Symphony Pops, Vocalist - Tenor
Acclaim
Le Nozze di Figaro - Palm Beach Opera

"Matthew DiBattista captured Basilio’s comic sleaze and was convincing that (in this production) Don Curzio was really Basilio in disguise."

Karl Hesser, Opera News
Palm Beach Opera wraps season with an entertaining “Figaro”

"Matthew DiBattista’s Don Basilio was a sly schemer with a stronger tenor voice than most character singers."

Lawrence Budmen, South Florida Classical Review
Rigoletto – Michigan Opera Theatre

"Among the members of the Duke’s inner circle, tenor Matthew DiBattista’s Borsa was entirely believable, with his easy tenor and convincing swagger."

Jennifer Goltz, Opera News
Masterworks Chorale from Bach to Rorem

"Matthew DiBattista gave strong, rich, and resonant voice to 'From harmony, from heaven’ly harmony.' His later air, 'Sharp violins proclaim,' proved equally strong."

Cashman Kerr Prince, Boston Musical Intelligencer
Lyric’s ‘Lucia’ pairs beautiful music with an old-school staging

"The coldhearted castle guard, Normanno (tenor Matthew DiBattista, aptly smarmy) ..."

Hedy Weiss, Chicago Sun Times
Lucia di Lamermoor - Lyric Opera of Chicago

"Matthew DiBattista was a brightly-toned, appropriately nasty Normanno ..."

Mark Thomas Ketterson, Opera News
Scintillating Strauss in Saint Louis

"Matthew DiBattista solidly sang an outstanding Dance Master, a case of a major artist nailing it in a minor role."

James Sohre, Opera Today
Ariadne on Naxos | Opera Theatre of Saint Louis

"Standouts include Levi Hernandez as the Music Master and Matthew DiBattista as the Dancing Master."

Sarah Boslaugh, Playback STL
OTSL presents a stylish 'Ariadne on Naxos'

"The Dancing Master, Matthew DiBattista, and rest of the troupe were masters of visual comedy."

Sarah Bryan Miller, St. Louis Post-Dispatch
Tulsa Opera's 'Of Mice and Men' a powerful piece of drama

“Matthew DiBattista plays up the ranch boss Curley’s sadism and Napoleon complex with gusto.”

James D. Watts Jr., Tulsa World
Moravec’s stunning “Blizzard Voices” receives powerful premiere from BMOP

“Tenor Matthew DiBattista rendered his phrases in ‘The Blizzard Bore Down’ with clarion tone and conviction.”

Aaron Keebaugh, Boston Classical Review
COT delivers effective staging of Picker’s compelling “Thérèse Raquin”

“Matthew Di Battista was ideal casting as the lame, gullible Camille. The tenor brought an affecting, nice-guy persona to the role and showed a dauntingly powerful voice that belied his short stature. He threw out resounding top notes and tackled the stratospheric tessitura of Camille’s ghost with striking ease and agility.”

Lawrence A. Johnson, Chicago Classical Review
'Therese Raquin' has area premiere by Chicago Opera Theater

“The opera’s choicest set piece is a haunting solo, ‘Betrayed by those we loved,’ which the bloody ghost of Camille keens into the ear of his mother, Mme. Raquin, who is rendered mute and paralyzed by a stroke once she realizes how her son died. The vocal writing, highly reminiscent of Benjamin Britten, sits beautifully on the smooth, high tenor of Matthew DiBattista, who plays the scene’s ‘Walking Dead,’ Grand Guignol melodrama to the creepy hilt.”

John von Rhein, Chicago Tribune
Zola Sings, and Then Some: Thérèse Raquin at Long Beach Opera

“The two most consistent and outstanding performances surprisingly were by Suzan Hanson as Madame Raquin and Matthew DiBattista as her son Camille.... Matthew DiBattista gave this production’s most memorable performance however, with the clearest singing voice displayed and a physical performance that transitioned from sick and weary in act one, to undead and ghastly in act two. The scene in which he emerged from the wedding bed of Thérèse and Laurent like a zombie straight out of Thriller elevated the theatrical nature of this production into something kind of audacious. Though I may not have chosen the same physicality for Camille’s ghost, the conviction DiBattista brought to the table, coupled the scene where he informs his mother he was murdered remains the hardest image for me to shake.”

