Press

Download Reviews in .DOC format

Other Reviews Listed Chronologically

Breault believes that acting should inspire singing. "The clue to every single scene is the music. That's something that we all as singers need to remind ourselves. I had a tabula rasa in terms of ornamentation. I didn't come in with any of them pre-written; I wanted them to be written because of what was devised onstage. [Conductor] ANTONY WALKER was great about that. The ornaments I'm doing almost every night are a little bit different, and based on the staging."

A native of Marinette, Wisconsin, Breault sang in the Met Auditions when he was twenty-one. "I came in singing the Prize Song," he remembers, "and I changed it to 'Una furtiva lagrima,' and everyone was laughing, and I had no clue why. One judge was LORNA HAYWOOD, who ended up being my mentor at the University of Michigan. Now I'm married to her sister. Instead of going out and having to live in New York and doing temp jobs and the things that singers do when they're in their twenties, I started teaching. I continued to learn. Now I'm behind, in the sense of what I'm doing in New York. A lot of people are like, 'Who the hell is this guy? What's he doing here?'"

Since 1992, Breault has taught on the voice faculty at the University of Utah. (His students include CELENA SHAFER.) "I find that I can almost predict where they're going to end up by the amount of curiosity they have," he says. "They think if they have a great voice, they're going to have a great career. But I'm very excited with these iPods. It's made it possible for students to sort of own records again. They can find a GEORGES THILL recording and pull it offline and share it with everybody. I'm trying to use this new technology to inspire them to be more curious than their predecessors perhaps have been."

“The singers perform everything asked of them with good nature, and musical standards are high under conductor Antony Walker’s alert baton. Robert Breault (Jupiter)… never less than (an) elegant stylist.”

New York Magazine (Davis) October 2, 2006
New York City Opera, Semele, Handel

“This kind of singing - along with Genaux's nifty double-act as Juno and Semele's sister Ino, and Robert Breault's keenly focused tenor as the presidential Jupiter - made what could have been "Handel for Dummies" emerge as devilishly clever and disgracefully successful.”

New York Post (Barnes) September 14, 2006
New York City Opera, Semele, Handel

“Portraying Jupiter and Apollo, Robert Breault managed to be sly, heroic and vulnerable, as needed.”

The Financial Times (Bernheimer) September 14, 2006
New York City Opera, Semele, Handel

“Tenor Robert Breault ranged well across Jupiter's ardent and anguished moods, a touch of distinguished gray in his hair.”

The Newark Star-Ledger (Bambarger) September 15, 2006
New York City Opera, Semele, Handel

“Tenor Robert Breault was Tosca’s equal in every way, singing an insouciant, fiery, demanding, and very romantic Cavaradossi. His early aria about his love for Tosca, “Recondita armonia” was elegant as well as fervent. And his duet with her that followed “Qual’occhio al mondo?” was passionately phrased. Mr. Breault’s Mario also understood Tosca’s weaknesses, the tenor calmly reasurring her “Mia Tosca, idolatrata,”, then warning her against Scarpia “Taci!”, yet stinging in accusation “Tosca, hai parlato?”. Nor is this Mario easily defeated by Scarpia and his henchmen, Breault boldly facing them with an incisive, “Vi sfido” and then pealing out a fanatical “Vittoria! Vittoria!” when informed Napoleon’s forces have won, delivered with such ringing intensity and glorious tone, there were gasps from the audience.
But Breault was just as vocally profligate in his Act Three, rendering “E lucevan le stelle, And where the stars once shone...” with deeply affecting melancholy as he struggled to write his last letter to Tosca. The artist was awarded with prolonged applause.
Breault is also a fine actor, rushing into Tosca’s arms when she has come to free him, his body as animated with joy as his voice for their concluding duet was death bitter “ Amaro sol per te m’era il morire”. He was equally riveting when nervously standing before the “mock” firing squad, his body then spasmodically jerking from the bullets, and falling into a bloody heap at Tosca’s feet. And thus her run to the parapet and jumping off with the fierce cry, “O Scarpia, avanti a Dio!” seemed as inevitable as Puccini had wished.”

