Reviews
The star of the evening, however, was Jeremy Galyon. His portrayal of Osmin, the overseer of the harem, was at once stern, gruff, dim, and wickedly funny. His voice is full, resonant, and clear from top to bottom, without a hint of the muddiness that can sometimes plague basses. He presented finely crafted and musically sensitive arias, and stole every scene in which he appeared.
-http://www.sfcv.org/reviews/welcome-emabductionem
Galyon has a HUGE stature... His Bass is profoundly deep and rich and he knew how to use that voice to make the role come alive. He put edge on it in the right places and even his lowest notes were clear and clean to the audience. He was comedically just right and made a huge splash on stage each time he came on. I can't wait for Faust from this one!
http://www.network54.com/Forum/171220/thread/1219372308/1219375991/A+STUNNING+Die+Entfuhrung+in+the+Bay+Area%21+Review
Galyon proved entirely at home as Osmin, hamming it up with gusto, but not quite too much. His bass voice is everything you’d want to hear.
-http://blogs.mcall.com/lehighvalleymusic/2011/08/off-topic-hats-off-to-bethlehem-native-jeremy-galyon-and-berks-opera-workshop-in-the-abduction-from-.html
Yes. I like Jeremy, he's a really nice guy. Great voice . . . Handsome devil isn't he?
-http://www.examiner.com/article/natalie-dessay-s-cd-la-sonnambula-and-the-met-s-charming-baritone-jeremy-galyon-part-2-of-2
It was easy to see why the Metropolitan Opera hired Jeremy Galyon, who played the basso buffo role of Osmin; his is the kind of bass-baritone voice that causes women to swoon. What a gorgeous instrument it is, all up and down the range. And his speaking voice is equally rich. And he's funny.
-https://readingeagle.com/article.aspx?id=325902
As Olin Blitch, the traveling preacher who helps destroy her, Metropolitan Opera baritone Jeremy Galyon is both larger than life and believable,
-http://readingeagle.com/mobile/article.aspx?id=408111
Jeremy Galyon came in with great power and clarity as well as demonstrating a considerable range (the part goes quite low into true bass register).
-http://www.epinions.com/content_5021081732?sb=1
It was touching to see Lincoln portrayed by a fresh-voiced young bass, Jeremy Galyon. NYTimes -http://www.nytimes.com/2007/10/08/arts/music/08glas.html?_r=0
Jeremy Galyon did well by Lincoln's under-written part.
-http://www.beyondcriticism.com/3107/in-review-appomattox-san-francisco-opera
Jeremy Galyon sang his part beautifully with a firm, bright tone that exuded warmth and color. -http://www.sfcv.org/arts_revs/earplay_9_26_06.php
Galyon performed Barber’s Dover Beach with the stark combined serenity of Matthew Arnold’s Poetry and Barber’s music...
Galyon also premiered Kile Smith’s Plain Truths...The work couldn’t have received a better premiere
-http://classical-scene.com/2011/08/23/plain-truths/
A tall, powerful singer, Galyon was a fascinating mix of charm and malevolence, his dark voice well-suited to Stravinsky's gnarly rhythms.
-http://www.sfcv.org/arts_revs/merolarakesprogress_8_9_05.php
Jeremy Galyon, Escamillo, was as upbeat, thrilling and resplendant ...as a bullfighter could possibly be.
-http://davisclassicalreview.blogspot.com/2007/05/carmen-bizet-opera-with-sf-opera-adler.html
The former San Francisco Opera Adler fellow possess a large, attractively colored bass voice, dark and firm
as mahogany. He sang attractively in both pieces, particularly "Mentre ti lascio,
-http://www.jwentworth.com/pianists/seymour_lipkin/100723_seymour_lipkin_san_jose_mercurynews.pdf
Galyon's booming... voice gave way to a gentler tone in Richard Pearson Thomas’ hopeful but tear-tinged Jordan, which Galyon concluded in near-falsetto, with a sensitivity that was delightful to hear.
-
-http://www.sfcv.org/reviews/welcome-emabductionem
Galyon has a HUGE stature... His Bass is profoundly deep and rich and he knew how to use that voice to make the role come alive. He put edge on it in the right places and even his lowest notes were clear and clean to the audience. He was comedically just right and made a huge splash on stage each time he came on. I can't wait for Faust from this one!
http://www.network54.com/Forum/171220/thread/1219372308/1219375991/A+STUNNING+Die+Entfuhrung+in+the+Bay+Area%21+Review
Galyon proved entirely at home as Osmin, hamming it up with gusto, but not quite too much. His bass voice is everything you’d want to hear.
-http://blogs.mcall.com/lehighvalleymusic/2011/08/off-topic-hats-off-to-bethlehem-native-jeremy-galyon-and-berks-opera-workshop-in-the-abduction-from-.html
Yes. I like Jeremy, he's a really nice guy. Great voice . . . Handsome devil isn't he?
-http://www.examiner.com/article/natalie-dessay-s-cd-la-sonnambula-and-the-met-s-charming-baritone-jeremy-galyon-part-2-of-2
It was easy to see why the Metropolitan Opera hired Jeremy Galyon, who played the basso buffo role of Osmin; his is the kind of bass-baritone voice that causes women to swoon. What a gorgeous instrument it is, all up and down the range. And his speaking voice is equally rich. And he's funny.
-https://readingeagle.com/article.aspx?id=325902
As Olin Blitch, the traveling preacher who helps destroy her, Metropolitan Opera baritone Jeremy Galyon is both larger than life and believable,
-http://readingeagle.com/mobile/article.aspx?id=408111
Jeremy Galyon came in with great power and clarity as well as demonstrating a considerable range (the part goes quite low into true bass register).
-http://www.epinions.com/content_5021081732?sb=1
It was touching to see Lincoln portrayed by a fresh-voiced young bass, Jeremy Galyon. NYTimes -http://www.nytimes.com/2007/10/08/arts/music/08glas.html?_r=0
Jeremy Galyon did well by Lincoln's under-written part.
-http://www.beyondcriticism.com/3107/in-review-appomattox-san-francisco-opera
Jeremy Galyon sang his part beautifully with a firm, bright tone that exuded warmth and color. -http://www.sfcv.org/arts_revs/earplay_9_26_06.php
Galyon performed Barber’s Dover Beach with the stark combined serenity of Matthew Arnold’s Poetry and Barber’s music...
Galyon also premiered Kile Smith’s Plain Truths...The work couldn’t have received a better premiere
-http://classical-scene.com/2011/08/23/plain-truths/
A tall, powerful singer, Galyon was a fascinating mix of charm and malevolence, his dark voice well-suited to Stravinsky's gnarly rhythms.
-http://www.sfcv.org/arts_revs/merolarakesprogress_8_9_05.php
Jeremy Galyon, Escamillo, was as upbeat, thrilling and resplendant ...as a bullfighter could possibly be.
-http://davisclassicalreview.blogspot.com/2007/05/carmen-bizet-opera-with-sf-opera-adler.html
The former San Francisco Opera Adler fellow possess a large, attractively colored bass voice, dark and firm
as mahogany. He sang attractively in both pieces, particularly "Mentre ti lascio,
-http://www.jwentworth.com/pianists/seymour_lipkin/100723_seymour_lipkin_san_jose_mercurynews.pdf
Galyon's booming... voice gave way to a gentler tone in Richard Pearson Thomas’ hopeful but tear-tinged Jordan, which Galyon concluded in near-falsetto, with a sensitivity that was delightful to hear.
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