RING DER NIBELUNGEN, Bayreuth Festspiele
But Varnay does like some of what she hears. "I listened very intensely to the Bayreuth Ring this year because of Alan Titus, who sang Wotan. This was very much to my liking. This is a Wotan that sings, that has a real bel canto in it, but which also inflects the words importantly. His German has become completely idiomatic, without compromising the wonderful technique he has. If you mix the technique of Italy with the technique of Germany you will have the best vocal placement. The Italian way can be strident; the German way can be guttural. What you are after is a perfect quality which holds."
Boston Globe August 12, 2000
Bayreuth is at least fortunate in its Wotan; Alan Tius gathzered chommand and confidence with every appearance.
The New York Times August 3, 2000
FRAU OHNE SCHATTEN, Staatsoper München
"Alan Titus – the American who in his adopted country Germany has established himself as a first-rate singer of Wagner and Strauss – makes Barak even more intensive and humanly touching than in the Japanese premiere of this production in 1992."
Münchner Abendzeitung, September 25, 1999
SIEGFRIED, Opera di Roma
"Superlativo il Wotan di Alan Titus con la nobilità che cisi aspetta da un Dio, anche quando si scopre perdente".
La Republica, 6.3.2000
"Sentimenti che scofiggeranno il potere di Wotan, realizzato a tutto tondo dal basso Alan Titus."
L’Unità, 9.3.2000
"Alan Titus, esordiente ne ruolo del Viadante (che sosterrà anche a Bayreuth), ha seibito una spiccata nobiltá di fraseggio, una dizione charissima, un declamato scolpito con accenti drammatici moro incisivi."
Corriere Della Sera. 8.3.2000
DER FLIEGENDE HOLLÄNDER, Bayreuther Festspiele
Bayreuther Festspiele, DER FLIEGENDE HOLLÄNDER "With his powerful baritone, Alan Titus in the title role (note: Der fliegende Holländer, Bayreuth Festival 1999) convinces as the extraterrestrial memorial of suffering."
Abendzeitung München, July 1999
"Alan Titus, the Wotan 2000, is almost too forceful for the title role with his thundering baritone, before finally gaining control of his part in a truly impressive manner." (Note: Der fliegende Holländer, Bayreuth Festival 1998)
Abendzeitung München, July 27, 1998
"From a musical point of view, the revival has gained something.... now with Alan Titus in the title part (note: Der fliegende Holländer, Bayreuth Festival 1998). Promising from the very start, he developed the monologue from bland speech-song and fascinated with his lovely, full baritone that bears witness to his lyrical past."
Münchner Merkur, July 27, 1998
"Alan Titus as the Dutchman is a dark, threatening Nosferatu with a magnificent voice"
Süddeutsche Zeitung, July 1998
Falstaff, Staatsoper Hamburg
".. (Alan Titus made a dazzling debut in the part...) In any case, clever Alan Titus in the title part does not portray the corpulent hero as a senile Don Juan or addicted philanderer, but fully stands his ground vocally. The agility and nimbleness of his acting predestines Alan Titus for the role of the magnanimous Satan of mattresses just as much as for the part of the paralysed hero."
Frankfurter Rundschau, June 17, 1997
"... Thanks to Alan Titus in the title part, the evening eventually developed into one big performance of an excellent clown. With fine dramatic nuances, laying it on thick, he trotted over the stage like a good-natured stallion, pawing the ground, flaunting his beautiful costume in a charmingly vain manner, and would most certainly have caused a sensation even without his monstrous pot-belly."
Opernglas, August 7, 1997
"On the other hand, standing ovations for Marelli and Alan Titus, an epitome of temperament and vocal strength which he used ruthlessly, but always bearing in mind the effect of the sounds at his disposition.... With this part, Titus has matured to one of the top singer/actors of our time."
Opernglas, August 7, 1997
"This is mainly due to the ravishing Sir John Falstaff sung by Alan Titus, whose pleasant baritone did full justice to the part. Already at the beginning, when he delegates his helpers as a heavy, grumbling drinking mate, but also later, as a light-footed, nimble suitor, Titus pulled out all the stops of his dramatic abilities."
Orpheus, August 1997
FRAU OHNE SCHATTEN, Berlin Deutsche Oper
" But Alan Titus and Christian Thielemann succeeded in presenting a rarely beautiful and heartfelt performance: The music around Barak the dyer was never meant to be kitshy and sweetly mild. Thielemann believes in this kind of art and made it purely expressive.... The audience at the premiere listened as solemnly as if they were in church."
Joachim Kaiser, Süddeutsche Zeitung, September 20, 1998
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