San Francisco Classical Voice (Keolker) July 8, 2006
Festival Opera, Tosca, Verdi

Robert Breault gave dynamic breath to the piece, especially in the aria “If with all your hearts ye seek me.”

Jacksonville Times-Union (Dryden), November 18, 2006
Jacksonville Symphony, Elijah, Mendelssohn

“OPERA MVP—Tenor Robert Breault, director of opera studies at the University of Utah, sang the role of Don Jose in the Orchestra and Chorus of Sandy City’s concert version of Carmen as a warm-up for performances elsewhere. Breault’s riveting performance made everyone around him sing and play better.”

Salt Lake Tribune (2005-The Year in Arts), December 25, 2005
Sandy City Orchestra, Carmen, Bizet

“Tenor Robert Breault had a communicative manner…”

Philadelphia Inquirer (Stearns), December 13, 2005
Philadelphia Orchestra, Messiah, Handel

“A characterful singer, tenor Robert Breault had a nice ring….One of the finest sets of soloists I’ve heard over the years…each of the soloists arose to play a role….each was immersed in the story as he or she stepped forward. Recitatives were wonderfully speechlike in rhythm and diction.”

Ann Arbor News (Nisbett), December 5, 2005
University Choral Society and the Ann Arbor Symphony, Messiah, Handel

“A rich sounding tenor with a brilliant high C”

Fort Worth Weekly (Eureka), November 23, 2005
Fort Worth Opera, La Traviata, Verdi

“The Alfredo of Robert Breault was sung with pleasant timber, agility and self assurance”

Dallas Morning News (Chism), November 13, 2005
Fort Worth Opera, La Traviata, Verdi

“Tenor Robert Breault as Violetta’s beloved Alfredo held his own particularly in the second ballroom scene; his voice was powerful at the right moments.”

Fort Worth Star-Telegram (Gay), November 12, 2005
Forth Worth Opera, La Traviata, Verdi

“Breault displayed a powerful voice”

The Arizona Republic (Drobatschewsky), October 9, 2005
Arizona Opera, Carmen, Bizet

“One of the great songs for a tenor is his intense lament upon the tomb of his ancestors, and Breault does not disappoint.”

The Chautauquan Daily (Bannon), August 8, 2005
Chautauqua Opera, Lucia di Lammermoor, Donizetti

“Tenor Robert Breault did win the audience’s hearts as a heroic Edgar”

The Post Journal (Plyler) August 5, 2005
Chautauqua Opera, Lucia di Lammermoor, Donizetti

“The concert boasted a wonderful cast, led by tenor Robert Breault as Don Jose. He gave a stunning performance, capturing his character's anguish and descent into desperation caused by Carmen's fickleness, and which, ultimately, leads to her death at his hands. In his Act II "Flower Song" and in the duets with Carmen and Micaela, Breault showed his vocal and acting talents to the fullest. Breault isn't heard locally as often as could be wished. He is a consummate artist who brings a vibrancy and strength to his performances that is all too often missing with today's singers. Even though this was a concert performance, Breault nevertheless fleshed out his character and made him three dimensional.”

Deseret Morning News (Reichel), May 25, 2005
Sandy City Orchestra, Carmen, Bizet

“Tenor Robert Breault, who portrays Don José, is the obvious headliner. ….his example clearly inspired the other musicians. Besides being spot-on musically, Breault did an amazing job capturing Don José's disintegration with his voice alone while standing in one spot. The final confrontation with Carmen was gripping.”

Salt Lake Tribune (Reese-Newton), May 23, 2005
Sandy City Orchestra, Carmen, Bizet

“Tenor Robert Breault sang Roland with sweet, dapper urgency, most affecting in some soft passages in Act 3 that exuded a poignant mixture of ache and ardor. ….(the cast was) fully at home in the French language, with the ability to caress shades of phonemes as well as to express literal meanings.”

