ARIADNE AUF NAXOS

In supporting roles that disappear after the prologue, Mark Schnaible’ Music Teacher is impressive for his resonant bass voice and commanding presence

Palm Beach Daily News - Robert Croan

ARIADNE AUF NAXOS - Musiklehrer

Mark Schnaible was outstanding as the beleaguered Music Master as he tries to calm his protégé and contend with the increasingly distasteful conditions imposed by the Majordomo.

The Classical Source - David M. Rice

ARIADNE AUF NAXOS - Musiklehrer

As the Music Master, Mark Schnaible’s imposing bass-baritone brought out the mentor’s gruff indignation.

South Florida Review - Lawrence Budmen

BLUEBEARD’S CASTLE

“Singing this weekend were bass-baritone Mark Schnaible as Duke Bluebeard and mezzo-soprano Sally Burgess as Judith. They gave a stunning vocal performance matched by their acting talents.”

– Salt Lake City Deseret Morning News

BRAHMS-REQUIEM/DVORAK-TE DEUM

“Among Schnaible’s solos, he sang ‘Herr, lehre doch mich’ with particularly eloquent expressiveness. His warm, mellow voice lent itself wonderfully to this music.”

– Deseret Morning News

CARMEN – Escamillo

Bass-baritone Mark Schnaible gave the toreador Escamillo a dashing portrayal, dispatching his signature song with aplomb and a booming dose of testosterone.

– The Times-Picayune – Theodore P. Mahne

CARMEN – Escamillo

Bass-baritone Mark Schnaible ….. cut a fine stage figure and tossed off the toreador song with panache.

– Opera News – George Dansker

DAS LIEBESVERBOT – Friedrich

Mark Schnaible, a bass-baritone, brought a robust sound and a genuine sense of inner turmoil to Friedrich.

– New York Times – Steve Smith

DAS LIEBESVERBOT – Friedrich

The cast sang well and acted with uncommon vigor: the bass-baritone Mark Schnaible offered a strongly projected, elegantly phrased, unexpectedly sympathetic Friedrich.

– The New Yorker – Alex Ross

DAS LIEBESVERBOT – Friedrich

As Friedrich, the dour prude who rules Sicily with Germanic chilliness, bass-baritone Mark Schnaible is the strongest Wagnerian, with confident diction and firm command of the declamatory anguish and inwardness that defines so many of the composer’s later villains.

– The Washington Post – Philip Kennicott

DAS LIEBESVERBOT – Friedrich

Mark Schnaible showed off a very good young Heldenbariton as “Friedrich.” He developed a consistent, complex, and understated “villain,” and his afore-mentioned aria was memorably sung, especially falling as it did during a rousing rumbling thunderstorm which pelted the roof like an added percussion part. Mr. Schnaible displayed well-shaped phrases sung with considerable presence appropriate to the venue at hand. Fine work.

– Opera Today – James Sohre

DON GIOVANNI – Giovanni

“ His voice sounded more than that of a nobleman. In the title role as Don Giovanni, Mark Schnaible displayed unheard of acting flexibility and he sang the Champagne Aria not as a libertine but rather as a man with unlimited lust for life.”

– Norddeutsche Nachtrichten

DON GIOVANNI – Leporello

The best voices belong to baritone Mark Schnaible (Leporello) and mezzo-soprano Deanne Meek (Donna Elvira). Schnaible has a wonderfully lyrical voice that also has dramatic power when needed. As an actor he brings the right amount of comedy to his role, and throughout the evening on opening night he was a pleasure to watch.

– Deseret News – Edward Reichel

DON GIOVANNI – Leporello

Bass-baritone Mark Schnaible plays Giovanni’s hapless servant Leporello, provider of most of the opera’s comic relief. His polished delievery of the famous “catalogue aria”, in which Leporello gives Donna Elvira the unhappy news that she is just one in a line of 2,065 women, was a highlight Saturday.

