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The Marriage of Figaro (Portugal) 
On Site Opera

“Appropriately, these two roles boasted On Site’s strongest casting. Tenor David Blalock made a powerful case for the Count’s vigorously florid vocal writing and projected the disturbing sense of fratty entitlement of a grown-up Patrick Bateman.”

     - James Jorden, New York Observer


“The wonderful cast includes the charismatic tenor David Blalock as the count…”

     - Anthony Tommasini, The New York Times


“But the evening was dominated by its master, tenor David Blalock as a swaggeringly confident yet faintly ridiculous Count. Blalock, who also sang the Count in On Site's Barbiere, handled the score's most florid part with commanding charisma if crumbling self-possession.

     - Christopher Corwin,



The Flying Dutchman
Virginia Opera

"[...] tenor David Blalock sang the Steersman with a voice that sounded as if it were ready for bigger assignments.”

     - Paul Sayegh, Virginian-Pilot



The Barber of Seville
On Site Opera

"David Blalock's unflappable Almaviva was another charmer; his dark tenor negotiating his music stylishly."

     - David Shengold, Opera News


"Count Almaviva (the appealing lyric tenor David Blalock) serenaded the smitten Rosina."

     - Anthony Tommasini, The New York Times


“The Count of David Blalock exuded youthful impetuosity, his tenor bright and engaging. His beautiful strophic serenade to Rosina, “Saper bramate” (the tune of which she picks up at the window), was meltingly sung.”

     - Robert Levine, Bach Track



Silent Night
Atlanta Opera

"Blalock's heroic tenor voice as he and Ava surrender to French troops creates the performances best, most heart-rendering scene."

     - Andrew Alexander, Atlanta Journal-Constitution



Sweeney Todd
Virginia Opera

“As his lackey Tobias, David Blalock gave the role a wide-eyed naiveté performing a particularly sweet rendition of "Not While I'm Around."    

     - Benjamin Tomchik, Broadway World



Glory Denied
Fort Worth Opera

“David Blalock played the imprisoned Young Thompson who wore the tattered striped uniform of a POW. In Mr. Blalock’s most poignant scene he repeatedly sang, “I must hold the pen” as the Vietnamese guard forced Young Thompson to sign propaganda statements. We never saw the imaginary brutes who beat him but we felt each blow of the bamboo sticks as Thompson cried out in anguish. To play off of other actors and singers well is one thing, but Blalock’s ability to see, imagine, and play off unseen beings was simply incredible. This imaginary aspect helped the audience to understand to an even deeper level how the prisoners had to deal with the thoughts bashing around in their heads.” 

     - Laurie Lynn Lindemeier, Pegasus News


“Young tenor David Blalock has a firm and focused sound. He depicted Young Jim with the dramatic strength needed for endured physical torment and the vocal sweetness necessary for the development of Young Jim’s spiritual journey during the ordeal. Blalock seemed to have a clear grasp of the space as he negotiated his instrument in a smart and efficient manner.”

     - Press Desk, Opera Pulse


“Tenor David Blalock is appealingly brash and defiant in the face of the unspeakable.”

     - Joshua Rosenblum, Opera News

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