The Fall of the House of Usher
“Ryan MacPherson’s vaguely androgynous Roderick was quite effectively characterized and enhanced with just enough bite in the tone of his attractive tenor to bring a requisite hysteria to the tormented Lord of the Usher manor.”
— Mark Thomas Ketterson,
THE FALL OF THE HOUSE OF USHER - Long Beach Opera
“The cast was uniformly excellent … especially Ryan MacPherson as a rich-voiced, manic and obsessed Roderick. He even played his own guitar.”
— Timothy Mangan,
Chicago's Non-Lyric Opera Scene
“MacPherson’s Roderick was convincingly obsessed.”
— Wynne Delacoma,
Chicago Opera Theater's 'Usher' launches an exciting new era
"Ryan MacPherson grabs Roderick’s multifaceted personality and has a tenor both strong and seductive enough to ride the score’s high passage work."
— Andrew Patner,
COT opens season with a mixed Chicago debut for Glass's "Usher"
“The cast was largely inspired … serving the music well. Ryan MacPherson’s strong tenor handled the high tessitura handily, and the singer conveyed Roderick’s haunted vulnerability as well as his unhinged anger in Act 2.”
— Lawrence A. Johnson,
Chicago Classical Review
The Fall of the House of Usher (Chicago Opera Theater)
“MacPherson and Gregory have a great vocal chemistry.”
— Clint May,
Chicago Theater Beat
Long Beach Opera's curious take on Glass' The Fall of the House of Usher
“Baritone Lee Gregory and tenor Ryan MacPherson were both excellent as William and Roderick.”
— Ted Ayala,
Latest Opera Performance Changes Preconceptions
“Ryan MacPherson’s Roderick was such a complete picture of a tortured soul that you kind of forgot how beautiful his ringing, clarion tenor was.”
— Jim Ruggirello,
Long Beach Opera charts 'The Fall of the House of Usher'
“Baritone Lee Gregory and tenor Ryan MacPherson were fine as William and Roderick, respectively.”
— Richard S. Ginell,
Los Angeles Times
'The Fall of the House of Usher' by Philip Glass at Long Beach Opera
“Roderick Usher (the excellent tenor Ryan MacPherson) …”
— Dave Gregson,
The Fall of the House of Usher: Opera Review
“MacPherson shrewdly opts to make Roderick seem as strong as he may be weak.”
— Myron Meisel,
OF MICE AND MEN - Utah Opera
“Other cast standouts included tenor Ryan MacPherson in a fiery performance as the misanthropic ranch foreman Curley.”
— Robert Coleman,
Review: Utah Opera's 'Of Mice and Men' is gripping theater
"Tenor Ryan MacPherson plays her brute of a husband [Curley] with cobra-like menace; it's a particularly apt match of music and character."
— Catherine Reese Newton,
Salt Lake Tribune
ROMÉO ET JULIETTE - Dayton Opera
"Ryan MacPherson and Joanna Mongiardo were an ideal pair of lovers as Roméo and Juliette, both strikingly handsome and youthful, and both singing with solid sound and vocal beauty."
— Charles H. Parsons,
"Ryan MacPherson stole the show. MacPherson's keen-timbered tenor negotiated the high tessitura with grace"
— David Shengold,
"For this production to succeed, it was especially important for the singers, as well as conductor Martin André, to embrace Offenbach's light, bouncy musical style and buy into Astafan's irreverent take. No one did that better than tenor Ryan MacPherson, who portrayed Pluto's vanity and libidinous machinations with relish."
— Kyle MacMillan,
"Ryan MacPherson brought his bright tenor voice and dashing presence to the sinister Anatol."
— Anthony Tommasini,
New York Times
"Ryan MacPherson ennobles the caddish stances of Anatol with a ringing tenor and exemplary diction."
— Martin Bernheimer,
"The agile soprano Elizabeth Futral and the sweet-toned tenor Ryan MacPherson were standouts as Violetta and Alfredo in the Libiamo duet and chorus from Verdi's Traviata."
— Anthony Tommasini,
New York Times