CARMEN, Georges Bizet (Don Jose)
Nicholas Loren sings (Jose)  . . . once he connects with (Rinat) Shaham’s character, that heat seems to infect him
too. By opera’s end, Loren matches Shaham in intensity, his singing and acting superb.

      –Robi Polgar, The Austin Chronicle, Austin, Texas

CARMEN, Georges Bizet (Don Jose)
Tenor Nicholas Loren delivered an “earnest” Don Jose. Loren’s slight build and amiable presence were starting
points for his characterization. Vocally, Loren is a powerful, passionate Don Jose. He salvages the director’s
characterization through his singing. What makes Loren’s Don Jose musically distinct is the dramatic force of his
voice.
       –The Globe and Mail, Canada

CARMEN, Georges Bizet (Escamillo)
Nicholas Loren’s Escamillo brought a much needed boost to a struggling beginning. Mr. Loren burst upon the
stage like a rock star, and the applause for him contained some Beatlemania-like squeals from the women at the
end of the performance. (I think part of the enthusiasm was brought on by his skin tight black and red toreador
outfit that he filled out athletically.)

       –Tom Power, Chattanooga Free Press, Chattanooga, Tennessee

CARMEN, Georges Bizet (Escamillo)
Nicholas Loren’s bold baritone is richly comforting, his Escamillo a swashbuckling pop hero with a touch of
humility.

       –The Chattanooga Times. Chattanooga, Tennessee

IN CONCERT
The concert, Musical Gems, began on a serious dramatic note with operatic arias by two fine musicians . . .
Metropolitan Opera bass-baritone John Darrenkamp and up and coming tenor Nicholas Loren. Loren impressed
the audience with his dramatic tenor, soaring notes and strong performance(s) of Ch’ella mi creda from Puccini’s
Girl of the Golden West and Nessun Dorma from Puccini’s Turandot.

      – Barbara Little, Intelligencer Journal, Lancaster, Pennsylvania

FIDELIO, Ludwig Van Beethoven (Florestan)
Nicholas Loren made Florestan’s opening cry against the darkness impressive. His moving aria, In des Lebens
Fruhlingstagen, like everything he sang, was powerfully projected and sustained.
     
      – James Roos, The Miami Herald, Miami, Florida

FIDELIO, Ludwig Van Beethoven (Florestan)
Florestan was sung with refulgent tone by Nicholas Loren. Until recently a baritone, and now a dramatic tenor,
his voice still retains some of the baritonal quality. He seized every opportunity to make his presence felt and
projected his large voice with little effort.

     —Alan Becker The Sun-Sentinel, Florida

MADAMA BUTTERFLY, Giacomo Puccini (Pinkerton)
You’re just amazed by this new young tenor. Nicholas Loren is as good a tenor as I’ve heard in a very long time . .
. tremendous!

       —Intelligence Journal, Lancaster, Pennsylvania

MADAMA BUTTERFLY, Giacomo Puccini (Pinkerton)
As the dashing Lieutenant Pinkerton, tenor Nicholas Loren epitomizes the self-described vagabond. Loren brings
a strong and impressive voice to his character’s detached self involvement, which ultimately gives way to a
palpable remorse.

    —The Patriot News, Harrisburg, Pennsylvania

AIDA, Giuseppe Verdi (Radames)
Tenor Nicholas Loren’s strong, accurate and virile singing was pleasurable in the role of the Egyptian soldier
Radames.

      – The San Antonio Express, San Antonio, Texas

DON GIOVANNI, W.A. Mozart (Don Giovanni)
When Nicholas Loren with his beautifully rich baritone voice appears on stage for the first time, it is immediately
obvious that he is absolutely one with his role. His facial expressions and body language perfectly befit the
voracious seducer he portrays, and the role fits him like a glove.
   
      – C.A.B. Volksblad, South Africa

DON GIOVANNI, W.A. Mozart (Don Giovanni)
A Don to savour, Loren imbues his recitatives with passion and plays him as a randy but elegant and always
aristocratic man, propelled by an inordinate sexual drive. His Giovanni is chillingly compelling, frighteningly
single minded, yet withal appealing.

      – Michael Traub, The Citizen, South Africa

DON GIOVANNI,
W.A. Mozart (Don Giovanni)
Nicholas Loren has a very fine baritone (and one can imagine that his rendition of Figaro’s
“Largo al factotum” would be superb). Bounding, leaping slapping his thigh with his plumed hat, this Don can
be destroyed only by the flames of Hell.

