As Leporello at the Metropolitan Opera
Reviews
| The leather-throated basso seemed to relish the inky naughtiness of his role in a manner that would be better suited to the role of Leporello (which he debuts at the Met next season): Certainly, his powerful and supple voice was a pleasure to hear. City Paper Philadelphia, 2003. |
| Burak Bilgili, a bass sang with bags of power and had true Verdian authority. His power was really felt in an impressive account of La Calunnia from the Barber of Seville. Turkey might not be renowned for producing opera singers but last night entering this competition for the first time, their representative won the third heat. South Wales Echo UK, 2003 |
| Burak Bilgili was an excellent Raimondo, his bass, flexible and sonorous of tone, and his understated acting bringing out the gentle yet devious nature of Lucia’s Svengall-like minister. Lawrence A.Johnson, City Paper Philadelphia, 2003 |
| But the most impressive performance of the evening was turned in by bass Burak Bilgili as the villainous Mephistopheles. Leering , bullying, and controlling the multitudes with his evil magic, Mr.Bilgili’s dominating voice imposed the rule of chaos on the evening. Washington Times, 2005. |
| Vocally, the opera was dominated by bass Burak Bilgili as Mephistopheles. His powerful, commanding voice was matched to a stage presence that could be simultaneously humorous and frightening. As the opera progressed, his destruction of Marguerite and Faust took on an increasingly cruel and evil aspect, and Bilgili mirrored this change in singing that grew more forceful. His sardonic laughter during the thirs-act serenade was especially chilling. Bilgili made one wonder why Gounod didn’t call his opera “Mephistopheles” !!!!!! Virginia Hampton Roads, 2005. |
| Burak Bilgili drew a storm of applause after his voice boomed out the music master’s big aria.. Robert Baxter, New Jersey Courier Post, 2002. |
| Turkish bass Burak Bilgili’s Mephistopheles was imposing, comedic, menacing and regal by turns. His commanding voice, flecked with golden, spicy tones, is unusually expansive for a bass; Bilgili easily projected it above the orchestra. Grace Jean, Washington Post, 2005 |
| Turkish bass-baritone Burak Bilgili, who will be singing the role of Zaccaria in next month’s “Nabucco” at Washington National Opera, stepped in late in the game to replace the ailing Robert Holl, and he had the gravitas at both top and bottom for the part. Charles T.Downey, Washington Post, 2012 |
| The bass Burak Bilgili rumbled darkly as Procida, the rebel leader Zachary Woolfe, New York Times, 2013 |
| Burak Bilgili has been heard often in Cincinnati in recent seasons, and his Don Pasquale was an expert comic creation. His onstage timing was flawless, and he clearly relished playing the silent movie actor in the film clips as well. Joe Law, Opera News, 2015 |
| The bass gets the spooky, somber moments, and Burak Bilgili used his velvety tone to make them more ominous. Lawrence Toppman, Charlotte Observer, 2015 |
| Supporting roles, including a darkly brooding bass Burak Bilgili. Andrew Alexander, Atlanta Journal Constitution, 2016 |
| A familiar presence on the MOT stage, Turkish bass Burak Bilgili turned in a solid performance as Banquo. His warm voice is as deep as the ocean, and he used it to create a compelling portrayal. George Bulanda, The Detroit News, 2016 |
| El Basilio de Burak Bilgili estuvo mejor vocal que actoralmente, mostrando una notable rigidez en este campo. Julian Carillo, El Pais, 2016 |
| Completan el reparto el bajo Burak Bilgili, triunfador de la pasada temporada en Les Arts de Valencia con otro Rossini, La italiana en Argel. Cristobal Maneiro, La voz de Galicia, 2016 |
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