
Grand Rapids Press
Bottom (Midsummer Night's Dream)
"George Cordes' more textured tone and pushier manner were perfect for Bottom." Opera News
"George Cordes animates the comic role of Bottom." University News
Scarpia (Tosca)
"As for George Cordes's Scarpia, the New York City Opera baritone projected a suave cruelty in the very sound of his voice." Toronto Star
"... the evil Scarpia, to whom George Cordes did nasty justice ... Cordes has a firm, beautifully balanced bass voice, and his crisp Italian added immensely." Akron Beacon Journal
