Falke (Strauss, Die Fledermaus) at New Orleans Opera

"Nicholas Pallesen showed a handsome baritone and a flair for laughs as the scheming Dr. Falke."
— Theodore Mahne, The Times-Picayune

"As Falke—the 'bat' of the operetta’s title — Nicholas Pallesen also gave prodigiously of his warm baritone (especially in the 'Brüderlein' ensemble) and was a dynamic stage presence."
— George Dansker, Opera News

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Yeletsky (Tchaikovsky, The Queen of Spades) at English National Opera

"Nicholas Pallesen made a particularly notable appearance with his beautifully sung Yeletsky."
— George Hall, Opera News

"Nicholas Pallesen, as the rich suitor Yeletsky, persuades by the sheer beauty of his tone."
— Michael Church, The Independent

" Nicholas Pallesen from the US, is a dashing presence both vocally and physically as Prince Yeletsky."
— Mark Valencia, What's on Stage

"Nicholas Pallesen impressed as Prince Yeletsky, a ‘bit part’ but one which contains the score’s outstanding aria, where he expresses his love for Lisa. Pallesen’s eloquence and long arching phrases were a joy to hear."
— Mark Pullinger, Bachtrack

"The one moment of sanity is Prince Yeletsky's passionate aria sung to Lisa - sung with a lovely round tone and impassioned sentiment by baritone Nicholas Pallesen."
— Claire Seymour, Opera Today

"The richness of Nicholas Pallesen’s baritone proved a welcome luxury in the role of Prince Yeletsky. "
— Mark Berry, Scene and Heard International

"... it was only during the ball scene that things really began to gel, particularly when Nicholas Pallesen produced beautifully lyrical singing in Prince Yeletsky’s aria."
— Mark Ronan

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Germont (Verdi, La Traviata) with Fort Worth Opera

"The evening’s standout was baritone Nicholas Pallesen as Alfredo’s father. His vocal sound and dignified (and ultimately sympathetic) demeanor were right for the part."
— Olin Chism, Fort Worth Star-Telegram

"Nicholas Pallesen is a standout as a crisply sonorous Giorgio Germont."
— Scott Cantrell, Dallas Morning News

"Pallesen (Giorgio Germont) was consistently the standout. Younger looking than many senior Germonts, he played his Act II scene with Violetta with consummate elegance. "Pura, siccome un angelo," sounded lush, slow, and luxurious; "Un di, quando le veneri" menacing and jaunty; in the duet with Violetta ("Dite alla giovine") Pallesen moved from cool and rational to paternal, comforting, and empathetic with easy confidence. His smooth lyric baritone had resonance and sweetness in equal measure. "
— Williard Spiegelman,Opera News

"As the always confounding Giorgio Germont, Nicholas Pallesen was somehow believable. His voice was also one of the most beautiful on stage. His sound was consistently rich and his duets with Violetta brought out Durkin’s vocal strengths. I always find the second Act of this opera to be a bit slow and unbelievable, but Pallesen brought some much-needed musicality to Violetta and Alfredo’s country home, making this scene less tedious."
— Catherine Womack, D Magazine

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George London Foundation Recital with Angela Meade

""Pallesen opened with Poulenc’s Chansons villageoises, a relatively obscure cycle that alternates strophic patter songs with grave declamations. Pallesen, a singer who mines both text and subtext with authority and insight, maintained the depth of his firm baritone while wrestling the consonants to the ground... he proved masterful at characterizing the text colorfully. In a single word, "cornouiller" (dogwood), he cycled through about five emotions."

He approached five songs by Charles Ives with comparable lucidity. He built the moody, complex "The Housatonic at Stockbridge" steadily and solidly, following it with "The Side Show," a wink of a song. He keened a quarter tone flat as called for by the moaning melody of "Like a sick eagle," and in "Charlie Rutlage," his easy drawl gave way to the percussive speech-song of a rodeo caller. Pallesen’s aria offering was "Ha! welche Lust aus schönen Augen" from Heinrich Marschner’s Der Vampyr. Salivating with bloodlust, Pallesen relished every adjective and unleashed a torrent of vitalized sound."
— Joanne Sydney Lessner, Opera News

"(Angela Meade) shared the program, presented by the George London Foundation, with the young baritone Nicholas Pallesen, his large, steady voice genially conversational in Poulenc’s bustling "Chansons Villageoises.