– The Salt Lake Tribune – Catherine Reese

DON GIOVANNI – Leporello

“Mark Schnaible was vocally elegant and comically astute as Leporello, Giovanni’s disgruntled wingman.”

– The Boston Globe

DON GIOVANNI – Leporello

“As with all good performances of ‘Don Giovanni’, it is almost impossible to seprate the Don, sung here by Nathan Berg from his reluctant sidekick, Leporello, sung by Mark Schnaible. Their performances were flawless, their acting and movements on stage precise and realistic, and their voices agile and strong throughout. Coupled with smart stage direction, it was hard not to get drawn into their conniving plots for conquest. Brilliant!

– OperaOnline.us

FAUST - Mephistofeles

Mark Schnaible, puts a magnificent stamp on the role of Mephistofeles which spans without hesitation the most dramatic style of the "I am here" of the first act, through the most ironic scene of the golden calf in the second, to the most grotesque " Walpurgis Night ». Schnaible also seduces with strong presence on stage: even when Dijkema sends him among the public to proudly observe the fulfillment of his wicked projects You can not get your eyes off of him. He is a magnetic and visceral: a perfect Méphistophélès; The audience screams and applauds for him.

Il corriere musicali - Veronica Pederzolli

FAUST - Mephistofeles

Mark Schnaible, with a powerful and magnetic voice, fits perfectly into the role of Mefistofele deserving a remarkable personal success. Between the serious and the farcical, the delicate, strong and the heavy, Schnaible was able transform his voice with continuous psychological disguises thus mastering the role.

Alto Adige - Giacomo Fornari

FAUST - Mephistofeles

To make the perfect master of Mephistopheles, sung by Mark Schnaible, Bass-baritone of Wagnerian size was very clever, with confident voice and expressive phrasing.

Romagna Corriere - Giulia Vannoni

FAUST - Mephistofeles

Very good was Mark Schnaible's Méphistophélès with a captivating voice and capable of making phrasing that would make the complexity of the character maintain a rich color palette.

Opera Click - Alessandro Cammarano


ELEKTRA – Orest

The baritone Mark Schnaible is an excellent Oreste. With a pleasing voice, easy delivery and his clear diction, he is a sensitive and engaging figure. The emotional instant where he acknowledges his sister fulfilled all its dramatic weight.

– ForumOpera.com – Brigette Cormier

FAUST - Mephistofeles

Among the performers are Mark Schnaible as Méphistophélès with a homogenous, sumptuous voice with beautiful colors.

- Teatrionline - Luca Benvenuti


FAUST – Mephistofeles

“The Devil and Faust arrive and Schnaible showed off his velvety voice in the memorable aria about the greed of man, ‘Le veau d’or est toujour debout’.”

– El Paso Inc.

FAUST – Mephistofeles

“Before Faust can drink a suicide potion, Mephistofeles ( Mark Schnaible ), Satan in the flesh, appears for his newest conquest……Schnaible luxuriates in his role to banner the forces of evil.”

– El Paso Times

FAUST – Mephistofeles

“Bass-baritone Mark Schnaible offered a devilish and fun turn as Mephistofeles. Schnaible obviously delighted in using his rich voice and charming stage presence to delude Faust and amuse the audience. His performance was consistnet throughout, but his serenade under Marguerite’s window in Act III may have been his most intoxicating.”

– Shreveport Times

FIDELIO - Pizarro

Mark Schnaible played the cruel prison governor, Don Pizarro. His vocal delivery was suave yet forceful; the hints of mental instability in his mannerisms were appropriately unsettling.

- The Salt Lake Tribune

GIULIO CESARE - Cesare

Bass-baritone Mark Schnaible was a commanding Caesar handling the melismatic passages with confidence.

- The Salt Lake Tribune

IL TURCO IN ITALIA

The musical side was totally gratifying. Mark Schnaible was brilliant in the title role. Not only with clean coloratura, attractive timbre and flawless vocal technique, but also with an entrance that made one understand why the women lay at his feet.

