| 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 seas for eternity until finding a woman willing to pledge fidelity. But in Ryan McKinny, a lithe, handsome bass-baritone outfitted by the costume designer Erik Teague in a leather jacket worn open to expose a full-chest tattoo, Ms. Zambello offered a Dutchman who seemed unusually close in age and bearing to Senta, the virtuous young woman whose love could provide his salvation. The lustrous soprano Melody Moore played Senta with a reckless passion that matched Mr. McKinny’s brooding intensity, their interactions suffusing the goings-on with an unmistakable erotic charge.”

Steve Smith, New York Times

“Of course one must begin by discussing the Dutchman himself, sung by Barihunk Ryan McKinny. Not only were his singing and characterization beautiful and nuanced, but his stage presence was electric. His duet with Senta was spellbinding, and one could feel the pain when he believes Senta has betrayed him. And what a bit of bad-boy eye candy he is in costume! ”

David Browning, Huffington Post

“Only age 32, McKinny displayed a large, mellifluous voice, suggesting an important future career in the dramatic baritone roles of Wagner and Verdi… Zambello’s direction permitted him to develop, instead of a remote ghost figure, a more human character, who connects empathetically with Senta.”

Opera Warhorses

“Ryan McKinny took easy and quiet command of the stage. His characterization had the confidence that conveys despair. He was frightening, yet you longed to help him. His pursuit of the captain’s daughter—the woman he hopes will save him from his otherwise endless torment—effectively mixed desperation with aggressiveness.”

B.A. Nilsson, MetroLand

“It doesn’t hurt that McKinny’s rich and resonant voice is matched by a powerful physique and his bare chest is covered with a huge tattoo of the Dutchman’s mystical vessel… When McKinny and Moore clash, vocal and sexual sparks fly”

David Sheward, TheaterLife

“The stranger is the Dutchman, Ryan McKinny, whose rich baritone conveys every nuance of the Dutchman’s lost, lonely, plagued soul.”

Linda Loomis, The Post-Standard

“Ryan McKinny’s Dutchman in particular seemed to burn like a lonely lighthouse with pained internal conflict (just as he should)… his presence was riveting; I doubt I’ll see a more compelling take on the part” -The Hub Review, July 19, 2013

“World-class” is an encomium often used indiscriminately by promoters and publicists but in light of Glimmerglass Festival’s triumphant Der Fliegende Holländer the press office has my full encouragement to use the phrase loud and often.

The cause for celebration begins with an uncommonly fine cast, surely among the top tier of today’s Dutchman interpreters. As the title character, Ryan McKinny has served notice that he is poised to be the Heldenbariton of choice for the punishing requirements of the demanding role. Mr. McKinny boasts a solid, even instrument that rolls forth with a hint of darkness and substantial weight. The inherent gravitas in the tone did not keep him from hurling out important dramatic declamations with a bright laser beam intensity and welcome purity of line. But, Ryan could also reel in the volume and ravish us with sotto voce phrasing that was warm, lyrical, and bewitching.

His traversal of “Die Frist ist um” was a mini-drama-within-a-drama, varied, well-shaped, empathetic and undeniably moving. I have never been quite so involved with the doomed man’s plight, or more involved with his journey. The handsome Mr. McKinny is also blessed with a personal charisma and stage magnetism that characterize the greatest performers. Mark my words, you will hear much much more in very short order about this exciting singer.”

James Sohre, Opera Today