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HOT Dream in Honolulu

Opera Today

By James Sohre


"Best of all, singing was of a uniformly high standard throughout. As Lysander, John Bellemer displayed a compact, pliant, gleaming lyric tenor. He was well complemented by Joshua Jeremiah as Demtetrius, whose warmly appealing, burnished baritone was wedded to exceptional diction. Both cut strapping romantic figures. These four lovers triumphed in the great Act Three quartet, their fresh, youthful instruments soaring, aching, and tumbling over each other in heartfelt, overlapping phrases. It proved to be the heart of the show and the unequivocal triumph of the evening."

Review: Persona, an Opera Based on the Ingmar Bergman Film

The New York Times



"Gigliotti as the doctor and Joshua Jeremiah in a number of roles (Alma's fiancé, Elisabet's seemingly blind husband who briefly visits) were excellent."

Des Moines Fanciulla a Minnie-Triumph

Opera Today

by James Sohre


"I thought that Joshua Jeremiah's individualized, slightly grainy baritone was completely winning as a memorable Sonora."


Opera News

By Mark Thomas Ketterson


"There was first-rate work from Joshua Jeremiah as Sonora and Christopher Job as Ashby. Jeremiah traded in his Sonora for a sturdy Stárek."

Review: Exquisite voices make Berks Opera Company's 'Madama Butterfly' soar Saturday Reading Eagle

By Susan L. Pena


"Four exquisite voices, singly and in various combinations, make Berks Opera Company's (formerly Berks Opera Workshop) concert version of Giacomo Puccini's Madama Butterfly soar. Her scenes with the baritone Joshua Jeremiah, who plays the American consul Sharpless with a huge heart to match the sumptuous voice, are very touching."



"Mr. Blier is fond of gender bending and "Winter Wonderland" was given a new slant, performed by Mr. Brancy and Joshua Jeremiah, accompanied by clarinetist Alan Kay. The cosy pair in their winter hats had the audience in stitches, especially when they were pretending the snowman was Parson Brown. There was humor aplenty in the course of the program. Joshua Jeremiah was hilarious in "Candle in My Window", also known as "God Bless the Christmas Jew" by Levitsky and Miller. He has an expansive way of getting a song across as we noted in his duet with Cantor Joshua Breitzer--"Hannukah in Santa Monica", a Tom Lehrer song filled with his customary wit. They were accompanied by Mr. Kay who surely has a Klezmer background."



"The program opened with the gleeful "God Bless the Christmas Jews" by Levitsky/Miller performed by well-known Broadway star Judy Kaye and operatic baritone Joshua Jeremiah who got right into the mood with none of the affectations heard in most crossover performances. It was just a funny song delivered with personality and wit. Lauren Worsham's light silvery soprano fairly gleamed in Jule Styne/Bob Merrill's "I'm Naïve" and her duet with Mr. Jeremiah (Frank Loesser's "Baby, It's Cold Outside" from Neptune's Daughter) was charming and finely acted. Another giggle-getter was Felix Bernard/Richard B. Smith's old chestnut "Winter Wonderland" archly delivered by Mr. Brancy and Mr. Jeremiah. We will never hear that song again the same way!"

Berks Opera Company ignites Verdi's 'Otello'

Reading Eagle

By Susan L. Pena 

"Baritone Joshua Jeremiah proves he is a consummate Verdi baritone as Iago, with a big, gorgeous tone able to handle the high notes. He manages to convey a chilling evil in the famous "Credo," in which he blasphemes with relish, taking it to an extremely dark place.


Jeremiah and Morrow give a thrilling performance of the famous duet 'Si pel ciel.'"

Dark and Beautiful Macbeth Soars

The Addison Independent

By Nancy Maxwell


"It is said that 'casting is everything' and in the case of Macbeth, the two principals are often cast as, say, Trophy Wife and Fat, Old, Impotent Husband or Shrewish Wife from Hell with Milquetoast Spouse or sometimes just as two very young or very old characters using sex or fear of their mortality to achieve their goals. Joshua Jeremiah and Rochelle Bard are none of that. Rather, they seem like a nice young couple who stumble upon a seemingly golden opportunity to suddenly and easily advance all their latent and not so latent ambitions. And neither can resist. Their conversations often take place on a marvelous bed, front and center, solidifying our perception of them as partners in crime, each helping the other down the slippery slope of decency. Ms. Bard has an amazing voice and a great stage presence. She looks like the girl next door, if, in fact, you happened to live next door to a very beautiful girl with an incredible vocal range. That sweet appearance makes her most interesting to watch as her ambitions to the throne are awakened. Her voice is rich and engaging. Never does an ear splitting sound or strident note emanate from this Bel Canto singer-actress. She is all about the beauty of the music. She is a wonder. Mr. Jeremiah has an equally marvelous voice and he gives a nuanced, fascinating performance as a conflicted Macbeth. He, again, is also a true singer-actor, bringing a vitality and physicality to the role that is a delight to watch. This Lord and Lady Macbeth engage each other with a sparkling intimacy that makes their 'road to hell' a very engaging one. "

Opera Review: Macbeth as dark and dramatic Rutland Herald

By Jim Lowe

"Lady Macbeth may be the pivotal character in the Shakespeare, but it's Macbeth in the Verdi, and this production benefits from a particularly fine one. Joshua Jeremiah gave the role real dimension with a convincing performance theatrically, and by using his rich baritone expressively and theatrically. His wasn't just fine singing, it was excellent acting­singing."

