© 2013 by Edward Mout

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David in Die Meistersinger von Nürnberg, Fulham Opera 2019:

...Edward Mout's sharply observed and sweetly sung David... - Opera Magazine

...David (an energetic Edward Mout)... -The Stage

...Edward Mout as an ingratiating David...he is marvelous as Mastersingers' apprentice-in-chief, while the David/Lene double-act is attractive and mercifully un-camped-up. - Classical Source

Edward Mout bustled about eagerly as David. The character can sometimes be a monotonous whiner as he recounts the rules in Act I, Mout was too engaging for that. - Seen and Heard Internationall

The American tenor Edward Mout made a charming and mellifluous David, successfully bringing of the costume of t-shirt, shorts and wellington boots with great charm. He was engaging and vivid as the young apprentice, developing a lively relationship with Watson's Sachs, and with the engaging Magdalene of Sarah Denbee. Mout and Denbee successfully brought of the rather heavy-handed banter which Wagner gives them... - Planet Hugill

Sir Andrew Aguecheek in Was ihr wollt (Twelfth Night), Staatsoper Hannover 2018:

Stefan Adam(Toby Belch) und Edward Mout (Andrew Aguecheek) zeichnen ihre Provinzfürsten als schön überdeutliche Karikaturen. (Stefan Adam (Toby Belch) and Edward Mout (Andrew Aguecheek) display their provincial noblemen as wonderfully clear caricatures.) - Hannover Allgemeine Zeitung

Mr Keen/Peter/et. al. in Die Englische Katze, Staatsoper Hannover 2016:

...der agile, klarstimmige Edward Mout...

(the agile, clear-voiced Edward Mout) - Der Opernfreund

Spoletta in Tosca, Staatsoper Hannover 2016:

Edward Mouts Spoletta lässt wahrlich aufhorchen, mit so viel Verve stürzt sich der Amerikaner in die Rolle von Scarpias Handlanger.

(Edward Mout's Spoletta really makes you listen, the American plunges  with verve into the role of Scarpia's right-hand man.) - Der Opernfreund

Maestro di Ballo/Lamponaio in Manon Lescaut, Staatsoper Hannover 2016:

Mit klarstimmigem, lupenreinem Tenor war der vielseitig einsetzbare Edward Mout eitler Tanzmeister und Lampenanzünder, letzterer ein humpelnder Kriegsveteran.

(With a clear-voiced and flawless Tenor, the versatile Edward Mout was a vain Dancing Master and Lamplighter.) - Der Opernfreund

Skuratov in From the House of the Dead, Staatstheater Nürnberg 2016:

. . .Edward Mouts Skuratov. . .sorgten für bewegende Schmerzensmann-Darstellungen fern jeglicher Gefühligkeit.

(Edward Mout as Skuratov created a moving representation of a man in pain without sentimentality.) - Frankfurter Allgemeine Zeitung

Schäbige (Seedy Lout) in Lady Macbeth of Mzensk, Deutsche Oper Berlin 2015:

In die Rolle des von Neid und Schadenfreude zerfressenen Schäbigen, der auf der Suche nach Wodka die Leiche des Sinowij im Keller der Ismailows entdeckt, schlüpft der formidable Edward Mout (Ensemblemitglied an der Staatsoper Hannover) mit großem Erfolg nach der krankheitsbedingten Absage von Burkhard Ulrich.

(In the role chipping of envy and schadenfreude Seedy Lout, who discovers in search of vodka the body of Sinowij in the basement of the Ismailows, slips the formidable Edward Mout (ensemble member at the Staatsoper Hannover) with great success for the illness-related cancellation of Burkhard Ulrich)- Neue Merker

Eindrücklich auch ... der Schäbige von Edward Mout.(Impressive also ... the Seedy Lout Edward Mout)- Oper Aktuell

Bob Boles in Peter Grimes, Opéra de Nice 2015:

Among the well cast smaller roles. . . tenor Edward Mout was especially effective as Bob Boles - Opera Today

Schäbige (Seedy Lout) in Lady Macbeth of Mzensk, Staatsoper Hannover 2012:

"klarstimmig Edward Mout"

(clear-voiced Edward Mout) – der Opern Freund

 

"Immer wieder taucht der von Edward Mout schillernd verkörperte Mann auf. . ."

(Again and again appeared the [Seedy Lout] dazzlingly embodied by Edward Mout) - Hannover Allgemeine Zeitung

 

Edward Mout ersingt sich als Schäbiger mit herzzerreißend innigen, wunderschön klingenden Passagen besondere Aufmerksamkeit.

