Virginia Opera has all the elements of a great 'Marriage of Figaro'
“Baritone Matthew Burns and soprano Anne-Carolyn Bird, husband and wife in real life and Figaro and Susanna in Mozart’s world, were ideally cast. Both have lovely voices that are big enough to carry easily over the orchestra but agile enough for Mozartean transparency, and both of them can act.”
— Joan Reinthaler,
OF MICE AND MEN - Utah Opera
“Baritone Matthew Burns was equally effective as itinerant ranch-hand George Milton, defining his character with ample dramatic skills and potent, soaring top notes. He illuminated George’s decency in spite of frequent angry outbursts whenever forced to ameliorate one of Lennie’s frequent blunders. Bix and Burns sang passionately about their goal of owning their own farm during “An’ we’ll live off the fat of the land,” sounding another of the opera’s themes — the importance of a dream, however ephemeral.”
— Robert Coleman,
Review: Utah Opera's 'Of Mice and Men' is gripping theater
"Bass-baritone Matthew Burns gives the opera its moral center with his portrayal of George. He sings with power and assurance from the top to the bottom of his vocal range, and he invests the character with intelligence and integrity while traversing an equally impressive emotional range."
— Catherine Reese Newton,
Salt Lake Tribune
NYCO's River to River: Opera Review
"Matthew Burns, a bass-baritone, offered an appealing account of Bizet's 'Pearl Fishers' duet, 'O fond du temple saint' ... and a strong reading of an aria from Wagner's 'Tannhäuser.'"
— Allan Kozinn,
New York Times
Stark 'Lucretia' dazzles in Toledo Opera debut
"As Roman generals Collatinus and Junius, bass-baritone Matthew Burns and baritone Lee Gregory bring rich musicality and authentic emotion to their roles. As the bad boy Etruscan prince, Tarquinius, Philip Cutlip is menacing and macho."
— Sally Vallongo,
Boston Youth Symphony Chamber Orchestra's Don Giovanni Convincing, Intelligent
"The peasant roles of Zerlina (coloratura soprano Joanna Mongiardo) and Masetto (bass-baritone Matthew Burns) are by turns comic and serious, rushed and relaxed, and in both modes stylishly sung by fine voices."
— Mary Wallace Davidson,
Boston Musical Intelligencer
DON GIOVANNI - Opera Cleveland
"Matthew Burns instills in his voice all the colors needed for the role of Leporello. His concept of the role was not so overdone as is frequently the case, and it benefited from that restraint. He nimbly kept up with all that his master demanded."
— Alan Montgomery,
Opera Cleveland presents a frolicsome 'Don Giovanni' at the State Theatre
"Matthew Burns' cavernous voice and droll earthiness are ideal for Leporello's nimble shenanigans."
— Donald Rosenberg,
Cleveland Plain Dealer
Don Giovanni, Boston Lyric Opera, 4/24/09
"Matthew Burns was funny and warm as Leporello, Giovanni's servant and sometime accomplice."
— Karen Ratzlaff,
Boston Lyric Opera's Don Giovanni Set in 1950s Great Success
"Burns, a rare combination of comic timing, musical ability and stellar acting, illustrates the range of Leporello's character through his interpretations of the famed 'Catalogue' aria ('Madamina, il catalogo è questo') and the Act II aria 'Ah pietà, signori miei.'"
— Elizabeth Perten,
Boston Musical Intelligencer
A classic version of a timeless classic
"Matthew Burns brought both a resonant bass-baritone and a skillfully low-key comic spin to the role of Leporello, the Don's unhappy major domo, and delivered a sympathetic mix of rue and wit in the famous catalogue of his master's conquests (here played out via dozens upon dozens of 'little black books')."
— Thomas Garvey,
The Hub Review
Smillie make 'Pirates' broad, winking and bright as bright can be
"It boasts a terrific Pirate King in Matthew Burns, who sings with a devilish robustness that makes you want to join up and swing a sword beside him."
— Andrew Adler,
"Deft comedy and fine musicianship marked the Basilio of Matthew Burns." Read More...
— Charles H. Parsons,
"This was music making of a high quality, from the minor characters to the leads.... And Cesare Angelotti was an eloquent and empathetic criminal when played by Matthew Burns." [TOSCA - New York City Opera]
— New York Sun
"And as the villainous Dr. Bartolo, bass-baritone Matthew Burns was a real comic revelation. Bartolo is all too often played as a doddering old man, a kind of rich simpleton. Mr. Burns, however, imbued him with a capering spryness. His Bartolo was quick of mind, fleet of foot and could capably navigate Rossini's difficult patter songs without a hint of effort. As an added nifty touch, he would occasionally mock his ward, Rosina, with a perfectly executed falsetto, exactly catching her intonation. It's always nice to see a surprising twist on a hackneyed stock role, and that's exactly what audiences got from Mr. Burns." [IL BARBIERE DI SIVIGLIA - Wolf Trap Opera]
— Washington Post
"Matthew Burns' handsome voiced bass-baritone added just the right amount of panache to the role of Roderigo, the wild boar and love interest of Gloria." [GLORIA: A PIG TALE - Aspen Opera]
— Denver Post