Washington Post (Page) April 11, 2005
Washington Concert Opera, Esclarmonde, Massenet

“Tenors Michael Hendrick as Laca and Robert Breault as Steva are both wonderful. Breault is fabulous as the ne'er-do-well Steva. Breault captures the arrogance and conceit of his character in vivid detail.”

Deseret Morning News (Reichel), January 15, 2005
Utah Opera, Jenůfa, Janácek

“Robert Breault ist mit hellem Tenorstrahl und hoher schauspielerischer Intelligenz als Showman Tom Norman zu bewundern.”

Robert Breault is, with bright tenor “thrust” and high showmanship intelligence as Showman Tom Norman, to be admired.

Opernwelt (Ekkehard Pluta) February 2005
Opera de Nice, Joseph Merrick dit Elephant Man, Petitgirard.
DVD Marco Polo 2.220001

“Elsewhere, there is livelier vocal writing as in Tom Norman’s bravura spiel, zestfully sung by Robert Breault.”

Gramaphone (Michael Scott Rohan) February 2005
Opera de Nice, Joseph Merrick dit Elephant Man, Petitgirard.
DVD Marco Polo 2.220001

“Cette entrée en matière est dominée par le Tom Norman de Robert Breault, excellent comédien dont le personnage gagne à la scène une crédibilité nouvelle. Son face-à-face avec un Treves autoritaire mais parfois troublé (l'impeccable Nicolas Rivenq, autre "rescapé" de l'enregistrement en studio) constitue incontestablement l'un des temps forts de la représentation.”

This introduction is dominated by the Tom Norman of Robert Breault, an excellent actor by which the character wins, in this scene, a new credibility. His face to face with an authoritative but sometimes disturbed Treves (the impeccable Nicolas Rivenq, another “survivor” of the studio recording [CD]) constitutes unquestionably one of the strongest moments of the show.

French Opera Forum (Vincent Deloge) January, 2005
Opera de Nice, Joseph Merrick dit Elephant Man, Petitgirard.
DVD Marco Polo 2.220001

“Robert Breault was an ardent Alfredo who sang with emotional intensity. His spirited rendition of ‘Un di felice’ was particularly affecting.”

Opera Japonica , November 3 2004
New Orleans Opera Association, La Traviata, Verdi

“Breault, as Violetta's lover, Alfredo Germont, is an ideal pairing for Gorra, singing his duets and arias with equal fervor and passion. Their first scene together, in the opening act, is so full of raw, unbridled passion audience members had no trouble believing that the jaded, indifferent Violetta would succumb to his declaration of love. Breault’s facile handling of the powerful “Un di, felice, eterea” aria, in which he confesses his love for her, was a highlight. Moving fluidly through his role, Breault, who played the role of Celestin in 2003’s “Pontalba” premiere, fulfilled the expectations demanded of a Verdian romantic male lead.”

The (New Orleans) Times-Picayune (Shapiro), October 9, 2004
New Orleans Opera Association, La Traviata, Verdi

“The Blossom Festival Chorus was in fresh, almost gleeful voice, and tenor Robert Breault made a ringing thing of his solo duties.”

The Cleveland Plain Dealer (Donald Rosenberg), July 26, 2004
The Cleveland Orchestra, Ninth Symphony, Beethoven

“Three guest artists cast in major roles rose to the challenge Monday night. Tenor Robert Breault portrayed Stiffelio with dramatic conviction, bright tone, ringing high notes and such clear English diction that nearly every word was comprehensible.”

The Cleveland Plain Dealer (Wilma Salisbury), July 15, 2004
Chautauqua Opera, Stiffelio, Verdi

“Ideally, one would want to hear, say, Rosa Ponselle, Carlo Bergonzi and Leonard Warren sing Stiffelio: the kind of Verdian powerhouse virtuosi that do not seem to exist any more. But Chautauqua Opera fields strong contenders in reuniting 2002’s Tosca stars, Brenda Harris, Robert Breault, and Steven Condy. In a role favored by late-career Domingo and Carreras, Breault makes an excellent impression in his seventh local appearance. His mellifluous tenor boasts clarity both of tone and diction: clearly reveling in the high notes, he sings with notable dynamic variety. One would like to hear him essay Verdi’s most elegant tenor role, the hero of Un ballo in maschera.”

