Following this was a real show-stopper, Ford’s aria “È sogno…o realtà?” from Verdi’s Falstaff, robustly sung by baritone Thomas Glass. In an aria full of contradictory feelings of bluster and vulnerability, Thomas Glass made every emotional swing of his character entirely believable.

Glass Is A Stunning Baritone Voice With An Endless Depth Of Sound And Commanding Stage Presence. As Guglielmo, Glass Knows Exactly How To Manipulate His Character To Portray The Levels Of Emotion And Realization Needed To Go From Loveable To Distressed. In The Aria, “Non Siate Ritrosi,” Glass Does A Fine Job Of Extolling The Virtues Of Soldiers While Teasing Fiordiligi With A Fake Beard. The Duets And Ensemble Scenes With Baritone Thomas Glass Was A Comedic Delight, As Well As A Beautiful Blending Of Perfect Vocal Color.

As Guglielmo, The Baritone Thomas Glass Performed With Subtle Humor And Vocal Gleam. In His Aria On The Cruelty Of Women To Men, He Articulated His Words With The Precision Of A Gilbert & Sullivan Player And A Polished Legato.

Baritone Thomas Glass Gave A Galvanizing, Star-Turn Performance As The Title Character. His Secure Baritone Never Lost Its Honeyed Sheen Whether Powerfully Denouncing Injustice, Playfully Interacting With Comrades, Or Crooning His Love Of His Partner With Heart Stopping Beauty. His Two Powerful Extended Solos Were Rapturously Received.

Thomas Glass Made A Tremendous Impression In The Title Role, With A Powerful, Resonant Baritone And An Impish Personality That Made Harvey Completely Relatable And More Human Than Saint. He Was Impassioned In His Solo Acknowledging The Dual Centrality Of His Homosexuality And Judaism And Stirring In His Final Aria, In Which He Imagines Coming Out To His Long-Dead Mother.

Many Of The Opera’s Laughs Issue From Hearty Baritone Thomas Glass As Tamino’s Sidekick, The Infatigable Birdcatcher, Papageno. His Chaplinesque Expressions Steal Half The Scenes He’s In; His Intrepid Black Cat Companion Takes Care Of The Rest.