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As
Figaro (Le Nozze di Figaro):
"...
an outstanding Figaro. Blessed with a fine bass-baritone voice and
good stage presence, he brought the canny valet to vivid life
..." - St. Louis Post-Dispatch
"...
a convincing Figaro with a strong, flexible voice, cleverly and with
humor dispatching events towards a happy ending ..." - Opera Canada
"George
Cordes portrayed a Figaro who seemed to grow to maturity over the
course of the work, a touch not usually considered." - Allan
Kozinn, New York Times
"The
emotionally involved Figaro of George Cordes stood out in a
first-rate cast ..."
-
Opera Canada
"Bass-baritone
George Cordes fully inhabited the title role ..." - Chicago Tribune
"George
Cordes as Figaro impresses as yet another captivating American
baritone - handsome, relaxed on stage, mellow of voice." - Columbus
Dispatch
"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
"plush-toned"
- Opera News
As
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
As
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 ..."
-
Anthony Tommasini, New York Times
"George
Cordes handled eloquently the aria in which he sings his farewell to
the coat he is about to pawn." - New York Daily News
As
Sarastro (Die
Zauberflöte):
"George
Cordes was a standout presence and power as Sarastro."
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Binghamton Press & Sun-Bulletin
As
the Reverend John 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." - Ed
Tapper, Bay Windows online
"George
Cordes (was an) effective ... villain, all sneer, until (he) rounded
his characterization when the Reverend Hale sees through the treachery."
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The Boston Phoenix
"...
(a) strong performance ..." - Paul Joseph Walkowski, OperaOnline.us
As
Escamillo (Carmen):
"As
the strutting matador, Escamillo, bass-baritone George Cordes
charmed the audience with a winning smile, an easy chuckle and a
cannon of a voice."
-
Grand Rapids Press
As
Nick Bottom (A Midsummer Night's Dream):
"George
Cordes' ... textured tone and ... manner were perfect for Bottom."
-
Opera News
"George
Cordes animates the comic role of Bottom." - University News
As
Timur (Turandot):
"Timur's
lament at the death of Liù was deeply touching in George
Cordes' performance."
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Opera News
As
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
third significant role ... is the evil Scarpia, to whom George
Cordes did nasty justice ... Cordes appeared to enjoy every minute of
hearing Cavaradossi being tortured ... Cordes has a firm, beautifully
balanced bass-baritone voice, and his crisp Italian added immensely
to his credibility." - Akron Beacon Journal
As
Monterone (Rigoletto):
"Good
acting was at a premium. George Cordes' dignified Monterone
exemplified a singer whose vocal and dramatic abilities were fully in sync."
-
Anthony Tommasini, New York Times
"Cordes's
delivery of Monterone's fatalistic curse (is) lyrically haunting."
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Houston Press
As
the Four Villains (Les Contes d'Hoffmann):
"steady
and satisfying" - Bernard Holland, New York Times
"The
Prologue introduced us ... to George Cordes' vocal soul ... It is
only the artist's miracle of hard work which can bring a young
bass-baritone to the full command of (the Villains) ..." - Middletown
(OH) Journal
"Singing
the roles of the villain in each act, bass-baritone George Cordes
was quite effective ..." -
Richmond (IN)
Palladium-Item
As
Angelotti (Tosca):
"George
Cordes' Angelotti stands out for his ringing bass-baritone tones."
-
Robert Croan, Pittsburgh Post-Gazette
As
Dr. Grenvil (La Traviata):
"The
smaller roles are ably filled. Noteworthy is bass-baritone George
Cordes as Dr. Grenvil." - Olin
Chism, Dallas Morning News
"George
Cordes' sympathetic Dr. Grenvil (was) notable." - Santa Fe
New Mexican
As
bass soloist in Verdi's Requiem:
"Bass-baritone
George Cordes capped his fine performance with an uncommonly
sensitive rendition of 'Confutatis Maledictus.' " - Boston Herald
"warm,
solid singing" - Richard Dyer, Boston Globe
As
bass soloist in Bach's St. Matthew Passion:
"George
Cordes' supple bass stylings articulated Jesus' agony effectively ..."
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Akron
Beacon Journal
Praise
for operetta and musical-theater roles:
"Among
the major singing parts, fine work was done by baritone George
Cordes as Hel Helson ..." - Cleveland Plain Dealer
"In
bass-baritone George Cordes ... this production has a funny
Falstaff, indeed ... Cordes, with a belly so distended he can barely
stand up straight, plays him to the hilt, lumbering across the stage
and leading his drinking buddies through choruses of 'As Squalling
Babe at My Mother's Breast.' " - Akron Beacon Journal
"a
smashing success ... as Falstaff" - Wooster Daily Record
"George
Cordes (Falstaff) was a standout" - American Record Guide
"outstanding
as Sir William Crusoe ... with a deeply resonant tone and subtle
comedic timing" - Akron Beacon Journal
"creates
a father figure of sepulchral timbre" -
Cleveland Plain Dealer
"poured
out bass majesty as a tottering Jupiter" - Charles Parsons,
Opera magazine
"Cordes
is a booming deity who makes a very funny first entrance and
achieves power plays accompanied by explosive special effects."
- Alliance Review
"powerfully
sang the comic villain Ollendorf" - Charles Parsons, Opera magazine
"It's
hard to be the bad guy, but Cordes turned out to be rather likeably
nasty, and he was vocally strong." - Akron Beacon Journal
"Cordes'
singing quickly won the audience's admiration with Ollendorf's
opening solo, 'I'll Not Cater to a Woman,' a blend of humor and a
beguiling melody ..." - Wooster Daily Record"
"a
tiptop Mikado" - Cleveland Plain Dealer
"captivating
as Eliza's father, Alfred P. Doolittle, an irresistible lout"
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West Side Leader
"Bass-baritone
George Cordes did mind-boggling triple duty ... It didn't seem to
phase him. His voice was uniformly pleasing, with affirmative lines
and fine quality."
-
Berkshire Eagle
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