In five Ives songs, most notably the classic "Housatonic at Stockbridge," Mr. Pallesen managed to be simultaneously dreamy and grounded, and "Charlie Rutlage" was alternately genial and solemn. He attacked with gusto and powerful tone an aria from Marschner’s "Der Vampyr," which he sang with the American Symphony Orchestra in 2013.

He and Ms. Meade came together at the end, partnering excitingly in a duet from Verdi’s "I Due Foscari." This composer is clearly a fixture in both singers’ futures, and they were incisive in his declamatory dialogue and impassioned in his rich melodies."
— Zachary Woolfe, The New York Times

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Fieramosca (Berlioz, Benvenuto Cellini) the English National Opera

"Nicholas Pallesen (also American) had a notable success as Fieramosca, not only in his fine singing but also in his vigorous comic acting as the fall-guy on the receiving end of much slapstick humor."
—Peter Reed,

"American baritone Nicholas Pallesen played Balducci's foolish but preferred son-in-law-elect Fieramosca with buoyancy and comic expertise."
— George Hall, Opera News

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Sam (Bernstein, Trouble in Tahiti) with the Gothenburg Symphony Orchestra (Gothenburg, Sweden)

"Nicholas Pallesen's Sam was one of the best vocal performances I have heard here in recent years."
— Håkan Dahl, Gothenburg Post

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Lord Ruthven (Marschner, Der Vampyr) with New Orleans Opera

"Baritone Nicholas Pallesen, as the Vampire, here called Ruthven Marsden (and referred to as a local businessman), gave a mesmerizing, richly sung performance. Already making a speciality of this role, Pallesen was able to convey both the evil side of the character and the pathetic tormented being. In his portrayal, Marsden is not a ghoulish monster but an aristocratic seducer (think Don Giovanni), despite his murderous actions."
— George Dansker, Opera News

"In the title role, Nicholas Pallesen offers a resounding baritone and a commanding presence…he does evoke the erotic appeal of vampire legends, not merely preying on his victims but seducing them."
— Theodore Mahne,

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Germont (Verdi, La Traviata) with Wolf Trap Opera and the National Symphony

"Nicholas Pallesen, whom I last heard in Castleton’s Trittico in 2010, made an even better impression this time around with a sturdy, solid Germont."
— Anne Midgette, Washington Post

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Brahms, Ein deutsches Requiem with the Alabama Symphony

"Nicholas Pallesen's rich-hued baritone in 'Herr, lehre doch mich' conveyed searching and yearning for death's meaning from Psalm 39...Pallesen projected even better in 'Den wir haben hie kleine bleibende Statt,' his voice easily filling the hall with emotional power."
— Michael Huebner,

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Lord Ruthven (Marschner, Der Vampyr) with the American Symphony Orchestra at Carnegie Hall

"In that role (Lord Ruthven) Nicholas Pallesen was the standout... He sang with a rich baritone and dramatic fervor throughout, beginning with his opening aria, in which he plots his vampiric conquests."
— Vivien Schweitzer, New York Times

"The ASO performance... had a crackerjack Ruthven in Nicholas Pallesen...His sensuality as he dwelt in prospect or reverie on the juicy lips (and veins) of his victims, his reproaches when they resisted his flirtations, his rage at Aubrey’s attempts to stop him, his taunts of his enemies, painted the Byronic hero in hues worthy of Caspar David Friedrich. His diction was true, his singing strong and seductive all afternoon. His Don Giovanni, when he gets around to it, should be worth catching."
— John Yohalem, Parterre Box

"Baritone Nicholas Pallesen proved a suave seducer, with a velvety, unctuous delivery that matched his dapper all-black suit and scarlet tie. He projected the right mix of anarchic evil and a bemused "who-me" attitude, as of all these bloodstained maidens couldn't possibly be his fault."
—Paul J. Pelkonen, Superconductor