         – Digby Ricci, The Star, South Africa

DON GIOVANNI, W.A. Mozart (Don Giovanni)
Nicholas Loren, the American baritone, is a real rake of a Don who seduces with both a finely- honed charm and
a very supple voice. Especially in the high register, his voice is exceptionally impressive.

      – Paul Boekkool, Rapport, South Africa

DON GIOVANNI,
W.A. Mozart (Don Giovanni)
Young American Nicholas Loren in the title role was suave, sensual and heartless with more than a hint of the
sardonic in his well-oiled baritone. The contouring of Giovanni’s seduction aria with mandolin accompaniment
highlighted the tiny jewel.

     – Rexleigh Bunyard, Business Day, South Africa

DON GIOVANNI, W.A. Mozart (Don Giovanni)
Nicholas Loren was lithe and reckless, close on manic in the title role. Capable of interpolating high notes in the
Champagne aria, his characterization vibrated with life.

    – Riek van Rensburg, Pretoria News, South Africa

DON GIOVANNI, W.A. Mozart (Don Giovanni)
The American baritone Nicholas Loren’s Giovanni represents his international debut. He possesses a most
resonant voice and an unusually large range that he is able to use at will, interpolating thrilling high notes, which
suit his flamboyant acting ability. His Don Juan is both sensual and bombastic!
  
  – Thys Odendaal,  Beeld, South Africa

DON GIOVANNI , W.A. Mozart (Don Giovanni)
. . . an unforgettable portrayal of the self-confident, devil-may-care, cynical Don. Loren depicted Giovanni with
poise, aplomb and all else it took to present a natural portrayal.

  –The Louisville Music News, Louisville, Kentucky

DON GIOVANNI, W.A. Mozart (Don Giovanni)
Nicholas Loren is just the right age and look for Don Giovanni, whose rakishness must beguile as much as repel.
His voice is strong and agile, particularly so in his final confrontation with the Commendatore.

  – Louisville Courrier-Journal, Louisville, Kentucky

DON GIOVANNI, W.A. Mozart (Don Giovanni)
Baritone Nicholas Loren as Don Giovanni proved more than equal to Davies’ agile Leporello and, moving with
athletic grace and poise, created a virile, vocally splendid seducer. The unrepentant Don’s fiery descent into Hell,
so realistically portrayed by Loren, created unrelenting anguish and terror.

      – Opera Now magazine

TRAVELS, Victoria Bond (Gul)
It is easy to see why Victoria Bond wrote her sparkling Travels with Nicholas Loren in mind for the lead role of
Gul. His beautiful baritone did tremendous justice to Bond’s tuneful score in Opera Roanoke’s world-premier
production, and his near perfect enunciation of Ann Goethe’s satirical libretto made projected titles superfluous.

   – Opera News

LA JUIVE, Fromental Halevy (Leopold)
A success, Nicholas Loren delivered animated recitative . . . ready with force, suppleness and agility over a two
octave-plus range.

 – New York Times, New York, N.Y.

DIE FLEDERMAUS, Johann Strauss, Jr. (Alfred)
. . . a voice of truly professional quality . . .  musically unblemished . . .  humor with a human dimension.

      – Cleveland Press, Cleveland, Ohio

DIE FLEDERMAUS, Johann Strauss, Jr. (Eisenstein)
Nicholas Loren, the Sharpless in Madama Butterfly last month, again turned in a great performance as the
husband, Eisenstein. He projects very well with his fine baritone voice and is a good actor and dancer as witnessed
in his duet with Falke in Act One.

      – John Morgan, The Brooklyn Graphic, Brooklyn, N.Y.

FALSTAFF, Giuseppe Verdi (Fenton)
An immense success, Nicholas Loren triumphed, singing with remarkable expression and demonstrating fine
acting skills.

     – New Haven Register, New Haven, Connecticut

THE PIRATES OF PENZANCE, W. S. Gilbert and Arthur Sullivan (Frederick)
Nicholas Loren gets the top vocal honors in this production. His acting is splendid, and his warm, rich voice rings
out finely at the top of its range.