Jonathan Ross, Long Beach Post
THERESE RAQUIN – Long Beach Opera

“The show’s knockout performance came from tenor Matthew DiBattista as Camille. Clueless in the first act, Camille dominates the opera’s sepulchral second, relishing a chance to torment his killers from beyond the grave. DiBattista scarily embodied the role, delivering an especially gripping ghost aria.”

Rick Schultz, MusicalAmerica.com
MUSICAL NOTES: Nasty People Make Great Opera For LBO

“Matthew DiBattista sings powerfully, and acts the shallow, selfish husband in the first act to perfection.”

Jim Ruggirello, Grunion Gazette
Long Beach Opera revives 'Thérèse Raquin'

“Tenor Matthew DiBattista was an outstanding Camille Raquin, the invalid murder victim. His brilliantly focused tenor gave tensile strength to his phrasing; his aria as a ghost in Act Two was the most dramatic and fully distilled singing of the night.”

Timothy Mangan, Orange County Register
Saint Louis: A Hit is a Hit is a Hit

"Matthew DiBattista acquitted himself well as Monastatos with a straight-forward, well-schooled tenor."

James Sohre, Opera Today
LES CONTES D'HOFFMANN - Palm Beach Opera

“Matthew DiBattista made the most of the Four Servants, differentiating them physically and getting laughs with each without overplaying the comedy. Franz’s aria was genuinely funny!”

Karl Hesser, Opera News
Gertrude Stein in St. Louis

“Matthew DiBattista was an impressive (and blue) Monastatos.”

Heidi Waleson, Wall Street Journal
'Twenty-Seven,' 'Magic Flute' are treats, but on sugary side

“Matthew DiBattista [is] an unusually suave Monostatos.”

Mark Swed, Los Angeles Times
Die Zauberflöte - Opera Theatre of Saint Louis

“The slimy Monostatos is … vividly realized and sung by Matthew DiBattista.”

Scott Cantrell, Dallas Morning News
Les Contes D'Hoffmann: Palm Beach Opera's season finale soars
“As the Four Servants, Matthew DiBattista impressed with his acting skills and naturally sounding spinto.”
Marcio Bezerra, Palm Beach Daily News
Tulsa Opera's 'Elmer Gantry'
“DiBattista is excellent as Eddie, the Salieri to Elmer Mozart when it comes to preaching. He tears into Eddie’s manic aria at the end of Act One, wishing for God’s punishment on his rival, with great physical and vocal gusto.”
James D. Watts, Tulsa World
High-intensity "Il tabarro" and "Pagliacci" in St. Louis
“Matthew DiBattista, with an agreeably keen tenor, doubles effectively as the devil-may-care Tinca in Il tabarro and Beppe in Pagliacci.”

Scott Cantrell, Dallas Morning News
St. Louis: Winner and Still Champion
“The smaller roles were all cast from strength. Matthew DiBattista was a far less wasted Tinca than usual, his tenor ringing out freely.… Mr. DiBattista shone even more brightly as Beppe than he had as Tinca, and his brief Serenade was lovingly voiced.”

James Sohre, Opera Today
Doubleheader Sweep: With Il tabarro and Pagliacci, Opera Theatre registers a rout
“DiBattista [is] convincing in his acting and dead-on in his singing.”
Lew Prince, Riverfront Times
New Opera both elegant and rowdy at Present Music
“Ince gives his singers compelling melodies that show off their voices and express the moment, notably in DiBattista’s soaring declaration of devotion to Pan.”
Tom Strini, ThirdCoast Daily
Voice, instruments mix well in Wichita Symphony Orchestra's performance of 'Carmina Burana'
“Tenor Matthew DiBattista captured the expressive nature of his one solo aria with spirit and personality.”
David Baxter, Wichita Eagle
Unsuk Chin's ALICE IN WONDERLAND - Opera Theatre of Saint Louis (US premiere)
“Matthew DiBattista brought down the house as a rapper Dormouse, working the stage using his tail as a mike, and switched gears for the Invisible Man, his lovely tenor lending atmosphere to the final pages of the score.”
Judith Malafronte, Opera News
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