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2013 George London Foundation Competition

"Nicholas Pallesen, a baritone, combined musicality and a keen dramatic instinct in an aria from Falstaff."
— Corrina da Fonseca-Wollheim, New York Times

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Filippo (Bellini, Beatrice di Tenda) in Carnegie Hall debut

"Nicholas Pallesen brought his pleasing, robust baritone voice, with nice, big top notes, to the dastardly Filippo."
— Anthony Tommasini, New York Times

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Pluto (Telemann, Orpheus) at New York City Opera

"Nicholas Pallesen sang Pluto with glamorous sound, turning the aria 'Ruhet, ihr Foltern' into one of the evening’s highlights."
— Judith Malafronte, Opera News

"As Pluto, king of the underworld, Nicholas Pallesen landed his two numbers solidly in a warm baritone."
— James Jorden, New York Post

"Nicholas Pallesen perked things up with Pluto's rousing revenge aria."
— Justin Davidson, New York Magazine

"Nicholas Pallesen made a commanding Pluto, with a gratifyingly round tone and solid fioritura."
— Ronni Reich, Star-Ledger

"[They] were excellent, as was Nicholas Pallesen as Pluto. Telemann has given this wicked character a lovely aria in which, having been won over by Orpheus, he releases the damned from their torments; it was as touching as his cruel moments were cruel."
— Robert Levine, Classics Today

"Nicholas Pallesen had the build, the black hair, the witty delivery and the top-to-bottom security to suit Pluto, who is a bass of course."
— John Yohalem, Parterre Box

"Baritone Nicholas Pallesen was imposing [...] as Pluto."
— Ronald Blum, Associated Press

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Enrico (Donizetti, Lucia di Lammermoor) at Baltimore Concert Opera

"Nicholas Pallesen proved impressive as Enrico, with a dark, sizable voice and consistently potent phrasing."
— Tim Smith, Baltimore Times (full review)

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Sharpless (Puccini, Madama Butterfly) at El Paso Opera

"Baritone Nicholas Pallesen makes Sharpless' conflicts palpable while keeping his own vocal power in check so as not to upstage any of the others."
— Doug Pullen, El Paso Times

"The other outstanding role was masterfully projected by baritone Nicholas Pallesen. His sympathetic Sharpless...prompted a deafening round of audience applause."
— Betty Ligon, El Paso Inc.

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Robert Storch (Strauss, Intermezzo) at New York City Opera

"The baritone Nicholas Pallesen, an outstanding Falstaff for the Juilliard Opera last year, brought warmth and patience to his portrayal of Storch."
— Steve Smith, New York Times

"Baritone Nicholas Pallesen, who sang a strong Falstaff at Juilliard last year, brought authority and tonal beauty to Robert, his gravity belying his relative youth"
— Heidi Waleson, Wall Street Journal

"As her husband the conductor, Nicholas Pallesen mostly just set up the jokes for the leading lady, but in the final scene, his warm baritone revealed the depth of feeling beneath the surface annoyance."
— James Jorden, New York Post

"Nicholas Pallesen sang stylishly and with a handsomely trim baritone as the beleaguered Robert."
— George Loomis, Musical America

"As Storch, Nicholas Pallesen was formidable in both his bearing and his voice. Strauss gives Storch some of his most lavishly beautiful music when the character is forced to defend Christine to his card—playing cronies. Pallesen soared magnificently, both in this scene, and in a later encounter with Stroh, the Kappellmeister for whom the love note was actually intended. When Stroh clears up the misunderstanding, Storch displays a different kind of emotion ("God be thanked — I was near to madness!") — which provided another high point for Pallesen."
— Joshua Rosenblum, Opera News

"Robert Storch is Nicholas Pallesen, a role that must be pitched just right. Mr Pallesen’s fine baritone has affection built into it, and he portrays the accommodating musician with wisdom and proper rage when he thinks he is being wronged."
— Robert Levine,

"Nicholas Pallesen’s portrayal of Robert brought a strong baritone to a vocal line that, although calmer and less jarring than Christine’s, still calls upon him to hold his own in the couple’s frequent vocal sparring, in which Pallesen matched [Mary] Dunleavy blow for blow."
— David Rice,