(Edward Mout’s singing as [Seedy Lout] with heartbreakingly intimate, beautifully sounding passages commands attention.) – Online Musik Magazin

 

Edvard(sic) Mout mit aufhorchen lassendem Charaktertenor als Schäbiger

(Edward Mout with attention-commanding character tenor as [Seedy Lout]) – Opernnetz

Vater Mignon in Die Teufel von Loudun, Staatsoper Hannover 2012:

. . .Edward Mout als Beichtvater Mignon, . . . zeichnen überzeugende Porträts ihrer Rollen;

(. . . Edward Mout as Confessor Mignon, . . .draw compelling portraits of their roles;) – Opernnetz

 

 

Holy Fool in Boris Godunov, Lyric Opera Chicago 2011:

I was very moved by the holy fool (Edward Mout), especially the scene in which the Chicago Children’s Choir taunted him. – Chicago Splash

 

The Fool, as always, is the wise man sung with beguiling poetry and sincerity by Edward Mout. He cries for his beloved country and retrospectively we realize that his plaint will be echoed over and over again in Russia, even to today. – Concertonet.com

 

There were sturdy contributions as well from . . . Edward Mout as the Holy Fool, who got to lug around a symbolic, four-foot replica of an onion-domed Kremlin tower. The tenor, a Ryan Center alum, brought poignancy to the simpleton's lament for the afflictions of Mother Russia. – Chicago Tribune

 

Edward Mout projected the right febrile, whiny voice as the Simpleton. – Chicago Classical Review

 

Other soloists — including . . . Edward Mout (a haunting Holy Fool) . . . — were equally convincing. – Chicago Sun-Times

 

. . .American tenor (and Ryan Opera Center alum) Edward Mout in a chilling characterization of the Holy Fool. . . – Chicago Stage Review

 

And Edward Mout’s Holy Fool is haunting. – Chicagocritic.com

 

The onstage role of the Holy Fool (sung plaintively by tenor Edward Mout) is expanded to good effect. – Chicago on the Aisle

 

. . . tenor Edward Mout is haunting as the Simpleton. . . – Chicago Reader

 

Tenor Edward Mout was excellent as a sensitively rendered, mellifluously vocalized Fool.  – Opera News

 

 

Tanzmeister in Ariadne auf Naxos, Lyric Opera Chicago 2011:

. . .tenor Edward Mout’s Dancing Master . . . stood out among the many character roles. – Chicago Sun-Times

 

. . . Edward Mout a graceful Dancing Master. – Chicago Classical Review

 

. . . Edward Mout lofted an easy high B flat as the Dancing Master. – Chicago Tribune

 

Standouts among the large ensemble in the Prologue . . . Edward Mout's effete Dancing Master. . . – Opera News

 

 

Tobias Ragg in Sweeney Todd, Wolf Trap Opera 2011:

In the small but key role of young Toby, Edward Mout got to sing one of the better songs of the show, “Not While I’m Around,” and made the most of it with an amazingly affecting performance.  – Washington Times

 

Edward Mout’s Toby was even stronger; he gave a beautifully unfussy account of “Not While I’m Around,” . . . – Washington Post

 

Four Servants in Tales of Hoffmann, Wolf Trap Opera 2011:

There were several caprimarios [sic] who deserve mention. Edward Mout, as Frantz, commanded attention, both vocally and physically. This is quite extraordinary, as Frantz doesn’t seem to have a purpose outside of comic relief. – Operatoday.com

 

Palm Beach Opera Competition, 2010:

Edward Mout, 30, a tenor from San Diego, sang Ah! mes amis, quell jour de fête from Donizetti’s La Fille du Régiment. Mout has a well-placed voice, which he uses with notable assurance. The tenor bravely tossed off numerous consecutive high C’s, each one right on the money. (Wow!). – Palm Beach Daily News

 

. . . the San Diego, Calif., singer sang out with youthful, unforced vigor (and he added a couple [high C’s] at the end, too). Mout, 30, who won fourth prize in the advanced division, has a good top register, a fine sense of phrasing and a forthright way of putting a song across. – Palm Beach Arts Paper

 

Another standout in the advanced division was Edward Mout (fourth prize), a budding bel canto tenor who dispatched the six high C’s in the aria from Donizetti’s Daughter of the Regiment with exciting bravura and dead center accuracy. – South Florida Classical Review

Hirt in Tristan und Isolde, Lyric Opera Chicago 2008:

Tenor Edward Mout’s mellifluously youthful timbre was a delight as the Shepherd. – Concertonet.com

 

The principals were ably supported . . . particularly by Edward Mout, whose crisp, freshly-pealing timbre as the Shepherd was like a splash of cool water amid the aching desolation of the final act. – Opera News