La boheme goes back to 1896, Loftopera triumphantly transfers Puccini's bohemia to Brooklyn

By James Jorden


"Unusually for any opera, even those performed on the grandest stages, this cast was without a weak link. Joshua Jeremiah's dark, grainy baritone gave the painter Marcello a dash of menace."


Trading Stage for Warehouse, a New Organization Brings Opera to Brooklyn

By Allison Meier


"But the real argument for LoftOpera's success was the actors and voices. The cast was universally strong and spirited, with Liana Guberman as the forlorn Mimi, Joshua Jeremiah as a commanding Marcello, and Larisa Martinez as the feisty Musetta."

A review of The Consul by blogger, and author of the acclaimed book, "Aria Ready, The Business of Singing", Carol Kirkpatrick


"John Sorel, played by Joshua Jeremiah, did a good job of creating the kind of tension in his character that one would feel as a revolutionary and fugitive. We could hear and sense the conflict and his inner struggle with what he knew to be his truth with being part of this rebellion and at the same time his fear for his family."

Opera News



"Jeremiah and Troxell may not have been able to redeem their comic business, but their singing exemplified the musical accomplishment of the production."

By Michael Johnson

"Yet another of the Young Artists, Joshua Jeremiah, gives a very strong performance as Alidoro, Don Ramiro's tutor who first discovers Angelina and then effects her transformation."

By Jane Dieckmann

"Baritone Joshua Jeremiah seems perfectly suited to the role of the prince's tutor Alidoro... All three are Young American Artists, and their superb singing and acting only confirm the worthiness of this Glimmerglass program."

By Stephen G. Landesman

 "Baritone Joshua Jeremiah lent an especially warm, rich tone to his role as Alidoro, the prince's bespectacled tutor." 

Seattle Opera shows its youth with Verdi's late-in-life rendering of Falstaff

By Thomas May


"As Falstaff, Joshua Jeremiah's incredibly crisp diction sizzled with sheer sensuous delight as he conveyed not just the knight's bawdy, oversize indulgences but his distilled experience in the great "honor" monolog. Jeremiah had the confidence to mold this and his third-act ruminations after being enduring the first prank (the toss into the Thames) into powerfully varied and — forgive the pun — fleshed-out character pieces.

"Falstaff" | Verdi with youthful talent, energy

Seattle Times

By Melinda Bargreen

"Joshua Jeremiah quite properly stole the show in the title role, with a large-scale performance that included a virtuoso burp as well as some robust singing and acting."


Seattle Post-Intelligencer

Enthusiastic, energetic young artists are a fine fit for Verdi's 'Falstaff'



"Joshua Jeremiah took the title role. It must be difficult for someone young to play someone so jaded, middle-aged and larger than life. He did so with admirable panache and commitment. He has a light baritone that is pleasing, although the role stretched it on occasion."

Review: Seattle Opera's Young Artists @ CHAC

"Cast came across as more suitably mature and low on romance. Joshua Jeremiah happens to fit the part of Sam like a glove; he's got the build and baritone of the manly businessman for whom family has little appeal. I think I liked parts more than the whole -- loved that they both forget to go to their kid's play, Sam because he's got a handball tournament, Dinah because she goes to a schlocky movie and gets soused in a bar after. I'm listening to the album now, and yes, it does sound more impressive with a full orchestra than with four-handed piano."


Seen and Heard International

By Bernard Jacobson

"Joshua Jeremiah projected just the right combination of authority, humor, and slyness as Gianni."