      – Louisville, Kentucky  

ELIJAH, Felix Mendelssohn (Tenor Soloist)
Nicholas Loren was an unusually involved and finely-scaled protagonist. . . . This was a really grand
performance, touchingly set forth with a solidity of tone that brought tremendous impact to the musical climaxes.

     – The Gazette, Delaware, Ohio

PAGLIACCI, Ruggero Leoncavallo (Tonio)
The standout performer was baritone Nicholas Loren, a convincingly repellent, vengeful Tonio, with a compelling
voice and presence.

   – Brian Cochran, Opera News  

PAGLIACCI, Ruggero Leoncavallo (Tonio)
For the first half of the evening (a concert of arias), Mr. Loren showed his gift both for singing and for comedy in
the Largo al factotum from Il Barbiere di Siviglia. This was a preview of his later antics in I Pagliacci.

. . .  Loren almost stole the show as Tonio, the hunchbacked clown who longs in vain to steal Nedda’s heart.
When his advances are spurned, he betrays her love for Silvio to her husband. Mr. Loren, a baritone, showed a gift
for physical comedy as well as his crisp, often rapid-fire singing.

      
William Chesney, Chattanooga Free Press, Chattanooga, Tennessee

PAGLIACCI, Ruggero Leoncavallo (Tonio)
Loren as Tonio/Taddeo set the verismo tone from the opening “E voi, piuttosto,” warning the audience in his
booming baritone that the troupe of comedians were real people with hearts that break under their costumes. His
scenes with Nedda were comic with a dark edge.
          
      
Nikki C. Haaden, The Chattanooga Times, Chattanooga, Tennessee

LUCIA DI LAMMERMOOR, Gaetano Donizetti (Enrico)
Nicholas Loren sang the role of Enrico, the brother who manipulates and bullies Lucia to advance his fortunes. A
specialist in Verdi roles, the baritone sang with admirable control and focus. Under Brovsky’s direction, Loren
gave Enrico an assortment of mannerisms that shaped rather than cluttered his performance. Like Lucia, the
agitated Enrico often seemed ready to snap at any minute from the pressure of this situation.
    
      
Catherine Reese Newton, Salt Lake Tribune

LUCIA DI LAMMERMOOR, Gaetano Donizetti  (Enrico)
The opening performance Friday of Utah Opera’s production of Gaetano Donizetti’s Lucia di Lammermoor did
not neglect the details. Take the scene where Lucia (Jan Grissom) rebuked her conniving brother Enrico (Nicholas
Loren) for his “inhumane cruelty.” During the harangue, Loren casually sat at his desk and picked at his nails.

        
Alan Edwards, Deseret News

LUCIA DI LAMMERMOOR,  Gaetano Donizetti  (Enrico)
Lucia’s brother, the malevolent Enrico, is sung utterly believably by the bass-baritone Nicholas Loren. Composer
Gaetano Donizetti and librettist Salvatore Cammarano have distilled several villainous characters in Scott’s book
into Enrico. This is understandable, because he is so unremittingly dark; a vivid Halloween-time character.

     
M. J. Anderson, The Event

RIGOLETTO, Giuseppe Verdi  (Rigoletto)
To put it plainly, Loren is probably the finest singer Opera Roanoke has ever had. His huge canon of a baritone
has, if anything, gained size, maturity and nuance since his last appearance in Virginia. His portrayal of Giuseppe
Verdi’s hunchbacked jester, tormented by self-loathing and cynicism and yet strangely elevated by love for his
daughter, was complex and shaded with subtle touches. This is Loren’s first essay at the summit of Italian
baritone roles, which makes his achievement all the more impressive.

       – Seth Williamson, Roanoke Times & World Press

RIGOLETTO, Giuseppe Verdi  (Rigoletto)
The audience was greeted with high caliber performances that showed considerable polish, with singers in both
casts achieving similar successes. Loren exhibited a stronger physical presence, a wiry hunchback who crawls
across the stage with evil confidence and seems genuinely surprised when his antics backfire on him.

     – John Guinn, The Detroit Journal

ROMEO ET JULIETTE, Charles Gounod (Mercutio)
Superlative singers, exciting swordplay . . . Loren as one of the supporting cast turned in a fine night’s work. The
baritone cut a dashing figure, playfully singing the ballad of Queen Mab, the mistress of fantasy, to poke fun at
his friend, Romeo. His swashbuckling death was stylishly arranged and played.