- Der Neue Merkur

IL TURCO IN ITALIA

The young Bass, Mark Schnaible sang with such caliber that one understood why he, as the Turk, considers himself irresistible. Here is the future of singing on the stage, with the possibility to discover all and the discovery of all things.

- Mittelloge.de

JUDAS MACCABEUS

Schnaible's voice was like a clarion. He delivered his lines with dramatic intensity and feeling, sometimes caressing the words and other times disclaiming.

Schnectady The Daily Gazette - Geraldine Freedman

LE NOZZE DI FIGARO - Count Almaviva

Mark Schnaible ( in a welcome return after his 2008 performance in the revelatory production of Das Liebesverbot ) is a commanding presence as Count Almaviva.

- ConcertoNet.com - Michael Johnson

LE NOZZE DI FIGARO - Count Almaviva

Mark Schnaible was a ruthless, conniving Almaviva.

- The New York Times - Steve Smith

LE NOZZE DI FIGARO - Count Almaviva

Mark Schnaible's Count Almaviva proved the singular most impressive effort of the performance. Even in his Gatsby-style attire, Schnaible projects the noble demeanor of a timeless aristocrat whose authority is made all the more convincing through the deep pedal tones of his commanding Bass-baritone.

LE NOZZE DI FIGARO - Count Almaviva

For the Count's role to succeed, the actor must gain the audience's confidence as a dignified figure while at the same time allowing them to be amused at this less-than-dignified intentions towards Susanna. Schnaible seemed to have found the right balance: He plays his Count not as a well-to-do buffoon, like Dr. Bartolo in The Barber of Seville, but as a frustrated autocrat accustomed to having things his own way, yet clearly unable to, well, close the deal. Schnaible was strong in voice during his lengthy aria of rage, Vedro menr'io sospiro - sung after he realizes he's been duped by Figaro and Susanna. It was Schnaible's ensembles numbers however that impressed me the most, such as in his charming duet with Susanna ( Crudel! Perche finora ), where he believes she will at last succumb to his advances, and during the attractive second act trios with the Countess and Susanna. When in the end Schnaible turns to the Countess and begs her forgiveness, it's not empty words we hear but a sincere expression of a man who is truly remorseful.

- MusicalCriticism.com - David Abrams

LE NOZZE DI FIGARO - Count Almaviva

Mark Schnaible ( so effective as Frederick in the 2008 " Das Liebesverbot" by Wagner ) successfully walked the fine line between jealous and careless cruelty and genuine, appealing caring. His big third act aria, an expression of frustration, bewilderment, and anger was very well sung, but because he was sitting down, it seemed more like rumination than roiling resentment.

- Ithaca Times - Jane Dieckman

LE NOZZE DI FIGARO - Count Almaviva

Mark Schnaible's virile, power-drunk and energetically sung Count.

- Opera News - Joanne Sydney Lessner

LE NOZZE DI FIGARO - Figaro

With his strong, dark and warm timbered Bassbaritone voice, he sang a secure Mozart styled performance. He played all facets of the role from cunning and calculated servant to a loving bridegroom with enjoyment and full of temperament. This Figaro would be a welcome and an honor on any stage.

- Das Opernglas

LE NOZZE DI FIGARO - Figaro

The tension of the evening was stirred by the exciting Mark Schnaible vocally and dramatically and ideal Figaro with international comparison.

- Lübecker Nachtrichten

LES CONTES D'HOFFMANN - Four Villians

In the center of the clear and concentrated personal staging was the four villains; Lindorf, Coppelius, Dr. Miracle and Dapertutto that Mark Schnaible sang with full and beautifully colored voice

- Das Opernglas

LES CONTES D'HOFFMANN - Four Villians

The winner of the evening was Mark Schnaible. He shined in the four roles which symbolize the principle of evil. From beginning to end, he sang with flawless voice. Theater Lübeck possesses a jewel of extra class.

