Critics are saying...
CD, Drifts and Shadows: American Song for the New Millennium (
"This is a miraculous compilation of gems...a Want List candidate." -- Colin Clarke, Fanfare - May/June 2009
"Eley's voice is warm and clean. He is definitely one of the best singers of English I've ever heard...Buy this record." -- Stephen Estep, American Record Guide - Jan./Feb. 2009
CD, Laurie Altman: On Course (
"The Three Antarctic Songs...Elem Eley is the fine baritone who commissioned the work and who delivers the text with such authority. This set of songs is the most memorable music of the disc." -- Colin Clarke, Fanfare - March/April 2009
As Soloist in Bach's B Minor Mass w/Oratorio Singers of
"The afternoon’s two-hour Mass recruited some world-famous singers...charismatic bass-baritone Elem Eley. Each singer complemented the orchestra that earned the sustained and enthusiastic ovation at the work’s impassioned finale." -- Sam Juliano, The
As Soloist in Beethoven's Symphony No. 9 w/Springfield (MO) Symphony c. Ron Spigelman:
"Eley opened the famous 20-minute finale with the baritone's firm exhortation to shift from somber orchestral tones to the joyous sounds of vocal affirmation. All four soloists delivered strong performances that blended beautifully with the massed choirs' vigorous singing." -- Larry T. Collins, The (
As Mendelssohn's Elijah w/Burlington (VT) Choral Society c. David Neiweem:
"Elem Eley, a baritone with a dark richness in his voice that cut through the orchestral texture at all times, and a decided gift for the drama of the work, was a wonderful Elijah. Since Neiweem took over the reigns of the
As Captain Corcoran in HMS Pinafore (Gilbert and Sullivan) w/Syracuse Opera c. Curtis Tucker d. Anthony Salatino:
"The H.M.S. Pinafore steamed into the Mulroy Civic Center on Friday evening...It was clear sailing all the way...Elem Eley combined flexibility of tone with a stiff upper lip to remain in-character during his steadfast 'I Am the Captain of the Pinafore,' and acted superbly." -- David Abrams, The (Syracuse) Post-Standard - March 11, 2006
As Soloist in Mozart's Requiem w/Westminster Choral Festival c. Joseph Flummerfelt:
"...baritone Elem Eley was solid in providing a foundation to the solo quartet."
Nancy Plum, Town Topics (
As Dumdum Devine in Vera of Las Vegas (Daron Hagen/Paul Muldoon, world première) w/Center for Contemporary Opera (NYC) c. Robert Frankenberry d. Charles Maryan:
"The leads were excellent…the hearty baritone Elem Eley as Dumdum…The theatrical audacity of "Vera of Las Vegas" elicited many cheers from the packed house."
Anthony Tommasini, The New York Times -
"Performances throughout were excellent. As the two roguish Irishmen, McCartney and Eley were both excellently cast, edgy and brash. "Vera of Las Vegas" is essentially musically sound and was well-performed."
Daniel Felsenfeld, ClassicsToday.com
As Soloist in Brahms's Ein Deutsches Requiem w/Oratorio Singers of
"Elem Eley, as always, carried off this music with a moving mix of forcefulness and tenderness. Mr. Eley's first solo, 'Herr, lehre doch
Paul Somers, Classical
As Soloist in Brahms's Ein Deutsches Requiem w/Calvin Oratorio Society c.
"Elem Eley, in turn, showed depth and drama in his baritone solo bars. His stage presence and timing were great."
Anne Tuuk, The
As Soloist in Fauré's Requiem and Haydn's Theresienmesse w/New
"The soloists likewise showed little timidity. Baritone Elem Eley may have been singing about being "seized with fear and trembling" in the "Libera me," but the voice itself sacrificed none of its poised, lyrical smoothness. When [Rochelle] Ellis and Eley were joined by mezzo-soprano Leah Wool and tenor Don Frazure in the Haydn, the soloists became a quartet of equals, wisely focused on vocal blend as much as their own sound. Together, they faced the object of their worship, not as awestruck individuals but as a united front of humanity."
Ken Smith, The (
As Prince Ottokar in Der Freischütz w/Charlotte Symphony c. Christof Perick:
"The cast not only sings potently, but it carries on with a dramatic flair that radiates through the singers' faces and stage presence. And even the small roles were done with flair."
Steven Brown, Charlotte Observor -
As Soloist in Jersey Rain (David Sampson, texts by Robert Pinsky, world première) w/Colonial Symphony c. David Sampson:
"Inspired settings and evocative music. The sweet-voiced Eley, symphony and choruses can be proud. What a glorious feeling!"