"The vocal prize in both style and luxuriousness of tone, nuance, balance, precision, shape and phrasing was the Robert Storch of Nicholas Pallesen. He was a perfect and sympathetic foil to the monotonous shrillness of his wife Christine and left one wondering why he didn’t just allow the filing for divorce to go through!"
— John Hammel,

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Top (Copland, The Tender Land) at Juilliard Opera Center

"As Martin's sidekick Top, baritone Nicholas Pallesen exhibited fine comedic skills and easy vocal appeal"
— Judith Malafronte, Opera News Online

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High Priest (Gluck, Alceste) at Santa Fe Opera

"Nicholas Pallesen as the Herald/High Priest turned in a fine performance, booming his rich baritone throughout the house and playing an excellent leader of the chorus"
— Paul Wooley,

"Combining the roles of the Herald and Grand Priest (a human who interprets Apollo’s messages) gives Pallesen a substantial assignment, with only Alceste of the prinicipals having more to sing in the first act. Pallesen’s is a major voice, executing both the Herald’s and the Grand Priest’s declamatory messages excellently."

"Doubling as the Herald and High Priest, Nicholas Pallesen revealed a sympathetic and warm baritone, perfectly suited to this repertoire..."
— James Sohre, Opera Today

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Falstaff (Verdi, Falstaff) at Juilliard Opera Center

"Truthfully, any professional company could be proud to have presented a cast as consistent — and consistently excellent — as this one.

Certainly there were standouts, first and foremost Nicholas Pallesen in the title role. Outfitted with a convincing paunch and an unkempt, receding mop of hair, Mr. Pallesen sang with a handsome tone, his voice carrying over the orchestra with ease.

With his winning growl, treacly croon and robust physicality, Mr. Pallesen conveyed the character’s comedic aspects. But his work in quieter moments, including a long moment of pensive reflection at the start of Act II, registered just as powerfully."
— Steve Smith, New York Times

"The evening's most distinguished element was Nicholas Pallesen's Falstaff. The young baritone has a voice of true Verdian scope, and he handled the language deftly... the voice itself and its deployment augured well for his success in the big Verdi roles."
— Fred Cohn, Opera News Online

"Baritone Nicholas Pallesen, in the title role of the louche corpulent knight, in hot pursuit of love and money, delivered the first act's fiercely indignant "L'Onore! Ladri!" and third act's embittered "Mondo ladro—Mondo rubaldo" monologues with grandeur and voice to spare. "Quand'ero paggio," Sir John's reminiscence of his youth, many years and pounds ago, tripped nimbly o'er Pallesen's tongue, and he displayed secure head tone, in the high and falsetto passages, well beyond the means of many veteran performers of the part."
— Bruce Michael—Gelbert,

"But at afternoon’s end the roundest round of applause rightly went to Nicholas Pallesen’s bounteous Falstaff—a winning combination of a fresh, full young voice and musical and interpretive skills well beyond the student level. I could easily name a Met Falstaff or three that couldn’t match his—and it’s been a long while, too, since a Met Falstaff has equaled the delights of this one."
— Patrick Dillon, Opera Canada

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Leon Klinghoffer (Adams, The Death of Klinghoffer) at Juilliard Opera Center

"As the doomed Klinghoffer, Nicholas Pallesen made it clear with his muscular, well—projected baritone that he wouldn't go meekly, and the mellow, modulated tone with which he later consoled his wife made for a wonderfully moving contrast. Pallesen's floating delivery of "Aria of the Falling Body," an exquisitely spectral meditation sung as Klinghoffer's body plunges into the water in a state resembling stopped time, was simultaneously chilling and calming."
— Joshua Rosenblum, Opera News Online

"Nicholas Pallesen in his two arias reached out with the simplest pleas in a beautiful rich baritone."
— Harry Rolnick,

"Several members of the strong cast were standouts. Baritone Nicholas Pallesen (singing from a wheelchair) brought a sonorous and suitably cranky gravitas to the role of Klinghoffer."
— Susan Brodie, American Record Guide

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