The Chautauqua Daily (David Shengold), July 12, 2004
Chautauqua Opera, Stiffelio, Verdi

“As Count Almaviva, Robert Breault, a lyric tenor with an extra measure of velocity behind it, was a comic cutup, disguised as the drunken soldier and as the weaselly music teacher. But, accompanying himself on guitar, his love song, “Se il mio nome” sung to Rosina on the balcony , was gorgeous, whether singing softly or full voice.”

The Grand Rapids Press (Kaczmarczyk), May 8, 2004
Opera Grand Rapids, Il Barbiere di Siviglia, Rossini

“Beginning with his first unaccompanied notes, guest artist Robert Breault made it overwhelmingly clear that he was in command of the role of Jesus. His strong tenor voice was lightly colored with only a modest amount of vibrato, which meant that his German diction was outstanding. Anyone in the audience who spoke even a bit of German could have followed most of the work without a libretto. Even though this was an oratorio, Breault imbued his performance with dramatic gestures. The confrontation between Jesus and the soldiers (played by the Bach Festival Chorus) was virtually an operatic scene.”

Orlando Sentinel (Warfield), March 7, 2004
Florida Bach Festival, Christ on the Mount of Olives, Beethoven

“American tenor Robert Breault was oratorio-perfect - a light, bright sound capable of dramatic interest.”

Classical 96.3 (Citron), November, 2003
Toronto Mendelssohn Choir, Elijah, Mendelssohn

“by the time he arrived at "Che gelida manina," his Rodolfo was riding on a tidal wave of clarion tone that carried him through to the heartbreaking final curtain.”

Opera News (Glasow), November, 2003
Chautauqua Opera, La Bohème, Puccini

“Fine-toned tenor Robert Breault was a welcome surprise, projecting well and powerfully interpreting his roles.”

The Toronto Star (Chapman), November 7, 2003
Toronto Mendelssohn Choir, Elijah, Mendelssohn

“Tenor Robert Breault was clear and capable and made a lovely job of his final aria Then shall the righteous shine forth.”

The Globe and Mail (Winters), November 7, 2003.
Toronto Mendelssohn Choir, Elijah, Mendelssohn

“The cast was strong throughout without relying on international names….Robert Breault worked hard and honorably.”

The New York Times (Holland), October 7, 2003
New Orleans Opera Association, Pontalba, Thea Musgrave (World Premiere)

“Robert Breault acted the role of the indecisive Célestin believably; his voice blended well with Williams’ (Yali Marie) in their duets and rang out clearly in scenes of confrontation.”

The Times-Picayune, New Orleans (Marshall), October 4, 2003
New Orleans Opera Association, Pontalba, Thea Musgrave (World Premiere)

“Tenor Robert Breault, with his lyric timbre and easily produced high notes, was perfectly cast as the poet Rodolfo. This portrayal is more complex and nuanced than usual. Breault at times sings sweetly to express youthful idealism, and later with great intensity to fully convey his deepest emotion. When Mimi and Rodolfo later are at last reunited, they literally sing their hearts out—with impassioned tones—aware of their doomed fate.”

The Chautauqua Daily (Haspel-Habif), July 5, 2003
Chautauqua Opera, La Bohème, Puccini

“Breault was in full, gorgeous voice, his ringing tenor a powerful statement of all he believes.”

The Post-Journal, Jamestown, July 3, 2003
Chautauqua Opera, La Bohème, Puccini

“As Count Almaviva, Robert Breault's supple tenor shows more strength and finesse than many we've recently heard, giving his character the authority it needs to woo the fair Rosina.”

The Capitol Times (Muckian), May 3, 2003
Madison Opera, Il Barbiere di Siviglia, Rossini

“Robert Breault's bright, clear lyric tenor voice made him a Count Almaviva with flair.”

