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