Northwest Reverb

By Lorin Wilkerson


"Despite the appropriate silliness of his performance Jeremiah did a convincing job of playing the conniving opportunist Schicchi, and sang with a rich and colorful baritone, which was a pleasure to hear. "

Cincinnati-Trained Singer Is Making a Name

By Rick Pender


"From CCM to New York City Opera Joshua Jeremiah has his career underway. For several years Joshua Jeremian seemed to be onstage everywhere in Cincinnati. He was a regular in opera productions at UC's College-Conservatory of Music, where he was pursuing a master's degree and then an artist's diploma (additional graduate-level training) as an opera singer. But he was glad to find performing opportunities with many Cincinnati perfroming arts institutions. In 2005 he played a pair of princes in Ensemble Theatre of Cincinnati's holiday musical, Sleeping Beauty. (In fact, the big-voiced baritone was nominated for a 2006 Cincinnati Entertainment Award for his performance at ETC.) In 2010 he played the extroverted but lovelorn Marcello in a reduced version of Puccini's La Bohème that Cincinnati toured around Greater Cincinnati (including a couple of bars - a great place for the rowdy Parisian artists to raise some hell). Earlier this year he was onstage at the Carnegie Center in Covington, playing ne'er-do-well roustabout Billy Bigelow in a wonderfully sung production of Rodgers and Hammerstein’s Carousel. In addition to mainstage productions with Cincinnati Opera, he’s spent time with Seattle Opera (where he stole the show playing the title role in Verdi's Falstaff in a young artists production), Spokane Opera, Wolf Trap Opera and Glimmerglass Opera in Cooperstown, N.Y. He’s also been a regular soloist with symphonies and pops orchestras from Cincinnati to Yakima, Wash. Now Jeremiah seems to have caught on with New York City Opera, which is regrouping after financial challenges caused it to leave its longtime home in the State Theatre at Lincoln Center. NYCO is doing a abbreviated season at a variety of venues around the city, including several programs at the Brooklyn Academy of Music. Last Thursday Jeremiah was part of a small ensemble singing the opening program for NYCO's new season, Who Are You, New York?: The Songs of Rufus Wainwright. The evening at the Rose Theater at Jazz at Lincoln Center received favorable marks from Anthony Tommasini, classical music critic for The New York Times. (Tommasini on Rufus Wainwright.) The nice thing about all this is that Joshua Jeremiah is a great guy. Everyone who has worked with him has loved his larger-than-life presence, his acting skills, his boisterous sense of humor and a singing voice that’s a force of nature. It’s nice to see him advancing his career so successfully."

By Marieann Koehler


"There is a young man played by Joshua Jeremiah that sings in beautiful baritone for transitional moments in the play. You will enjoy his great talent."

'Volpone': Putting On Heirs

The Washington Post

By Tom Huizenga

"Joshua Jeremiah, a husky, deep-voiced baritone, created a carefree Volpone, singing with flexibility and abandon, clearly enjoying his scams."


Sly 'Fox' appears in Vienna woods

Washington Times


"Standouts in this production include baritone Joshua Jeremiah (Volpone) and tenor Jeremy Little (Mosca), both of whom have large, powerful voices that befit their dominant roles."



Opera News

By Tim Smith


"Whether bathing in gold coins or putting moves on unsuspecting victims, Joshua Jeremiah's Volpone was a commanding presence on July 1 at the Barns at Wolf Trap. His baritone rang out firmly and colorfully."


'Manhattan Diaries' Poignant and Rich 

The Washington Post

By Grace Jean

"From the start Joshua Jeremiah impressed with an expressive, caramel-textured baritone and unflappable stage presence. The versatile performer convincingly portrayed a variety of characters. In "The Pennycandystore Beyond the El," he sang with youthful desire, and in "Washington Square," he walked hand in hand with tenor Jeremy Little to characterize lovers moving in together. But it was his hilarious singing and dancing in "The Sheik of Avenue B" that stole the show."

By John Yohalem


"Joshua Jeremiah has a grainy sound, sexy in the main, a bit strained on top. The top became easier as he grew more comfortable a factor he made use of to imply his social unease with a courtesan he gradually comes to respect. He unleashed real force in his later scene, the Act IV confrontation from Trovatore, when, without losing his lithe, dark quality, he expressed rage, lust, ecstasy."


Loft Opera Presents an Evening of Excellent Ensembles, No Beer Required

Opera Today

By Alexis Rodda Baritone


"Joshua Jeremiah excelled in both the role of La Traviata's Germont and Trovatore's Count di Luna, bringing a rich, full baritone voice to his impeccable performance of Verdi's music. He convincingly portrayed the older father figure of Germont as well as the love-manic role of Count di Luna, all within a span of a half hour. His strong physicality, easily produced sound, and impeccable Italian made him the standout of the evening. The chemistry between Suzanne Vinnik and Joshua Jeremiah was palpable in every scene, particularly in their treatment of scenes from Il Trovatore, and I found myself eagerly awaiting their reappearance throughout the evening."