Madison Isthmus (Barker), May 8, 2003
Madison Opera, Il Barbiere di Siviglia, Rossini

“Robert Breault’s Almaviva gave him an opportunity for a lot of comic tenor singing, and he made the most of it”

Wisconsin State Journal (Aehl), May 3, 2003
Madison Opera, Il Barbiere di Siviglia, Rossini

“Robert Breault was a heroic Jesus, his clarion tenor registering with precision and emotional vigor, especially in the long opening recitative and aria.”

San Francisco Chronicle (Kosman), April 7, 2003

“The chorus/family-vocalists Robert Breault….added strong support both vocally and in performance.”

Deseret News (Howard), March 14, 2003
Utah Symphony and Opera, Sieben Todsünden, Weill.

“Breault led the trio of archangels, singing with marvelous diction, and giving the audience occasional tastes of the honey his voice can produce in such passages as “with softer beams, and milder light, steps on the silver moon through silent night”.”

Salt Lake Tribune (Baker), March 1, 2003
Temple Square Chorale and Orchestra, Creation, Haydn.

“Tom Norman, qui exploite Merrick comme une attraction foraine, est interprété d’une manière magistrale par le ténor Robert Bréault, surtout présent sur les scènes américaines. Ce chanteur est doté d’une voix extrêmement souple et très à l’aise dans les aigus.” (Tom Norman, who exploited Merrick like a circus attraction, was interpreted in a masterly manner by tenor Robert Breault, principally active on the American scene. This singer is equipped with a extremely flexible voice and is very comfortable in the high register.)

Opera Gazette, Gepubliceerd, December 12, 2002
Opera de Nice, Joseph Merrick dit Elephant Man, Petitgirard.

“Enfin, Robert Breault est Tom Norman, inénarrable bateleur” (Finally Robert Breault is Tom Norman, showman too good to describe)

La Lettre du Musicien Janvier 2003, (Friédérich), November 29, 2002
Opera de Nice, Joseph Merrick dit Elephant Man, Petitgirard.

“Tenor Robert Breault sang with lyric beauty. He “sells the song” with his talent for dramatic expression. A duet between Breault and Allred, “Domine Deus” featuring flutist Jeannine Goeckeritz, delightfully interpreted Bach’s playful rhythms.”

Salt Lake Tribune (Coleman), October 13, 2002
Temple Square Chorale and Orchestra, B Minor Mass, Bach.

“Perhaps the most memorable piece on Friday was guest tenor Robert Breault’s dramatic, and humorous Olim lacus coluram , a lament sung from the perspective of a swan roasting on a fire for the culinary pleasure of the tavern’s denizens.”

Austin Chronicle, (Polgar), October 11, 2002
Conspirare Choir (Austin, TX), Carmina Burana, Orff,

“Breault has a powerful voice and the ability to be at ease on stage. He was a convincing Cavaradossi who enjoyed the complete sympathy of the audience.”

Opera Japonica, (Nockin), July 29, 2002
Chautauqua Opera, Tosca, Puccini.

“The voice of tenor Robert Breault was largely wasted through most of the opera as Macduff, (he) then uncorked a tender, poignant aria upon the murder of his wife and children which was worth the drive to Chautauqua all by itself.”

The Post-Journal (Jamestown, NY), (Plyler), July 18, 2002
Chautauqua Opera, Macbeth, Verdi.

“Robert Breault made a thing of beauty with his only solo moment, “Ah, la paterno mano”.”

The Chautauquan Daily, (Finn), July 22, 2002
Chautauqua Opera, Macbeth, Verdi.

“The Tosca on stage at Norton Hall is as soaked in blood, sweat, and tears as any production we can hope to see. It’s especially affecting and intense because Tosca (Brenda Harris) and her lover, Cavaradossi (Robert Breault), look and behave like ordinary people. She’s jealous, sometimes clumsy and clearly has been “around the block.” He’s unassuming in all but his magnificent voice. …. The singers sang with strength and assurance. …. Breault --Alfredo in last year’s “La Traviata” --is a good actor and also the kind of powerful but lyrical tenor who makes what he does sound effortless. He was especially touching in the last act, when, with exquisitely tapered phrases, he lamented impending death.”

