As Joe Pitt in Angels in America with New York City Opera:

“The flexible baritone Michael Weyandt has the requisite clean- cut good looks for the closeted Republican Mormon Joseph Pitt, and he showed a remarkable emotional range in the challenging role. As Harper, Joe’s Valium-addicted wife, Sarah Beckman-Turner revealed a rounded, focused soprano and managed to convey Harper’s tenuous grip on reality without playing crazy. Weyandt and Beckman-Turner made Joe and Harper compelling in their failure to connect.”

Joshua Rosenblum, Opera News, June 2017.

“The Mormon couple inspired more empathy than judgment with Michael Weyandt managing to be both charismatic and hapless, and Sarah Beckham-Turner steering clear of operatic-madness cliches as her Valium gobbling character hallucinates her way around the world.”

David Patrick Stearns, Operavore,, accessed June 13, 2017.

“Michael Weyandt channeled deep pathos as Joseph Pitt, struggling to reconcile his sexuality with the religious values that have guided his entire life.”

Eric C. Simpson,, accessed June 11, 2017.

In Eight Songs for a Mad King with the Talea Ensemble at the University of Chicago:

“Soloist Michael Weyandt delivered a riveting tour de force performance. Whether taking selfies with his cell phone–later smashing it to pieces–confronting Talea musicians in his crazed rants, or screaming in violent desperation, Weyandt painted the king’s unhinged fury with alarming manic intensity. Yet the young baritone also made the king a sympathetic and pitiable figure, taking nostalgic solace in happier times and, in his pleading whispers, attempting to make sense of his declining mental state.”

Lawrence A. Johnson,, accessed December 4, 2016.

“Peter Maxwell Davies’ ‘Eight Songs for a Mad King’ (1969) veered into the expressionistic and grotesque as it explored the lonely derangement of George III by taking off from tunes played by a mechanical organ owned by the regent. The extraordinary demands put on the baritone soloist were managed seemingly without effort by Michael Weyandt, and the six players achieved a rare, hard-edged wistfulness.”

Alan G. Artner, Chicago Tribune, December 3, 2016.

As Schaunard in La Bohème with Hawaii Opera Theater:

“Michael Weyandt (Schaunard) shone in his Act I caper about poisoning the parrot.”

Ruth Bingham, Honolulu Star-Advertiser, October 16, 2016.

In American Lyric Theater’s February 2016 showcase at National Sawdust:

“And baritone Michael Weyandt dramatically performed his dynamic and frequently bombastic aria to his wife, God and the ocean, ‘A Lover’s Grave’…. Albertson sung, cleanly and capably, his robust opening aria, “Lo, ’tis a somber night…,” which went right into “Cold, so cold,” an intriguingly dark-sounding scene with a dramatic performance to match by Weyandt, and a complementary comically morbid turn from Gigliotti…. But there was also something hurt and haunted underneath, and it turned musically and emotionally darker, especially in the quartet “The Fotoplastikon,” in which Albertson and Weyandt joined the women in sharply feeling the music’s progression of emotions.”

Henry Stewart, Opera News, May 2016

A second aria, the piece’s Mortuary Scene, “Cold, so cold in here” featured Michael Weyandt as the protagonist, Victor, subtly using his sweet lyric baritone…. [on an excerpt from Missy Mazzoli’s Breaking the Waves] Baritone Weyandt’s smooth instrument did well with Jan’s poignant aria, “A Lover’s Grave.”

Richard Sasanow,, February 16, 2016.

As Mrs. Pig in Shostakovich’s The Tale of the Silly Baby Mouse with On Site Opera:

“Now and then you witness a debut so happy and so rich with potential that you can’t wait to share the news…. the supple baritone Michael Weyandt was a compassionate Mrs. Pig.”

Steve Smith, The New York Times, June 25, 2012.

As Fernando in Handel’s Almira with operamission:

“The soprano Christy Lombardozzi brought a rich, lush voice and impetuosity to the role of the conflicted Almira, who secretly yearns for Fernando, movingly performed here by the virile, ardent baritone Michael Weyandt.”

