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As Méphistophélès in Oper Frankfurt's Faust:
"In fact, Mark S. Doss' Méphistophélès is no slouch. Doss plays the Devil with relish, the voice dark and
charged, the figure all demonic dash."
The Financial Times
As Escamillo in Lyric Opera of Chicago's Carmen:
"Back as Escamillo was bass-baritone Mark S. Doss... He played the bullfighter as a swaggering hunk of machismo in
tight black leather and delivered a robust Toreador Song, whose awkward vocal placement has undone more than a few
basses and baritones."
The Chicago Tribune
As Scarpia in Tosca with Boston Lyric Opera:
"There was one outstanding performance by Mark S. Doss as Scarpia... Doss has made his career in bass roles, but he
commands the top range for Scarpia; with resonant, wide-open tones he sang every note of a part that is often barked.
Subtle he wasn't, but Scarpia isn't a notably subtle character. Doss also has the physique and imagination to dramatize
the element of sexual appetite and danger; most Scarpias, portly and aging, require some suspension of disbelief on this
point."
The Boston Globe
As Alidoro at Teatro alla Scala
"And Mark Steven Doss, a bass of considerable vocal assurance,
made a compelling case for the centrality of Alidoro."
Opera News
As Mefistofele in Oper Frankfurt's opera Mefistofele:
"As Mefistofele, Mark S. Doss is so charismatic, he may change your mind about an ultimate destination in the afterlife.
In total command, Doss raises hell with his raven-black voice and titillates with his balletic presence."
The London Financial Times
As Ferrando In Il Trovatore with Canadian Opera Company:
"On the opening night at least, the flame that flares up periodically onstage right burst forth right on cue at the first
orchestral brass eruption; and when Mark Doss as Ferrando delivered his monologue with as stylish an example of basso
cantante singing as you could hear anywhere in the world, there was every indication we were in for a treat. Rugged and
penetrating yet flexible and expressive, Doss' voice is surely exactly the kind that Verdi wrote these roles for."
The National Post
As Elijah in Mendelssohn's Oratorio of the same name with the Cathedral Choral Society at the National Cathedral:
"Mark S. Doss made an admirable Elijah, singing from the pulpit, his vast deep bass-baritone carrying steadily to the
back of the packed cathedral. Elijah's imprecations are not the most winning music in the oratorio; indeed, the role
sometimes calls for stentorian oversinging. But Doss was always convincing and he brought a pleading urgency to the
great aria "It is enough" that was decidedly uncommon."
The Washington Post
As Figaro in Le Nozze di Figaro with the Cleveland Opera:
"At the bottom of the vocal compass, but top of the honor roll, is Mark S. Doss, who turns in a Figaro of uncommon
richness and charisma."
The Cleveland Plain Dealer
In Haydn's Creation with The Virginia Symphony:
"Doss is an extraordinary singer who made every syllable of the text compelling. His deep bass sound brought out the
power of the message when he shouted, 'By heaven's fire the sky is inflamed'."
The Virginia Daily Press
As Mephistopheles In Faust with Opera Columbus:
"Mark Doss does make the opera go round. Devilishly handsome and an imposing figure, his strength of interpretation and
his powerful bass enliven his every moment in the spotlight."
The Columbus Dispatch
As Mefistofele in the Prologue of Boito's Mefistofele with the Baltimore Symphony:
"Bass-baritone Mark Doss sang Mefistofele with wry wit, vocal pungency and theatrical authority. He is a first-class
singer; his voice was not huge, but it was smoothly produced and focused, and it penetrated without resort to shouting."
The Baltimore Sun
As Cesare in Handel's Giulio Cesare with the Cleveland Opera:
"...Mark Doss sang the role amazingly well... he strode onstage like a true general, and his ability was evident in the
first aria, 'presti omai'. One rarely hears such coloratura from a bass-baritone and the audience appreciated his work."
Opera News
As Silva in Verdi's Ernani with the Washington Concert Opera:
"The three rivals were all outstanding, most notable bass Mark S. Doss, who sang the role of Gomez with impact, grace,
clarity and a nearly flawless command of Italian diction."
The Washington Post
As Vodník in Rusalka with the San Diego Opera:
"Her extraordinary performance (Renée Fleming) was effectively complemented by Mark S. Doss, whose rich basso cantante
ennobled the paternal warnings of Vodník, the sepulchral Water Gnome."
The Los Angeles Times
As Amonasro in Aida with the Minnesota Opera:
"Mark S. Doss was a compelling Amonasro."
Opera News
As Cinque in Amistad (World Premiere) with Lyric Opera of Chicago:
"They included a strong bass, Mark S. Doss, as the leader of the Amistad mutineers..."
The New York Times
As Verdi's Attila with the Washington Concert Opera:
"The two most demanding roles, superbly filled in this production, are those of Attila (bass-baritone Mark S. Doss) and Odabella (soprano Martile Rowland)... On Friday night both Doss and Rowland sang with power, well focused tone a good
sense of the Italian text and commanding stage presence. Doss faced and surmounted other challenges, notable that of
moving his big voice with precision and agility"
The Washington Post
As Don Basilio in Il Barbiere di Siviglia with Lyric Opera of Chicago:
"...and Mark S. Doss, who made a meal of Basilio's "slander" aria, in quite the best vocal performance he has given at Lyric."
The Chicago Tribune
As Ormonte in Partenope with Lyric Opera of Chicago:
"Bass-baritone Mark S. Doss (Ormonte) surprised with his musical agility."
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