Press

Critical acclaim of Ryan’s performances, interviews & press features

Acclaim | | Sors tu

Das Rheingold in Montréal

“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)...

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Acclaim | | Aspen Times

Die Walküre scenes in Aspen

“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.”

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Acclaim | | Broadway World

Doctor Atomic at Santa Fe Opera

“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...

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Acclaim | | Laufenberg

Arabella in Wiesbaden

“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

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Acclaim | | LA Times

L.A. Phil’s ‘Mass’

“The center of it all is baritone Ryan McKinny’s Celebrant. Rather than a naive, young, folk-singing cleric who struggles with the demands of institutionalized religion and the contemporary world, McKinny proved a more mature, more authentically troubling cross between Moses, the cult leader Jim Jones and 1960s countercultural spiritualist Alan Watts. In...

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Acclaim | | New York Times

Girls of the Golden West at the San Francisco Opera

“The opera opens with Clarence, a hearty miner (the exuberant bass-baritone Ryan McKinny), who sets up the story almost as if giving a lecture. “It was a driving, vigorous, restless population,” Mr. McKinny sings lustily over skittish, pointillist music in the orchestra. “Not dainty, simpering kid-gloved weaklings, but muscular, stalwart, dauntless young...

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