The Buffalo News, (Kunz), July 7, 2002
Chautauqua Opera, Tosca, Puccini.

“Tenor Robert Breault sang clearly and forcefully. He portrayed the role of the rebel artist with ease and assurance, never descending to excessive posturing. His exuberant rendition of Cavaradossi’s “Victorious” outburst soared over the orchestra. Breault effectively captured the embodiment of Cavaradossi’s conflicted emotions as he awaited execution in Act Three. He sang tenderly of his love for Tosca, clinging to her with affection and an almost desperate need for consolation. As the act progressed, his voice and body trembled, embodying his mounting fear.”

The Chautauquan Daily, (Violanti), July 8, 2002
Chautauqua Opera, Tosca, Puccini.

“Robert Breault was especially effective in the lower registers, with a deep chest resonance that easily filled the hall.”

The Post-Journal (Jamestown, NY), (Plyler), July 4, 2002
Chautauqua Opera, Tosca, Puccini.

“Tenor Robert Breault and soprano Jane Giering-De Hann provided strong support with their flavorful Prunier and crystalline Lisette.”

Opera News Online Review (Crook), August 2002
Atlanta Opera, La Rondine, Puccini.

“Robert Breault brought to his role a voice of singular sheen, a bracing intensity, and masterful subtlety in phrasing. A soaring Ingemisco and some ravishing phrases in the Hostias were special rewards.”

Green Bay News Chronicle (Eriksson), May 2002
Dudley Birder Chorale, Requiem, Verdi.

“Robert Breault provided a sweet-colored and mellifluous Don Ottavio”

Orange County Register (Mangan), January 2002
Opera Pacific, Don Giovanni, Mozart.

“Robert Breault’s Don Ottavio treats the character seriously and sings beautifully through challenging musical hurdles.”

Los Angeles Times (Cariaga), January 2002
Opera Pacific, Don Giovanni, Mozart.

“Robert Breault…terrific tenor”

Boston Herald (Medrek), December 2001
Utah Symphony and Mormon Tabernacle Choir, Hodie, Vaughan-Williams.

“As Tom Norman, tenor Robert Breault sings on the edge, capturing the character’s combination off curiosity, respect, and perversity.”

Opera News recording review (Lessner), May 2001
Orchestre Philharmonique de Monte Carlo, Joseph Merrick dit Elephant Man, Petitgirard.

“Robert Breault…an excellent Italian Tenor”

Opera News (Gregson), July 2001
Opera Pacific, Rosenkavalier, Strauss.

“In the ‘Then shall the righteous shine forth’ and the tenor part in general, shining forth was exactly what Robert Breault’s voice did. His clear, ringing tones filled the music with fervor and vividness. But at times—as Elijah slept beneath the juniper tree for instance—he dropped to a whisper that was riveting.”

Orlando Sentinel (Brown), March 4, 2001
Winter Park Bach Festival, Elijah, Mendelssohn.

“Tenor Robert Breault--best known for his operatic roles--was in fine voice both as a soloist and in duet passages with baritone Richard Zeller. The quartet segments, as well, could not have been improved upon”

Record Guide, February 2001
Florida Philharmonic, Requiem, Verdi.

“There was sheer beauty of tone….Robert Breault’s Pavarottiesque timbre….profoundly stirring singing.”

Miami Herald (Roos), February 1, 2001
Florida Philharmonic, Requiem, Verdi.

“The three singers all have expressive, lyrical voices, and they did full justice to this stirring work. Especially notable was Breault’s “Bright portals of the sky”.”

Deseret News (Reichel), November 6, 2001
Utah Symphony-Mormon Tabernacle Choir, Hodie, Vaughan Williams.

“Breault had the lion’s share of the solo work. His voice and emotional inflections underscored every detail and nuance of the notes and words”

Salt Lake Tribune (Manookian), November 5, 2000
Utah Symphony-Mormon Tabernacle Choir, Hodie, Vaughan Williams.

