Press acclaim:

If one star can be singled out in such a well-coordinated ensemble performance, it was Colenton Freeman in the role of Nero.  He began quietly, in a low-profile that made him all the more effective in later scenes where he indulged in the kind of temper tantrums that history associates with Nero's name.  His voice, a fine tenor that has been used mostly in such operas as "La Traviata", "La Bohme", and "Madame Butterly has the flexibility necessary for Monteverdi's elaborate vocal lines, and in ensemble passages, he showed the affinity of this operatic music to the style of the same composer's madrigals... He distinguished himself equally as an actor, and his love scenes with Poppea reached high levels of erotic intensity.
The Washington Post

"Celebrated with affection was the new American tenor Colenton Freeman as Rodolfo - a real tenor with bright, heroic power, but also the ability to hold back for nuances and lyrical expression."
Giessener Anzeiger

"...full tenor voice...uncommon beauty!"

 "A stroke of luck was to hear Colenton Freeman as Nemorino...shining tenor...highly appealing was his singing of the well-known romanza...full-bodied tenor!"

"...and the tenor of Aegisthus Colenton Freeman, his voice keen, focused, pervasive, his portrayal of Clytemnestra's lover insidious on the grand scale."
The San Francisco Chronicle

"Mr. Freeman has a powerful voice and produces a commanding tone.  He has a gift for languages and throws himself into his interpretations with agreeable energy.  Mr. Freeman's warmth and evident sense of humor clearly pleased the audience.
The New York Times

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