Press
The show’s standout visual moment is the visceral, churning chaos of the public repentance scene in Act II – also one of the best vocal moments for bass-baritone Christian Pursell, whose Reverend Olin Blitch is revealed by this staging as a calculated, practiced (but deliciously voiced) manipulator of those around him. This is one of the strongest moments in the melodramatic conceit, foreshadowing the character’s darker turn in a later scene.
BASIL CONSIDINE
Bass-baritone Christian Pursell roared and crooned as the Rev. Olin Blitch, an itinerant preacher who comes to town to lead a revival. Slender and handsome, Pursell made real the conflicts of the character with vocal prowess, in an especially explosive sermon scene in Act II. In a trope now somewhat familiar in American life, the preacher is guilty of the very sin he condemns in Susannah, lusting after and eventually forcing himself on her (“I’m a lonely man, Susannah”).
CHARLES T. DOWNEY
Christian Pursell’s dashing Escamillo matched Mesko’s magnetism and intensity, and theirs seemed to be the tragically doomed romance.
JOANNE SYDNEY LESSNER
As the toreador Escamillo, Carmen’s saner and more realistic petit ami, bass-baritone Christian Pursell is the textbook picture of swaggering self-confidence, with a big, bold voice to match—as he demonstrated in the famous "Toreador's Song."
CHUCK LAVAZZI
Christian Pursell, a stalwart Escamillo, seemed the most at ease of the principals.
HEIDI WALESON
Christian Purcell’s bass-baritone booms with commanding authority in the role of Escamillo, enunciating so clearly and decisively that there is no need to glance at the subtitles provided above either side of the auditorium. He captures Escamillo’s carefree spirit and love of adventure, exemplified in the famous “Toreador Song,” showing the bullfighter’s enchantment with the independent Carmen.
LADUE NEWS
Also debuting with OTSL is the dynamic Christian Pursell as Escamillo. In his care, Bizet’s one-dimensional bullfighter becomes something richer, and more textured. Simply fantastic with Mesko, Pursell’s panache, charm, and cool demeanor serve as the perfect foil for Carmen, a woman who is the life of every party.
ROB LEVY
Her two competing lovers, Don José and Escamillo, are sung by Adam Smith and Christian Pursell. Never have I heard two such splendid male voices so perfectly set against each other in romantic competition. Both men (tenor Smith and bass-baritone Pursell) are tall and strikingly handsome. Pursell's voice, in the famous Toreador Song rings quite heroic, and Smith, especially in his plea to Carmen at the end of the tavern scene, sings with such wonderful feeling and power. The two combative duets--José vs. Escamillo and José vs. Carmen--are ` stunning. Both are powerfully mano a mano.
STEVE CALLAHAN
Heidi Stober’s Micaela and Christian Pursell’s Escamillo contrasted effectively with the leads to flesh out the drama: Stober’s light, graceful soprano was ideal for the good girl from Don José’s village; and Pursell’s commanding bass-baritone captured heroic élan of the toreador. GREGORY BARNETT
Bass-baritone Christian Pursell treated Escamillo’s music to rich, resonant tones that suited the macho persona of the star bullfighter, making it convincing that Carmen would leave José for him. Pursell brought suavity and swagger to the “Toreador Song,” and in Act 4, he sang Escamillo’s little love song to Carmen with an ardor that got the message across. STEVEN BROWN