“Tenor Robert Breault is not only a delightful actor; he has awesome control of his incredibly massive and rich vocal prowess.”

Kitchener-Waterloo Record (Johnston), July 31, 2000
Elora Festival (Elora Ontario), Carmina Burana, Orff.

“Breault has extraordinary vocal expertise, and his stunning interpretation made this concert especially important.”

Kitchener-Waterloo Record (Johnston), July 24, 2000
Elora Festival (Elora Ontario), Purcell, Arias.

“The declamations by the four soloists came across with fierce conviction, especially the tenor of Robert Breault.”

The Toronto Star (Chapman), July 16, 2000
Elora Festival (Elora Ontario), Te Deum, Bruckner.

“As her lover, Ruggero, tenor Robert Breault sang with a finely centered voice and strong projection, while also convincingly portraying the excitement and anxiety of a younger man in love…both Clayton and Breault were superb in projecting Puccini's Act 3 music, first of idyllic delight and repose, and later the anguish of their impossible relationship.”

The Buffalo News (Trotter), July 9, 2000
Chautauqua Opera, NY, La Rondine. Puccini.

“…It wasn't just that Breault's voice was phenomenal (which it was), and it wasn't only that he embellished his role, almost with Mr. Bean-like pantomime (which he did); it was that he was just so into the whole thing that he gave off a feeling of there's-nothing-else-in-the-whole-world-that-I'd-be-happier-to-do-right-now-than-this.”

Austin Chronicle (Brenner), June 9, 2000
New Texas Music Works (Austin), Carmina Burana, Orff.

“Tenor Robert Breault as Fenton and soprano Peggy Kriha Dye as Nanetta were perfect as the young lovers. Both have lovely voices, and they were absolutely charming in their duets together.”

Deseret News (Reichel), March 6, 2000.
Utah Opera, Falstaff, Verdi.

“Tenor Robert Breault, had the shortest lasting role, and arguably the most difficult one. It usually takes a surgically altered counter-tenor to manage all those outer space high notes. But Breault just opened up his vocal chords and everybody's spine started to tingle.”

Salt Lake Tribune (Manookian), September 28, 1999.
Utah Symphony, Carmina Burana, Orff.

“His effortless presentation of a clear lyric tenor projects magnificently in Norton Hall. This is a young singer to watch.”

The Chautauquan Daily (Gibbs), July 26,1999.
Chautauqua Opera, Don Pasquale, Donizetti.

“Of the soloists, tenor Robert Breault was the standout. His warmly lyrical voice has that special “ping” that reaches every corner of the hall. Breault personalized his interpretations of the tenor arias with elegant phrasing and tasteful ornamentation, communicating most forcibly the sorrow of the betrayed Christ.”

Salt Lake Tribune (Baker), December 1, 1998
Utah Symphony, Messiah, Handel.

“"Every valley," the first aria in the work, has flattened more than one tenor in its time, but Breault made it sound easy, and while all four soloists ornamented their lines with appropriate turns and trills, he did so with uncommon skill and beauty.”

Madison Isthmus (Anderson), December, 1998
Madison Symphony, Messiah, Handel.

“Breault was responsible for the piece’s most famous number: the tuneful but taxing “Cujus animam”, with its climactic high D-flat. It evidently held no fears for him. Not only did Breault sing with smoothness and ringing tone, but he even turned his voice sweeter when the orchestra briefly fell silent behind him.”

Orlando Sentinel (Brown), February 28, 1998
Winter Park Bach Festival, Stabat Mater, Rossini.

“As Quint, tenor Robert Breault once again covers himself with glory, offering singing even more sharply focused and menacing than in this company’s ‘Prodigal Son’ last year at the Cathedral of the Madeleine. Even the eerie melismas of his blandishments to the boy whose soul he seeks (Miles! Miles! Miles!) are full of clarity and purpose.”

Deseret News (Goodfellow), March 10-11, 1997
Utah Opera, Turn of the Screw, Britten.

