Rossini LA CENERENTOLA / Théâtre des Champs-Élysées 

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"Edward Nelson as Dandini… his voice projects superlative depth in the intensity of its broad warmth, which he knows how to deploy and nourish, while also transforming it into a launching pad towards vigorous lyrical high notes. His singing remains sonorous and rich to the ends of the role’s extended, technical vocal passages."

Charles Arden, Ôlyrix (October 2023)

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"… the baritone Edward Nelson boasts a seductive timbre and beautiful stage presence…"

Christian Merlin, Le Figaro (October 2023)

"… the baritone Edward Nelson glides with casual ease in the role of [Ramiro’s] valet Dandini (who passes himself off as his master in order to test the hearts of the step-sisters)."

Philippe Venturini, Les Echos (October 2023)

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"As Dandini, Edward Nelson draws a galvanizing line with fine brush, at once distanced and imperiously lyrical. His mix of serious flamboyance and chivalry makes his disguise as the royal heir all the more plausible."

Thibault Vicq, Opera Online (October 2023)

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"We also like Edward Nelson’s Dandini, with his flawless technique across the entire range, not to mention his easy projection… the role seems to fit him like a glove."

Florent Coudeyrat, ClassiqueNews.com (October 2023)

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"Edward Nelson, false prince and true valet, is a very mischievous Dandini. This baritone has a voice that is certainly broad, powerful and deep, but which he masters like a goldsmith to create an expressive richness of the most beautiful water.”

Denis Sanglard, Un Fauteuil pour l’Orchestre (October 2023)

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“… Edward Nelson displays a luminous elegance and a clear, elegant timbre."

Hélène Kuttner, artistik/rezo (October 2023)

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"Fortunately, it is the young American baritone Edward Nelson, who, as the extremely convincing Dandini, exchanges his valet’s uniform for that of his prince in the first two-thirds of the opera. He is vocally and dramatically excellent in the false role of the aristocrat." 

IOCO Kultur im Netz (October 2023)

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Philip Glass ORPHÉE / Teatro Real, Madrid 

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"We must praise, without reservation, the Orphée of baritone Edward Nelson, evoking, without undermining, Jean Marais, an authentic archetype of Cocteau’s vision, and he sings with quality and commitment."

Jorge Fernández Guerra, El País (September 2022) 

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 "Edward Nelson created an Orphée that reminded me of his Pelléas, which I saw in Seville last March under the sublime baton of Michel Plasson… homogenous and balanced in register, in addition to his always-musical recitation and remarkable onstage delivery."  

Raúl Chamorro Mena, Codalario (September 2022) 

"Edward Nelson, as Orphée, finds the fire and the madness necessary to embody both the vocality desired by Glass and [Rafael] Villalobos’ production."

Yannick Boussaert, Forum Opera (September 2022) 

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"The Orphée of baritone Edward Nelson is savoured in its Pelléas-like prosody, in declamatory wrinkles and rustles of absolute clarity. Nothing is abrupt, each phrase is supported. The deep core of his interpretation consists of a sunny relief that affirms a foolproof adaptability."

Thibault Vicq, Opera Online (September 2022) 

"The protagonist, Edward Nelson, with an imposing figure, was a remarkable Orphée."

Enrique Bert, Platea Magazine (September 2022) 

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"The young Edward Nelson, with a well-pitched lyrical baritone voice, elegantly and expressively brought his Orphée to life."

José Maria Marco, Ópera Actual (September 2022) 

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R. Strauss DIE SCHWEIGSAME FRAU / Bard Summerscape

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"Director and set designer Christian Räth infuses the production with a welcome undercurrent of danger, lent in part by the dominating character of the Barber, played by Edward Nelson. As a first-class baritone with excellent German projection, he focuses the action around him with a physical vocabulary that extends the characterization beyond what Strauss and Zweig created. Nelson moves with the flexibility of a trained dancer, and early on morphs from oily charm to demonic intensity."

David Patrick Stearns, Musical America (July 2022)

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"Edward Nelson, sounding handsome and polished, turns the Barber into an unusually compelling factotum.”
Oussama Zahr, New York Times (July 2022)

“Edward Nelson as the Barber is a new member in the long line of bright, lithe American baritones who are as comfortable acting as they are singing."

Robert Levine, Bachtrack (July 2022)

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"This opera’s Barber combines attributes of Figaro, Malatesta and Dr. Falke; Räth’s metatheatrical production added on an old-fashioned Mephistophélès costume for the first finale, in which the Barber, otherwise clad in form-fitting lamé creations worth of Erté, rallies the traveling troupe to prepare for the masquerade. The high baritone part demands much parlando as well as a Lieder singer’s ease in putting words across. Nimble Edward Nelson offered a terrific performance, linguistically and vocally assured and stylish."

David Shengold, Opera News (July 2022)

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Rossini IL BARBIERE DI SIVIGLIA / Norwegian National Opera 

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"Edward Nelson sings absolutely impeccably and has a mastery of the style at his fingertips.”

Hilde Halvorsrød, Scenekunst (April/May 2022)

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"In such a visual performance, it was a real pleasure to note that the ensemble also delivered the goods vocally across the board. Most importantly, the demanding leading roles were filled with singers who have mastered the Rossini style… [Alisdair] Kent was well-flanked by American baritone Edward Nelson as Figaro, a bright and elegant baritone."

Eystein Sandvik, NRK (April/May 2022)

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Debussy PELLÉAS ET MÉLISANDE / Teatro de la Maestranza

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"Musically and dramatically, once could not have asked for a more balanced trio of leads, with Edward Nelson as Pelléas, at the forefront. The young baritone, already experienced in the role, displayed his close affinity for French music with impeccable diction. Sung in a baryton-martin that surely would have pleased Debussy, his passionate high notes streamed out from deep within."
Victoria Stapells, Opera Magazine (March 2022)

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“The cast, as if magnetized by the level of the production, appeared in a state of grace. Beginning with Edward Nelson, a romantic voice with fervent projection, formidable phrasing and beautiful, classic timbre, dispatched his scenes with tremendous acting mastery.”

Ismael G. Cabral, Ópera Actual (March 2022)

“Of the protagonists that give the work its title, I would highlight the work of the North American baritone Edward Nelson, who managed to create a Pelléas in love, innocent, but very intense. He had his best dramatic and vocal moment in the Tower Scene with Mélisande, in which she gave her best. His voice, with its pleasant timbre, had no problems with the role’s range. I would highlight his courage in the high register, where he was especially successful.”

Javier del Olivo, Platea Magazine (March 2022)

“[Edward] Nelson was an ideal Pelléas for his intensity and clarity of phrasing, his dynamic regulation, and his poetic accentuation.”

Arturo Reverter, La Razón (March 2022)

“Edward Nelson, possessing a timbre capable of climbing the difficult heights without problem, is a youthful and impulsive Pelléas, in love and innocent. He was fabulous in the Tower Scene, wrapping his voice under the veil that symbolized his beloved’s hair.”

Javier Extremera, Ritmo (March 2022)

“… the color of [Edward] Nelson’s voice is beautiful, a baryton-martin capable of bending his powerful voice to achieve extremely delicate phrasing.”

Andrés Moreno Mengíbar, Diario de Sevilla (March 2022)

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