P r e s s  P h o t o s

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F E A T U R E D   R E V I E W S

"Out of nowhere, an excellent 'Tristan' pops up in San Francisco. With conductor Jonathan Khuner leading a vivid rendition, and soprano Juyeon Song and tenor Roy Cornelius Smith blazing forth in the title roles, this was an entirely unexpected delight. As Tristan, Smith deployed a gleaming vocal tone along with heroic vitality, and he made his way through the grueling marathon of Act 3 – in which the tenor holds the stage almost single-handedly for something like 45 minutes – without betraying either fatigue or concern."  San Francisco Chronicle

The American tenor Roy Cornelius Smith is a very sovereign Tristan, who sings vocally so confidently and effortlessly that he can fully concentrate on the interpretation of the role. He loves passionately and dies feverishly, with secure and extraordinarily brilliant top notes and a lot of emotion. Pizzicato

N E W S​

The Janáček Philharmonic Orchestra stuns with a new LIVE recording of Richard Wagner's three-act opera TRISTAN AND ISOLDE. Skillfully conducted by German conductor Robert Reimer, this new, vibrant performance is likely to claim its place as one of the reference recordings of Wagner's innovative work.

Roy Cornelius Smith's role debut as Tristan at the War Memorial Performing Arts Center Herbst Theater with the newly formed Claude Heater Foundation was a huge success. Michael Anthonio from parterre.com/ stated "I was most impressed with the Tristan of Roy Cornelius Smith. Although this was his role debut, he had the confidence of seasoned Tristan. His rather dark tenor voice boomed across the hall, and he showed no restraint at the top at all. He acted well with his expressions too; his Tristan was heroic and compassionate at the same time. I truly believed that even {Claude} Heater himself would be pleased with his performance! The long monologue at Act 3 was particularly memorable; he handled it very well. He even varied his positions; he started singing while sitting, then standing during the outbursts, and went back sitting for final scenes. It all helped his interpretation!"

First, the unknown---to the writer---american tenor Roy Cornelius Smith, Canio. His timbre-rich voice, standing out in squillo tones, endows his role with a musicality that others often overlook in favor of a virulent and dishevelled "Verismo". The ovation after the popular page of "vesti la giubba"---at the end of the first part of the opera---marked his triumph in the night's performance. Smith mainly sings in Germany, but his natural predisposition to Italian-style singing makes him a singer to keep an eye on. L'Opera

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"American tenor Roy Cornelius Smith rises to the occasion with all the honors of one of the most trying roles of the repertoire. Singing without an accent and with a commendable diction of our language, it turns out to be a physically credible Eleazar that is musically nuanced, delivering a poignant « Rachel, quand du seigneur » and crowned with the cabalette « Dieu m’éclaire » that no tenor wants to face any more" Opera-Online

"As Eléazar, Roy Cornelius Smith was able to take advantage of how star tenor Adolphe Nourrit persuaded Halévy to turn what had been intended as a bass role into a very non-traditional lead tenor role. Roy Cornelius Smith brought great humanity to the role, allowing us to see Eléazar's grasping nature and intense desire for revenge in the context of the extreme violence meted out to him, and the atmosphere of fear in which he lived...he sang with power and commitment." Planetthugil.com

“Smith sang with impassioned artistry, with an idiomatic ringing Italianate sound and fine vocal colour.”

Opera Now

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