“It is good to see tenor Robert Breault return to Utah Opera in the roles of Prologue and Peter Quint. His golden melismas are faintly cascading in my ears three days after seeing the opera. Now that is extraordinary singing. How can someone as dastardly as Quint seem so beguiling?”

Philharmonia Baroque Orchestra, Christ on the Mount of Olives, Beethoven.

“Tenor Robert Breault made an imposing Jesus. The voice is solid, with clear, ringing tone and forceful phrasing…. his interpretation was sound”

Contra Costa Times (Rowe), April 5, 2003
Philharmonia Baroque Orchestra, Christ on the Mount of Olives, Beethoven.

The Event (Anderson), March 13, 1997
Utah Opera, Turn of the Screw, Britten.

“At his every appearance, tenor Robert Breault contributed a relaxed, natural sound that let the music speak clearly and, particularly in the sequence beginning with ‘Thy rebuke hath broken his heart’, affectingly.”

San Francisco Examiner (Pfaff), December 9, 1996
Philharmonia Baroque Orchestra, Messiah, Handel.

“A brilliant trio of tenorial jousting-the original three tenors-sung impressively by Mr. [Gregory] Kunde, Bruce Fowler, and Robert Breault.”

New York Times, April 19, 1996
Opera Orchestra of New York, Armida, Rossini.

“One of the best tenors I’ve ever heard” “Spectacular-a thing of enchanting, tender beauty” “Done with apparent ease and pure joy of singing.”

The State Journal (Springfield, Illinois), March 18, 1996
The Illinois Symphony, "A Night of Opera".

“Of the soloists, tenor Robert Breault fared best in cutting through the acoustics while still maintaining a vocal luminescence and warmth. His solo, Psalm 39 ‘The Measure of My Days’ [from DeMars’ An American Requiem] was movingly sung with a sweet brilliance, ending with an octave float into a heart-stopping pianissimo”.

The Westsider (New York), August 23, 1995
The Mormon Tabernacle Choir, An American Requiem, DeMars.

“Nova’s star performer for the evening, Robert Breault, took center stage singing five English folk-songs settings by Benjamin Britten. From his first breath, Breault had his audience captive. Like a seasoned actor, he brought life to every word and note. His phrasings were fun on one end of the spectrum and extremely tender on the other. He savored each note and syllable and made them delicious.” “Breault embodies the gift to grab your emotional attention. He is full-voiced in all ranges. You wonder from the evenness of tone, from high to low, if he could not sing yet another octave higher or an octave lower than what he serves up. His diction is perfect.”

Salt Lake Tribune (Manookian), “Breault’s Magnificent Tenor Entrances Listeners”, February 2, 1996.

“Breault was simply amazing. His head-tone is a light as a counter tenor’s but can blaze through with terror when necessary. Never showy, always putting the music first, during the aria Je crois entendre encore you couldn’t even hear breathing in the hall, let alone a pin dropping.”

The Record (Kitchener, Ontario), October 1, 1994
Viva Voce (Waterloo, Canada), Les Pêcheurs de Perles, Bizet.

“His voice is of beautiful lyric quality, natural and unforced with floating pianissimos…” “Breault uncompromisingly demands from himself artistic phrasing and dynamic control, as he immerses himself in every nuance, each phrase. His diction is clear, his German and Italian are excellent. His platform personality is pleasing and sincere, without affectation or mannerism, and his youthful enthusiasm added credibility to these romance-saturated songs.”

The Deseret News (Stowe), “Breault, Howard [Leslie] Collaborate in Vibrant, Lyrical Performance,” October 7, 1993.

"The movement which made coming to the concert worthwhile was the Sanctus, an island of wonderful music in a sea of noisy bombast. It was performed movingly by tenor Robert Breault, whose voice reaches counter-tenor delicacy in the upper register. Even the dullness of the choir’s dialogue with the tenor could not break the spell cast by Breault on the hall in a performance that will not soon be forgotten.”

Haaretz (Tel Aviv), January 4, 1993
Mormon Tabernacle Choir and Jerusalem Symphony, Requiem, Berlioz.