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

Features | | Houston Chronicle

Bass-baritone Ryan McKinny brings a vocal elegance to HGO

Houston Grand Opera’s audiences will soon be hearing a lot from bass-baritone Ryan McKinny. He plays one of the most powerful roles in Italian opera, the tormented jester at the center of Giuseppe Verdi’s “Rigoletto,” beginning Friday. The company will bring him back in April for double duty, as the charismatic toreador Escamillo in Georges...

Read More
Acclaim | | Wall Street Journal

The Dutchman in Der fliegende Holländer at the Glimmerglass Festival

“However, the production boasted an excellent Dutchman, Ryan McKinny, whose rich bass-baritone and imposing presence brought unusually human, sexy and even pitiable depths to this cursed ship’s captain who is endlessly seeking a woman to redeem him.” Heidi Waleson, Wall Street Journal “The seaman of the title may have been cursed to wander the...

Read More
Acclaim | | New York Arts

Orango with Esa-Pekka Salonen and the London Philharmonia

“The only singer who has an extended part is the Entertainer, a kind of carny barker, performed with charismatic gusto by baritone Ryan McKinny in impressive rat-a-tat Russian.” Huntley Dent, New York Arts “The very solid cast of 11 soloists was dominated by the charismatic Ryan McKinny as The Entertainer…” Jim Pritchard, Seen and Heard...

Read More
Acclaim | | Broadway World

Kurwenal in Tristan und Isolde at Houston Grand Opera

“Ryan McKinny’s bass-baritone instrument is put to marvelous use as Kurwenal. His efficacious and potent instrument showcases Kurwenal’s bravery and admirable loyalty. Alluring in the first and second acts, Ryan McKinny’s characterization and vocal performance as Kurwenal is ingeniously dexterous in the third act. His command of his instrument,...

Read More
Features | | Opera News

Sound Bites: Ryan McKinny

Ryan McKinny seems an ideal fit for the Wagner bass-baritone roles he is pursuing — Amfortas, the Dutchman. In fact, he has spent a long time trying to figure out what his voice is, and what it isn’t. “When you enter competitions in your early twenties,” he says, “if you are a lyric soprano or Rossini tenor, I think you kind of understand...

Read More