Symphony Pops, Vocalist - Tenor
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
Unsuk Chin's "Alice in Wonderland" delivers a dazzling journey for all ages
“Amid the waves of atmospheric orchestral sound, there were plentiful opportunities for full-blown arias—a heartless disquisition on baby-raising, full of bluesy sass, for the Duchess …, a baroque-style aria studded with silvery, virtuoso flights for the Cheshire Cat …, a hip-hop riff for the cocky, strutting Dormouse (tenor Matthew DiBattista).”
Wynne Delacoma, Classical Review
For a challenging 'Alice' and a triumphant 'Sweeney Todd,' meet me in St. Louis
“Matthew DiBattista’s Dormouse … [was a] standout[s] amid the large ensemble. Every one of them went at the blithe lunacy of their roles hammer and tongs.”
John von Rhein, Chicago Tribune
Unsuk Chin's ALICE IN WONDERLAND - Opera Theatre of Saint Louis (US premiere)
“The large cast is first-rate. … Tenor Matthew DiBattista’s indignant Mouse and improbably cool Dormouse made for two very different rodents.”
Sarah Bryan Miller, St. Louis Post-Dispatch
“DiBattista was an energetic, clear-voiced Beppe.”
George Dansker, Opera News
Double bill of 'Pagliacci,' 'Carmina Burana' a hotly passionate finale for N.O. Opera's season
"Tenor Matthew DiBattista's Beppe was a solid asset to the opera, as well as a strong presence as a soloist in the following oratorio."
Theodore P. Mahne, Times-Picayune
BSO offers mild Haydn, robust Wagner
"Tenor Matthew DiBattista sang his few lines as the apprentice David with ringing top tones that rose above the orchestra."
David Wright, Boston Classical Review
Frühbeck, Morris Master Die Meistersinger
"Singing from the rear of the stage, tenor Matthew DiBattista was a bright and soulful David."
John Ehrlich, Boston Musical Intelligencer
Tanglewood's Season Opens With Good Friends Like Verdi and Bellini
"The promising young tenor Matthew DiBattista sang well as Flavio."
Vivien Schweitzer, New York Times
Boston Symphony Orchestra at Tanglewood
"Bass-baritone James Morris and tenor Matthew DiBattista were also in solid form."
Jeremy Eichler, Boston Globe
Tanglewood opener makes a superb showcase for young singers
"Matthew DiBattista's sharper, more astringent tenor made a satisfying contrast with De Basio's creamy tone in the role of Flavio, Pollione's sidekick."
David Wright, Classical Review
Daring Spirits of St. Louis
"There were powerful performances from Matthew DiBattista (as the terrorist Molqi) ... "
Scott Cantrell, Dallas Morning News
St. Louis brilliantly reaffirms 'Klinghoffer' as a landmark American opera
"Matthew DiBattista, Paul La Rosa, Aubrey Allicock and Laura Wilde brought dramatic dimension to the terrorists."
John von Rhein, Chicago Tribune
'Klinghoffer' Returns, to Be Debated Anew
"Matthew DiBattista, a bright tenor, plays Molqi, a more compromising hijacker."
Steve Smith, New York Times
Les Contes D'Hoffmann - Florida Grand Opera
"Matthew DiBattista was splendid in the multiple character-tenor turns, with a beautifully produced voice at his command."
Ira Siff, Opera News
FGO presents inventive 'Tales of Hoffmann'
"Two sparkling character performances stood out: Tenor Matthew DiBattista as Frantz, Crespel's servant in Act II, with a first-rate take on Jour et nuit, and good work throughout in his three other roles, including a recurring appearance as the composer Offenbach."
George Stepanich, Miami Herald
Review: "Hoffmann"
"Matthew DiBattista made an effective comic actor, achieving the difficult feat of singing well while pretending to sing badly in Frantz's aria Jour et nuit je me mets en quatre."
David Fleshler, South Florida Classical Review
"Matthew DiBattista as Basilio, Count Almaviva's scheming court composer, navigate[s] particularly tricky passages in style."
Lew Prince, St. Louis Riverfront Times
Opera Theatre of St. Louis presents Mozart's "The Marriage of Figaro"
"Matthew DiBattista's music master Don Basilio sang with a clear, fine tenor."
Sarah Bryan Miller, St. Louis Post Dispatch
Fresno Philharmonic presents Beethoven's Ninth and a world premiere
"The quartet of soloists was outstanding. Matthew DiBattista projected a strong and secure tenor, Stacey Rishoi blended well with her warm mezzo soprano, and Linda Mabbs soared to soul stirring heights with her pure soprano."
Larry Warkentin, Music Critic Fresno
The Good Soldier Schweik
"As Schweik appears in every scene, tenor Matthew DiBattista faces a daunting task even without the character doubling. The role is rangy and the brass-heavy orchestration perilous. But DiBattista reveals admirable stamina, generous sound, and surprisingly lyrical singing, conquering the score's vocal challenges with ease. His acting also brings a measure of sympathetic humanity to the hapless Schweik, nimbly avoiding the easy path of caricature."
Michael Van Duzer, ShowMag
Long Beach Opera's 'The Good Soldier Schweik'
"Matthew DiBattista portrayed the title character, with a Chaplin-esque blend of whimsy and pathos. The luminous quality of DiBattista's tenor was suited to both the mischievous, animated scenes as well as the poignant, affecting arias."
Wendy Kikkert, Culture Spot LA
Long Beach Opera revives The Good Soldier Schweik
"Matthew DiBattista's bright tenor and cherub face make a convincing Schweik, whose frame-up for treason lands him in, sequentially, prison, an insane asylum, the military, enslavement, and finally a World War I battlefield. In the face of despair, Schweik's mindless optimism becomes the work's unifying theme."
Rodney Punt, LA Opus
'Schweik' a must-see for opera lovers
"DiBattista manages everything with a sweet simplicity, from the dogs he catches and sells, to the machine gun he finally abandons for fields of flowers. Oh, yes, he also sings with a full voice and an elastic and even amazing range. ‘Schweik' requires a solid, happy center around which all the chaos reigns, and DiBattista is willing. It requires a lot of smarts to play dumb so well."
John Farrell, Long Beach Press-Telegram (CA)
Operatic Voices Routinely Brilliant
"Matthew DiBattista only had one part, but that was the demanding title role. Schweik dominates the action for the bulk of the opera, and DiBattista gave a star-making performance. His voice is a flexible, rich tenor, and he managed the part from top to bottom with seeming ease. His acting, too, was assured, and he handled the changes of mood and style effortlessly."
Jim Ruggirello, Long Beach Gazette
"The Good Soldier Schweik"
"Schweik is an Everyman, somewhat calmly wandering from one calamity or sticky situation to another, and we never know for sure if he's a little soft in the head or blissfully optimistic that things will work out in the end. In a way, he's the focusless focal point, and in Long Beach Opera's production he's performed by the much talented Matthew DiBattista."
Bondo Wyszpolski, Easy Reader News (CA)
A good swipe at 'Schweik' in Long Beach
"We were well served by Matthew DiBattista as Schweik. The young tenor displayed a strong, pleasantly ringing voice with a nice extension up top, incredible stamina, and acting abilities not often seen on the operatic stage."
Timothy Mangan, Orange County Register
Long Beach Opera stages 'Good Soldier Schweik'
"DiBattista was a cleverly good-natured and strongly sung Schweik."
Mark Swed, Los Angeles Times
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