Critical acclaim of Ryan’s performances, interviews & press features
“Bass-baritone Ryan McKinny makes his role debut as the title character, and he’s magnetic. We first see Don Giovanni as he’s running out of the bedroom behind Donna Anna, shirt unbuttoned and hair disheveled, and he’s tall, lithe, and dangerously charismatic. When he flashes his rakish smile, it’s lethal, and it certainly doesn’t take much...
“Ryan McKinny, as the Dutchman, moved through an enormous range of emotions with vocal power and control, and a great deal of theatrical grace.” Journal Sentinel “Bass-baritone Ryan McKinny gave the title role appropriate angst and gloom with his richly dark voice and expressive way with a phrase.” Shepherd Express“
“Soutenu par une masse de 24 figurants, c’est le baryton-basse au fort charisme, l’Américain Ryan McKinny, qui se mesure au redoutable cap vocal à atteindre pour rendre l’ampleur du personnage pivot de Wotan. Le chanteur avouera avoir travaillé à ce rôle depuis un bon dix ans maintenant.” Sors tu “Les voix, dont celle Ryan McKinny (Wotan)...
“Baritone Ryan McKinny and soprano Tamara Wilson, once students at the Aspen Opera Center, demonstrated how they have fashioned major careers with beautifully shaped singing and attention to text.”
“McKinny showed the audience the human side of the scientific genius and I doubt that operagoers who saw his portrayal will soon forget it… By this time, McKinny as Oppenheimer is severely troubled and with golden baritonal sounds he sings lines of John Donne that begin: “Batter my heart, Three-Person’d God.” Although Adams’s music...
“Ryan McKinny spielt ihn in der Wiesbadener Neuinszenierung nicht als ungehobelten Rumpelmacho aus dem exotischen Slawonien, sondern als eleganten Träumer, dem man den wilden Ruf nach scharf geschliffenen Säbeln nicht recht abnehmen mag. Auch seinen bassgetönten Bariton setzt er sehr zurückhaltend ein.” Laufenberg