Hip Verdi Pills in Bushwick Loft Opera Summer Session Verdi Selections from Traviata, Luisa Miller, Trovatore and Aida


"As to the specific selections presented, the most successful was by far the Conte di Luna/Leonora duet from Act IV of Trovatore. Baritone Joshua Jeremiah and soprano Suzanne Vinnik not only sang their hearts out with passion and fire but also acted convincingly. Jeremiah embodied the evil Conte di Luna with a brutal rage so intense that it was scary, while Vinnik pleaded with him in desperation and offered her body with tragic sacrifice to save her beloved Manrico. The chemistry between the two singers was electrifying and goosebump-inducing. These two artists were good but not as sensational in their Violetta/Germont duet from Act II of Traviata, where, however, the soprano displayed a pretty impressive and powerful instrument, particularly in the higher register. A profound intensity of emotion emerged from the duet from Trovatore. It was like jumping right to the juicy bits and made me hungry for our upcoming afternoon with Dmitri Horostovsky and Anna Netrebko in the same roles at the Met next week. It's like seeing old friends with fresh eyes. In his second duet of the evening, baritone Joshua Jeremiah now singing the Conte di Luna had warmed up. He was suddenly much stronger, exuding an emotional intensity and belting out a rounder less tremulous sound out of his baritone voice."


Opera News

 Arlo McKinnon


"Following a piano rendition of the overture to Rigoletto, Suzanne Vinnik and Joshua Jeremiah offered a first-rate performance of the segment of Act II of La Traviata in which Germont persuades Violetta to break with Alfredo. Both artists sang beautifully, although Jeremiah's portrayal was a little too vigorous and virile for the older, more dignified Germont. Vinnik and Jeremiah returned in a passionate, compelling performance of the duet from Act IV of Il Trovatore, in which Leonora offers herself in marriage to Count di Luna in exchange for his sparing the life and freedom of Manrico. Jeremiah's energetic stage presence here beautifully portrayed the arrogant, triumphant Count, while Vinnik won the empathy of the audience with her depiction of a woman making an extreme sacrifice for her true love."

Review: Pagliacci a splendid opera anniversary gift

By Travis Rivers


"Jeremiah made a handsome country swain, with an ardent baritone that made it easy to see why Nedda was willing, albeit reluctantly, to run away with him."

San Diego Examiner

By Carol Davis


"An added fourth character The Young Man (Joshua Jeremiah) as a younger Ralph, singing selected arias as the story moves along, adds another dimension to this otherwise satisfying and lovely play. Jeremiah, who has a powerful and full baritone voice, breaks into aria about five or six times (highlighted by Chris Rynne's spot on lighting) throughout the evening starting with a selection from Mattinata by Leoncavallo to Mozart's Cosi Fan Tutte to Pagliacci. It was glorious. Paul Peterson designed the sound."

By Dale Morris

"Joshua Jeremiah as the Young Man, should be invited to sing in every production, even where music is not stipulated. Ralph wanted to be an opera singer and Jeremiah plays his alter ego, moving the play forward and creating greater understanding of the gently unfolding plot. Jeremiah stands on the theatre stairs to create his magic. When he opens his mouth to sing, time stops as his beautiful baritone fills every corner of the theatre. He alone is worth the price of admission!"


San Diego Union-Tribune

By Jennifer Chung Klam

 "Joshua Jeremiah plays the younger Ralph and brings to vibrant life arias from the operas Ralph talks about. The arias and Jeremiah's rich, colorful baritone help lead the audience through the play's emotional arc (He also happens to look strikingly similar to the young Michael)."

By Bob Verni

"But DiPietro hits the bull's eye in making Ralph an opera buff who long ago auditioned for the Met, which enables him to bring in the man's younger self in the person of the impressively courtly Joshua Jeremiah. Brief, moving arias between scenes connect the art form, the mourned past and the stark present."

By Charlene Baldridge


"Michael has a lot of old world charm, and when he conjures up his youthful, operatic self (bona fide opera singer Joshua Jeremiah) to put him in touch with his music again, it is magical indeed. Jeremiah is a veteran of and Grammy nominee for the world premiere of John Musto's VOLPONE and has performed roles with Glimmerglass and Seattle Opera's Young Artists Program. He is an excellent baritone, and although his character, The Young Man, is not real, his appearances enliven, especially for the opera lover, what could be a mere sentimental slog." 

Opera News

CINCINNATI – The Voyage of Edgar Allan Poe

By Charles H Parsons

"Baritone Joshua Jeremiah's commanding stage presence brought frightening evil to the stage in the multiple-villain roles (Griswold, Ship's Captain, etc.), which were excitingly yet mellifluously sung." 

Cincinnati Post

By Jerry Stein


" ...splendid singing from the operatic voice of Joshua Jeremiah afford much to recommend in the reprise of this show. Still, it is Jeremiah, offering the best male vocal work on the ETC stage in years, whose effort lends both fun and emotional depth to the McDonough adaptation that strives to celebrate love's power.

Manhattan Diaries at Wolf Trap


by Charles T. Downey


"Baritone Joshua Jeremiah and mezzo-soprano Sasha Cooke (both noteworthy voices) gave a hilarious rendition of the taxi duet from Leonard Bernstein's On the Town. "

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