Margaret Lattimore’s Ma Joad powers the MasterVoices Chorus’s The Grapes of Wrath

SEEN AND HEARD INTERNATIONAL

Her boys ranged from Kyle Oliver’s sensitive Tom, an idealist with a criminal past transformed into union organizer; John Brancy’s engaging, fun-loving Al; and the slow-witted Noah of Christian Pursell. All three of these singing actors had firm, resonant voices and winning stage personas, but Pursell was given the meatiest scene to display his talents. A simpleton, who pretty much went with the flow, Pursell’s Noah slowly became aware that the only way he could help his family was to spare them one more mouth to feed. With a bass-baritone as commanding as his stature, Noah’s decision to commit suicide by drowning was as moving as it was horrible to watch.

RICK PERDIAN

MasterVoices’ superb cast provides fine advocacy for Gordon’s “Grapes of Wrath”

NEW YORK CLASSICAL review

The horrible moment when Noah (a fine bass-baritone Christian Pursell) decides to drown himself so the Joads will have an easier time surviving is set to rising major chords modulating to one major key after another. In a larger context of music full of conflict this might have had more resonance.

GEORGE GRELLA

The Grapes of Wrath: Ricky Ian Gordon’s Opera Deserves a Real Run

NEW YORK STAGE review

Eldest son Noah – described as “a calm and puzzled-looking man who seldom spoke” – takes it upon himself to relieve the strain on the family larder. Christian Pursell sings this devastating soliloquy exquisitely. If you’re left dry-eyed, you are perhaps utterly devoid of empathy.

SANDY MACDONALD

Haymarket Opera resurrects an intriguing Grimani oratorio

Chicago classical review

Bass-baritone Christian Pursell, making his Haymarket debut, sang the role of Herod with a rich, rotund timbre, capturing the king of Judea’s pompous self-satisfaction at his birthday honors. At times Pursell’s expression felt somewhat stiff, and one wasn’t entirely convinced he was all that concerned about his wife’s grievances in their extended opening duet (the audience laughed at the singer’s awkward reception of Salome’s request for the head, though there was little to cavil over with his vocalism).

TIM SAWYIER

Ekaterine trionfa a Pesaro: è suo il primo posto al “Tebaldi-Gigli-Corelli”

PRIMO

Su ben 160 partecipanti da tutto il mondo sono stati premiati al termine della finale, che si è svolta venerdì scorso, 15 marzo: il mezzo-soprano Ekaterine Buachidze (Georgia, 1° premio), il basso-baritono Christian Pursell (Usa, 2° premio ex aequo), il soprano Yerang Park (Corea del Sud, 2° premio ex aequo), il soprano Mar Morán (Spagna, 3° premio ex aequo), il tenore Hyun-Seo Park (Corea del Sud, 3° premio ex aequo). La competizione, promossa e ospitata dal Comune di Pesaro, si è svolta al Teatro Rossini di Pesaro dal 12 al 15 marzo all’interno del cartellone di Pesaro Capitale italiana della Cultura 2024.

ELISABETTA MARSIGLI

Al Teatro Rossini si è chiusa la prima edizione del Concorso Lirico Internazionale "Tebaldi-Gigli-Corelli"

PRIMO

Nel corso dell’evento si sono esibiti al fianco della FORM – Orchestra Filarmonica Marchigiana diretta da Alessandro Bonato i cinque premiati della competizione: il mezzo-soprano Ekaterine Buachidze (Georgia, 1° premio), il basso-baritono Christian Pursell (USA, 2° premio ex-aequo), il soprano Yerang Park (Corea del Sud, 2° premio ex-aequo), il soprano Mar Morán (Spagna, 3° premio ex-aequo), il tenore Hyun-Seo Park (Corea del Sud, 3° premio ex-aequo).

DI UFFICIO STAMPA

Crítica: Gala del Concierto del Concurso Tenor Viñas 2024

Beckmesser

(translated from Spanish to English): Of the five participants, the well-pitched voices of the baritone Christian Pursell and the mezzo Marcela Rahal stood out. The first began in an impressive way with “Sibillar gli angui d’Aletto” from Handel’s “Rinaldo”, strongly supported by the brass, showing flow, timbre and ease in the coloraturas. He expressed the same in the “Sorgete, sorgette” of “Maometto II” by Rossini, to show his capacity for drama in the cavatina of “Aleko” by Rachmaninov. He will make a career.

GONZALO ALONSO

Des Moines Metro Opera offers musically triumphant Carmen

Schmopera

Christian Pursell certainly brought swagger to the role of Escamillo, the famous toreador and Don José’s rival for Carmen’s heart. Pursell’s Escamillo was a bit of a pretty boy with long flowing locks and a flashy sense of fashion. The baritone performed arguably the catchiest tune of the opera with his act two aria, strutting the stage like a true peacock. Pursell’s vocal performance was satisfying, but I wanted him to turn up the machismo just a few more notches. The chemistry between Escamillo and Carmen led to the most convincing flirtation of the opera, and their interactions in the final act were surprisingly tender.

MEGHAN KLINKENBORG