     – The Grand Rapids Press

Il TROVATORE, Giuseppe Verdi  (Count di Luna)
With his big baritone voice, Nicholas Loren, a regular with Queens Opera, sang with expressive delivery and was
very convincing in the role of Count di Luna. He is a world class performer. I have seen him in the company’s
production of Madama Butterfly and the Barber of Seville last year. I still remember he had a standing ovation
with his rendition of the Largo al factotum right here in the same park last summer.

       – Barbara Hayes, The Brooklyn Register

Il TROVATORE, Giuseppe Verdi  (Count di Luna)
The production reunited two singers who delighted Chattanooga audiences last season in the CSOA production of
Carmen, Cynthia Munzer and Nicholas Loren.  Loren’s portrayal of di Luna was characterized by a powerful
voice and a demeanor that make the term black Spaniard come vividly to life. He exhibited all the sorrowful
qualities of a man possessed by love that is not returned as he toyed with the Duchess Leonora’s handkerchief.
Then he was the picture of wrath as he defied God and wrested Leonora away from the convent where she was to
take the veil.

      – Emily McDonald, The Chattanooga Times

Il TROVATORE, Giuseppe Verdi  (Count di Luna)
Baritone, Nicholas Loren made Count di Luna a more than one-dimensional villain – no mustache twirling here,
but a tormented soul whose pining fro the love of Leonora slowly rots his soul away. The memorable trio in Act 2
. . . hurtled along with rhythmic verve.

      – David Williams, The Charleston Gazette

ANDREA CHENIER, Umberto Giordano (Gerard)
Baritone Nicholas Loren fully exploited both the sympathetic and the dark side of the character and brought a
sterling sound to his brief, but applause-getting act three aria.

      – Kenneth LaFave, The Arizona Republic

THE BARBER OF SEVILLE, Gioacchino Rossini  (Figaro)
. . . Nicholas Loren’s likeable Barber. . . [d]ominating the performance this charmingly buoyant Figaro fit
perfectly . . . .

      – Carl J. Halperin, Opera News

THE BARBER OF SEVILLE, Gioacchino Rossini (Figaro)
But the real reason to see this show boils down to two words: Nicholas Loren. This young comic baritone was a
delight from the first iconoclastic entrance . . . to his last curtain call. With a razor-sharp sense of timing, a
commanding presence and a clear and powerful voice, Loren showed the Olin Hall audience a Figaro that was
more than just another buffo scamp. He got enthusiastic bravos after his Largo al factotum aria and deserved
every cheer. It’s an encouraging sign that Opera Roanoke is able to import singers of this caliber.

      – Seth Williamson, Roanoke Times & World News

THE BARBER OF SEVILLE, Gioacchino Rossini (Figaro)
Nicholas Loren presented a splendid Figaro: assured, resonant, zipping through the patter numbers as though this
were Gilbert and Sullivan. He never let his attention on stage slip, either. The voice is a good solid bass-baritone
for which one can safely predict major engagements. He won the audience’s undivided attention as he made his
entry from the back of the balcony, insouciantly throwing a leg over the rail to climb down a conveniently – and
hastily – provided step ladder. Nothing seemed to faze Loren in the directing nor the singing.

      – Glenn Griffin, The Denver Post, Denver, Colorado

THE BARBER OF SEVILLE, Gioacchino Rossini (Almaviva)
The most interesting newcomer was Nicholas Loren. A brilliant singer, he was able to toss off dazzling flourishes
in his coloratura passages – particularly interpolated high notes. Proving to be a hilarious comedian, his diction
was the best I’ve ever heard. Crisp acting, brilliant singing, a voice of quality . . . ideally suited for the romantic
standards of Verdi.

       – Richmond Palladium, Richmond, Indiana
 

THE BARBER OF SEVILLE,
Gioacchino Rossini (Almaviva)
A virtuoso . . . marked by musical and comedic effervescence, (Loren’s) characterization is marvelously funny.
          – Akron Journal, Akron, Ohio

BARBER OF SEVILLE, Gioacchino Rossini (Almaviva)
. . . singer-actor of noble and magnificent voice . . . a tantalizing sound combined with emotions that flick across
Loren’s face like quicksilver – the acting almost overshadows the superb vocalism.