- Lübecker Markt

ROMEO ET JULIETTE - Capulet

Mark Schnaible and Raymond Aceto each brought strong, bold voices to, respectively, Capulet and Frere Laurent.

- NOLA.com - Ted Mahne

THE RAKE'S PROGRESS - Nick Shadow

Mark Schnaible brought a commanding but beguiling presence to Nick Shadow. Schnaible’s resonant, well-defined baritone accurately negotiated the score’s tonal leaps and rhythmic intricacies with seeming ease as his character enticed the naïve Rakewell with fame and fortune. His repressed fury exploded when the Rake bested him at cards, raining down chilling invective that doomed the eponymous character with insanity.

- Opera News - Robert Coleman

THE RAKE'S PROGRESS - Nick Shadow

Casting Schnaible as Nick Shadow was a great move – his acting and mannerisms combined with a rich bass-baritone voice added great dimension to the character.

- Utah Review - Sara Neal

THE RAKE'S PROGRESS - Nick Shadow

Mark Schnaible sang a diabolically understated Nick Shadow to great sly effect. Having heard his title role in “Bluebeard’s Castle” with the Utah Symphony, he has carved himself a niche on the evil baritone market with his deep, dark tessitura

- Reichel Recommends - Geral Elias

SALOME - Jochanaan

All the vocals were stunning....Mark Schnaible's rich resonance as the prophetic Jochanaan ( John the Baptist ). As an extra enticement, all the lead roles were played by world-class performers with Iowa roots. Schnaible, a Sioux City native, thundered through his role with equal parts stoicism and possession as he spewed religious prophecy.

- Cedar Rapids Gazette - Diana Nollen

SWEENEY TODD - Todd

The night's most complete performance came from Mark Schnaible ( Todd ) and Dorothy Byrne ( Mrs. Lovett ). While their cold duets about cooking people in pies were playful, Schnaible and Byrne deserve the most credit for embreacing the mood of the production. Taking their cues from Schamberger's "virtual theater" set designs, the two transformed their monsters into sympathetic characters. Take Schnaible's performance, instead of just having Todd focus on the blood of his first victim by simply cleaning his razor, he soon turned to the audience and appeared to beg for complicity as red oozed over the entirety of a scrim. Visually, it was immediately apparent that our antihero was not spilling blood alone. We were taking part, and we were supposed to feel ( a little bit ) bad at having laughed so hard about people-eating jokes just mentioned before.

- Shreveport Times

THE CREATION - Soloist

Bass-baritone Mark Schnaible, with his flexible, expressive voice, and tenor Brian Stucki, with a fresh, youthful sound also had strong outings.

- The Salt Lake City Tribune - Catherine Reese Newton

THE DEATH IN VENICE - Seven Antagonists

Mark Schnaible was unbelievably capable of alternation and comically surpassing as the seven antagonists. He used his flexible voice and displayed a supple transition into his falsetto.

- Opernwelt

THE DEATH IN VENICE - Seven Antagonists

Mark Schnaible was brilliant and convincing in his transformation capabilities. Whether as the old Dandy or as the Hotel Barber - Schnaible grounded this production and proved to dominate the evening.

- Das Orchester

THE DEATH IN VENICE - Seven Antagonists

Mark Schnaible's palate of emotion is well known. The Bass-baritone has an almost unbelieveable stage presence. He acted seven roles as the adversary to Aschenbach; he was the leader of the players, the venetian shadow to death. Schnaible's performance was excellent! Vocally, he was convincing from a full deep lower register to a clear upper register.

- Lübecker Nachtrichten

XERXES - Ariodate

Supporting the whole pyramid of Handelian voices was the resonant Bass of Mark Schnaible as the dopey general Ariodate; it was good to hear this role sung by a low voice in its prime.

- Opera Today - Sue Loder