Count Almaviva, 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,

Steurmann, 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 Marriage of Figaro, On Site Opera, 2016

Count Almaviva, Il barbiere di Siviglia (Paisiello) - 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

Il barbiere di Siviglia, On Site Opera, 2015

Nikolaus Sprink, 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

Toby, 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

Silent Night, Lyric Opera of Kansas City, 2015

La Bohème, Greenville Lyric Opera Works

Don Ottavio, Don Giovanni - North Carolina Opera


“Tenor David Blalock brought a pleasing tone and firm voice to the role, delivering an excellent “Il mio tesoro” in Act II and summoning more near-machismo there than is usual in performances. “

     - William Thomas Walker, Classical Voice of North Carolina


“The ardent, euphonious singing of North Carolina-born tenor David Blalock made the omission of Don Ottavio's sublime aria 'Dalla sua pace la mia dipende,' composed for renowned tenor Francesco Morella for the 1788 Viennese première of Don Giovanni, particularly regrettable despite its textual legitimacy. A handsome man whose face can convey a broad spectrum of emotions, Mr. Blalock made Ottavio a man of action who viewed Giovanni as a dangerous rival. In the Act One scene and duet with Donna Anna, his voice rang out confidently in the almost Verdian pledges of vengeance that crown 'Che giuramento, oh terror!’ Then, in the masqueraders' trio in the Act One finale, 'Protegga il giusto cielo,' he lovingly blended his voice with those of Anna and Elvria. In Act Two, many tenors are grateful merely to survive the aria 'Il mio tesoro intanto,' its punishing tessitura centered in the passaggio and repeated Fs at the top of the staff stretching their techniques to the breaking point, but Mr. Blalock excelled: phrasing with elegance, he was an Ottavio in whom poetry and heroism were combined in equal measure.”

     - Joseph Newsome, Voix des Arts


"David Blalock breathes life into the often-inert Don Ottavio"

     - Roy C. Dicks, The News & Observer

Don Giovanni, North Carolina Opera, 2015


Young Thompson, Glory Denied - Ft. 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

Nemorino, Piedmont Opera, 2019