          – Record Courier, Kent, Ohio

THE MERRY WIDOW, Franz Lehar (Count Danilo)
It should come as no surprise that baritone Nicholas Loren, as Count Danilo, stole the show. Handsome and
imperially slim, Loren has the moves and the magnetic stage presence that guarantee he will be the center of
whatever scene he is in.
And his voice! Loren’s instrument is a cannon of a baritone, a big trombone of a voice
which makes other men sound tiny. Nicholas Loren was the clear favorite of the night, with his first entrance and
most of his arias garnering applause. The already healthy applause turned into bravos and a standing ovation
when the young baritone took his bows at the end of the show.

     – Seth Williamson, The Roanoke Times & World News

HANDEL CONCERT
Nicholas Loren possesses a clear voice with an astounding range, allowing him to hit high notes with ease and use
brilliant ornamentation in the da capo arias.
      
      – Columbus Dispatch, Columbus, Ohio

OPERATIC CONCERT
The huge audience was thrilled by this unprecedented treat . . . the selections were lovingly and magnificently
sung by this stunning young singer. The entire audience was on its feet at the end.

      – Hamden Chronicle, Hamden, Connecticut  


OPERATIC CONCERT
. . . a concert by Sherrill Milnes and Friends. . . [who] included the sopranos Mady
Mesple, Martina Arroyo and Stefka Evstatieva as well as baritone John Shirley-Quirk – a formidable list.

All these singers gave memorable performances, as did two others: Canadian bass Claude Corbeil and Nicholas
Loren, a very young baritone who (judging by one Rossini aria) may be a major discovery.

Loren sang the Largo al factotum from The Barber of Seville with high energy, comic skill and a good voice.
Robert Sherman of New York’s radio station WQXR asked him how it felt to be “the new kid on the block with all
these great artists around.” “I feel better now,” Loren said.

One who did not feel good, according to Sherman, was Shirley-Quirk, a baritone who stood backstage watching
Loren perform and asking, “I have to follow that?”

. . . It was all commendable but hardly had the element of surprise. From that standpoint, Loren was the
highlight of the evening.

      – Joseph McLellan, The Washington Post

IN RECITAL
Yes, many things are right in this world and one of them was the opportunity to attend the concert given by
Nicholas Loren. Here is an extraordinary voice, a very gifted performer who is a potential Metropolitan Opera star.
He sang some twelve arias and each one seemed better than the preceding one. Loren’s voice is tremendous, true-
pitched, totally controlled and his technique is fine-tuned. He is in complete command.

     – Frank Wagner, Sanibel Islander, Sanibel, Florida

IN RECITAL
Loren is an engaging performer and a powerful singer, with an ability to sustain a line that most singers would
envy; which he demonstrated in an absolutely riveting performance of Cortigiani, vil razza from Verdi’s Rigoletto,
and Rossini’s Canzonetta spagnuola, two works that nearly brought  the house down.

           – Judy Gruber,  Washington Post

IN RECITAL
Thursday, Jan. 30, 1992 will be a date to be remembered . . . we were treated to the performance of a professional
artist in full bloom. The voice is under firm control, the dramatic intent focused, the confidence is visible and the
winning smile – charms. There were several standing ovations and many bravos from a large audience that had
obviously been totally entertained. A prediction: With such a glowing future you’ll be able to say, “I heard
Nicholas Loren when.”

      – Frank Wagner, Sanibel Islander

IN RECITAL
Nicholas Loren was tremendous in his recital Sunday afternoon. The young baritone, who electrified Opera
Roanoke audiences in “The Barber of Seville” a year ago this past fall, showed he is just as comfortable in the
world of song as on the opera stage. There is more competition than ever in vocal music today, but many who
heard Loren Sunday afternoon must have left with the feeling they’d glimpsed a future star. In fact, in groping
for ways to describe this young artist’s impact, names such as Thomas Allen, Olaf Bar and Thomas Hampson
repeatedly came to mind.

      – Seth Williamson, Roanoke Times & World News

IN RECITAL
One of today’s most exciting talents, Nicholas Loren is a formidable young baritone with a beautiful voice allied
to a high musical intelligence.

      – Opera Now (International Showcase Edition)

Nicholas Loren’s Rodrigo was nobly conceived and the baritone
thrilled consistently with emotionally gripping bravura singing.

                                                                                                                                       –Opera (magazine)