Anthony Tommasini, The New York Times, May 30, 2012.

“As his handsome master Fernando, the Queen’s lovelorn secretary who is always being discovered in deceptively compromising situations, Michael Weyandt brought a lovely virile baritone to a role originally written for a low tenor, a casting decision which paid off as his voice effectively contrasted with the two tenors and two basses.”

DeCaffarrelli, Parterre Box,, accessed May 29, 2012.

As Brother in Weill’s The Seven Deadly Sins with the Castleton Festival Opera:

“Each of the singers seemed to have a gift for interpreting the varying moods of Weill’s cabaret- style score. Particular highlights in this production include the family’s male quartet members slipping easily into ‘Gluttony’s’ surprising barbershop quartet—perhaps a first in the world of opera….”

Terry Ponick, The Washington Times, July 11, 2011.

On his performance in the 2011 George London Foundation competition:

“I was impressed with…baritone Michael Weyandt, who showed good sense of propulsion, line and breath control in the Queen Mab aria, from Roméo et Juliette.”

Brian Kellow, Opera News, May 2011.

As Junius in The Rape of Lucretia with the Castleton Festival Opera:

“Michael Weyandt did a muscular turn as the ambitious Junius….”

Joshua Kosman, San Francisco Chronicle, March 26, 2011.

“Michael Rice was strong as Collatinus, as was Michael Weyandt as Junius.”

The Opera Tattler blog,, accessed March 27, 2011.

As Masetto in Don Giovanni at the Tanglewood Music Center:

“Masetto, too, was smarter than the average peasant; Michael Weyandt, his baritone bright and clean, captured his awareness of both the situation and his powerlessness to change it.”

Matthew Guerrieri, Boston Globe, July 29, 2009.

“Each member of the cast contributed fine acting (Elizabeth Reiter’s Zerlina was especially fresh and engaging), and the singing was, with one exception, excellent…. Michael Weyandt was an unusually attractive Masetto….”

Judith Malafronte, Opera News.

“Elizabeth Reiter’s fully inflected, knowing but adorable Zerlina showed a fresh light lyric voice ready to assume this role anywhere. Dressed like 1950s high school sweethearts, she and Michael Weyandt’s game, excitable Masetto made a cute, sonorous peasant couple.”

David Shengold, Gay City News, August 29, 2009.

As Herr Fluth in Nicolai’s Die Lustigen Weiber von Windsor at Indiana University:

“Special kudos must be given to the luxuriously rich voices of Michael Weyandt (Herr Fluth), piquant in color and with excellent German enunciation, and Cody Medina (Herr Reich) strong, steady and stately.”

Charles H. Parsons, Opera News Online, January 2009, vol 73, no. 7.

“The overly jealous Fluth (Ford) gained notable, oversized characterizations from baritones Michael Weyandt and Kenneth Pereira.”

Peter Jacobi, Bloomington Herald Times, October 27, 2008.

As Guglielmo in Mozart’s Così fan tutte at the Tanglewood Music Center:

“Michael Weyandt was a solid Guglielmo.”

Jeremy Eichler, The Boston Globe, August 13, 2007.

As Pete Dayton in Olga Neuwirth’s Lost Highway at the Miller Theater, New York City:

“Youth suited the three good principals onstage: Alice Teyssier, Michael Weyandt and Barry Bryan.”

Bernard Holland, The New York Times, February 26, 2007.

“Michael Weyandt handled his rangy, florid music gracefully, and made a sympathetically naïve Pete.”

Joanne Sydney Lessner, Opera News Online, February 23, 2007.

“Baritone Michael Weyandt stood out as the persecuted auto-mechanic Pete, singing with a clear high baritone and showing great confidence as an actor.”

Marc Geelhoed, Deceptively Simple blog, accessed February 24, 2007.

“Michael Weyandt was an appropriately moody fellow fatally attracted to the temptresses played by Teyssier.”

Laura Kennelly, Art Matters blog,, accessed February 9 2007.

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