| 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 does not lend itself to a great deal of traditional opera singing, on this evening this soliloquy became a truly memorable aria.”

Broadway World

“McKinny was a more recessive Oppenheimer than Gerald Finley, the role’s creator, but he used his reticent stage demeanor to suggest a man quietly imbued with the spirit of scientific discovery and deeply conflicted after the result. His showpiece aria, “Batter my heart,” was beautifully sung and seemed to emanate from the core of Oppenheimer’s ambivalence.”

Opera News

“As J. Robert and Kitty Oppenheimer, Ryan McKinny and Julia Bullock both sang flawlessly with a fine grasp of their characters’ inner struggles.”

Opera Magazine

“Kitty, sung by veritable contortionist Julia Bullock… and Oppenheimer (a mercurial and charismatic Ryan McKinny, who not once dons a porkpie hat) trade beauty lip to lip.”

Santa Fe Reporter

“Ryan McKinny’s Oppenheimer has a wry, wiry, brittle brilliance. The storm had begun to die down for his ferocious aria, “Batter My Heart, Three-Personed God,” which ends the first act, but its fury remained inside McKinny, to be released all over again.”

LA Times

“The cast was first-rate throughout, featuring long stretches of compelling ensemble work but also anchored by the in-depth portrayals of Ryan McKinny as Oppenheimer and Julia Bullock as Kitty.

Both of them uncovered resonant depths as they coped with their respective crises—encapsulated in parallel “dark nights of the soul” at the end of Act 1 (“Batter my heart”)…And they developed a tangible chemistry of longing and unfulfilled hopes in their pivotal bedroom scene (“Am I in your light?”), its aching, sustained lines in brilliant contrast to the pointillist, pinpoint diffusions of rhythmic energy that tauten the countdown(s).”

Musical America