Reviews
Critical Acclaim
“It didn’t hurt his efforts to have a formidable cast on his team. Wayne Tigges, in a role debut, is already a tremendous Falstaff in every way. His imposing physicality houses a big, pointed voice that rang out in the house as he blustered, boasted, and bellowed with ample reserves of power. That said, Mr Tigges was also capable of a highly polished characterization that found nooks and crannies and nuances that he was able to convey with conviction and subtlety. Indeed, his might just have been the most richly detailed Falstaff of my experience, summoning real pathos in his poignant Act III aria.”
“Having heard bass-baritone Wayne Tigges’s smug, slyly menacing Assur in Washington Concert Opera’s November 2015 performance of Rossini’s Semiramide... Tigges had at his disposal the full measure of brute force that the scale of the Holländer’s music necessitates, but his performance was most remarkable for the poignantly suffering man that he created beneath the Holländer’s ghastly persona...”
“Wayne Tigges, in his first leading role for SFO, is an ideal Joe St. George, his rugged baritone and raw physicality making Joe menacing or pathetic by turns. He is both creepily seductive and terrifying in a scene in which Joe molests Selena in the foreground while Vera and Dolores sing in the background about just what is to be done with problem husbands.”
“Veteran performer Wayne Tigges was effortlessly, quintessentially evil as a nuanced Judge Turpin, and his commanding bass-baritone contributed poise and class to a superb reading of “Pretty Women.”
“Wayne Tigges was consistently inspired in the quartet of villain roles, his saturnine presence and dark-hued bass-baritone perfectly allied to the manipulative characters.”
“Wayne Tigges as the embittered parents of the murdered children all give fine, three-dimensional performances, especially Tigges as the girl’s father, furious at the Pardon Board meeting yet touchingly vulnerable as the execution nears.”
“It's a vision that Wayne Tigges as a grave, pessimistic Dutchman capably embodies with his darkly brooding vocals and strong performance. Moore and Tigges give the show a captivating, beating heart with a stunning performance of Act 2's crucial love duet.”
“The fat, aging rascal Sir John Falstaff dominates as he must, with stylish and thoughtful singing from bass-baritone Wayne Tigges. Tigges has clearly mastered the unique blend of power and delicacy that Verdi wrote into this role.”
“Bass-baritone Wayne Tigges is robust and appropriately waggish as general Ariodates, father of Romilda and Atalanta.”
“Bass-baritone Wayne Tigges and mezzo Katherine DeYoung eke verve and fine vocalism out of their own brief cameos in the same act of this Jenufa production."
“Bass-baritone Wayne Tigges gave a superb performance as the creepy Joe St. George, singing with a robust, menacing grandeur that conjured up both his villainy and his uncertain self-worth.”
“Wayne Tigges plays Howie Albert. The singer-actor was terrific in Dead Man Walking, and this Champion production is no different.”
“Bass Wayne Tigges gives King Claudius both the booming bellow of authority and the uncertainty of a man struggling with his conscience.”
“The bass-baritone Wayne Tigges offered fine comic timing and the best diction of the evening, singing in a manner that let audience members almost stop relying on the supertitles.”
“The bass-baritone Wayne Tigges offered fine comic timing and the best diction of the evening, singing in a manner that let audience members almost stop relying on the supertitles.”
“Baritone Wayne Tigges was also convincing in his role of Lola’s wronged husband, Alfio. His aria delivered in praise of his wife before learning of her infidelity was a high point of the production.”
“Opposite Pier was baritone Wayne Tigges as the Dutchman. He, too, showed great vocal strength in a role that requires power and introspection.”
“Wayne Tigges supplies the perfect balance of comedic timing and exquisite singing in the title role if this Nozze di Figaro.”
“On Saturday Wayne Tigges energized his lyrics with conviction and looked the picture of a dungeon-dwelling prisoner with his white limbs and voluminous, unkempt hair.”
“Wayne Tigges showed a solid bass voice as Don Basilio (reincarnated here as an Elvis impersonator).”
“Last, but not least, Wayne Tigges is charismatic as Baron Douphol.”
“Wayne Tigges provided welcome basso contrast as Achillas.”