Frederick Kaimann, The (
As Soloist in Fauré's Requiem w/Springfield Symphony c.
"Singers richly add depth to orchestra [HEADLINE] Guest soloist Eley offered solid solos in the 'Offertory' and 'Libera me' sections. Fauré's pale, low-octane pleasantness was clearly conveyed by both vocal and instrumental forces."
Larry T. Collins,
As Soloist in Verdi's Requiem w/Burlington Choral Society c. David Neiweem:
"Orchestra, chorus and four soloists proved able to take on this large work successfully…Eley was next, using his voice to remind us of the text and of the long line of Verdi baritone and basso roles that are almost cello-like in their timbre. Audience was
Dan Wolfe, Shelburne (VT) News - April 2002
As Soloist in Mozart's "Great" Mass in c w/Camerata Singers and
"A highly respectable performance characterized by musicality and good interaction among conductor, soloists, orchestra and choir. Eley had more limited, supportive role, but performed competently."
Dan Peleg, The (
As Soloist in
"Soprano solos open and close the piece, but the bass gets even meatier parts -- most of 'Reconciliation' and the movement entitled 'The Angel of Death.' Both soloists were outstanding. There are many exquisite passages in the Fauré and once again soprano and Eley acquitted themselves admirably."
Peter Wynne, The (
As Soloist in Bach Cantatas 211 and 212 w/Westfield Bach Festival c. Edward Brewer
Cantata 211 (Coffee): "Soprano and baritone Eley made the most of the semi-staged performance. It was all sung in deliciously punchy English so there was no mistaking the byplay and the modernisms. The acting was funny and had the air of being on the spur of the moment."
Cantata 212 (Peasant): "It was grand fun…and Eley were brought back to the stage many times. Instrumentalists and singers were applauded enthusiastically. Many felt that the evening was as much pure fun as they could remember at a concert in quite awhile."
Paul Somers, Classical
As Peter in Hansel and
"Elem Eley was especially confident and strong in his role as the Father, a broomstick maker."
Nancy Plum, Town Topics -
As Marcello in La Bohème w/Athena Grand Opera c. Mark Cedel D. Stephanie Pierce:
"The voices were awesome, the sets were spectacular, the orchestra was seamless, the opera a smash. Marcello sung by Eley was quite good."
M.A. Barnes,
As Soloist in Messiah w/Pennsylvania Sinfonia c. Allan Birney:
“The singing of the four soloists is all-important, and here there was little cause to cavil. Baritone Elem Eley proved robust and dramatic. The audience was unabashedly enthusiastic.”
Philip A. Metzger, The Morning Call -
As Soloist in Britten's War Requiem w/Sioux City Symphony c. Stephen Rogers Radcliffe:
"The effort was anchored by Nassief, Osgood and Eley, who each delivered expressive as well as precise performances, particularly Eley and Osgood, who had the lion's share of the work interpreting Owen's elegant poems. Often the score skirted the high ranges for tenor and baritone voices, and the pace and tempo changed from line to line, but the two never wavered in their readings."
Judi Hazlett,
As Falke in Die Fledermaus w/Syracuse Opera c. Doris Kosloff d. Richard McKee:
“‘Fledermaus’ is perfect at ‘bat’
David Abrams,
Soloist in Mahler’s Symphony No. 8 w/Springfield Symphony c.
“The vocal forces dominate the proceedings. The three men - baritone Elem Eley - acquitted themselves well, with the lower-lying passages cutting through the sometimes dense orchestration with greatest ease.”
Larry T. Collins,
In Recital - Joy in Singing at Merkin Hall:
“Vocal richness...Not only does Eley have fine vocal resources, he has a true lieder singer’s ability to grasp the heart of his text.”
Ken Smith,
As Soloist in Dixit Dominus by Vivaldi and Handel for MusicMasters Classics c. James Litton:
“Performances by Eley are most notable for their strength, clarity and virtuosity.”
Robert Haskins, Chorus! Magazine - November 1992
In Madama Butterfly w/Hawaii Opera Theatre c. Robert LaMarchina d. Henry Akina:
“Eley’s polished, sensitive Sharpless”
Howard Driver, Opera News - July 1993
“His rich baritone is well-suited to the role and pleasant to the ear.”
Richard McKinney, (
In La Bohème at Teatro José Lúcio da Silva c. Marco Armigliato d. Giorgio Lalov:
“Eley as Marcello with a marvelous voice and good stage presence, moved well on the stage.”
Alvaro Sales Martina, Diario de Leiria (
