Reviews
The Pirates of Penzance, Kentucky Opera
As the young lovers Frederic and Mabel, Martin Bakari and Studio Artist Brennan Blankenship were charming and sang with robust tones.
- Jeanne-Marie Rogers, Arts-Louisville 2/17/2024
Das Rheingold, Seattle Opera
Returning artists Frederick Ballentine, Michael Mayes, and Martin Bakari gave impressive performances. Bakari made the most of the relatively small but pivotal role of Mime, cowering from his vicious brother, but adding subtle hints of his shrewd ability to fend for himself. He sang with appropriately Mime-like tones, never wavering, and piquing one’s curiosity as to his potential rendering of the character in the third Ring opera, Siegfried.
- Erica Miner, Broadway World 8/13/2023
A Thousand Splendid Suns, Seattle Opera
Multiple roles were well sung by tenor Martin Bakari…
- Mark Mandel, Opera News 6/2023
The Pirates of Penzance, Virginia Opera
...the tenor shaped his Act I aria sensitively and hit an even sweeter spot in the sublime duet “Ah, Leave Me Not to Pine.”
- Tim Smith, Opera News 11/2022
Archimedes, Neuma Records
The narrator is the Roman consul Marcellus, superbly taken by Martin Bakari…All credit is due to tenor Martin Bakari for his narration here; it is absolutely gripping, delivered in a fearsomely powerful voice.
- Colin Clarke, Fanfare Magazine 11/2022
Le nozze di Figaro, Seattle Opera
Bakari’s Basilio stood out both comedically and vocally…when he was active onstage he commanded attention with his riotous horseplay, as exaggerated as successful comedy can be, never failing to entertain.
- Erica Miner, Broadway World 5/8/2022
The Cartography Project, Washington National Opera/The Kennedy Center
Tenor Martin Bakari is now permanently pinned to my map.
- Michael Andor Brodeur, The Washington Post 3/16/2022
Madama Butterfly, Dallas Opera
As the marriage broker Goro, Bakari provides much of the comic relief early in the show, singing with a voice as sickly sweet as honey and sprightly as a sprite.
- Zac Thriffiley, Broadway World 2/19/2022
Becoming Santa Claus, Chicago Opera Theater
As Prince Claus, Martin Bakari displayed a fluid, brightly-hued tenor that rang tellingly in declamatory passages and boasted an attractive floating quality above the staff.
- Mark Thomas Ketterson, Opera News 12/11/2021
An altogether ideal performance by tenor Martin Bakari.
- Hedy Weiss, WTTW PBS Chicago 12/13/2021
Tenor Martin Bakari led the cast as Prince Claus, his golden-hued, springy tenor and snappy diction perfectly capturing the petulance of the boy. Particularly impressive was how he negotiated the rapid coloratura and large vocal leaps.
- Katherine Buzard, Chicago Classical Review 12/18/2021
Yoshida-Nelson and Bakari, both seasoned artists making their COT debuts, offer nothing less than perfection in their operatic interpretations of a tempestuous mother and sullen teenage son at loggerheads. Adamo describes queen and prince as brittle and aristocratic characters who thrive on the “rococo vocal filigrees” he especially enjoyed writing for them. And of course Bakari, a charismatic, golden tenor, and Yoshida-Nelson, a poignant, powerhouse of a mezzo, carry it off beautifully.
- Fran Zell, Splash Magazines 12/14/2021
Charlie Parker’s Yardbird, Pittsburgh Opera
Martin Bakari captured the genius, lost soul and lover in Parker. His is a golden, lyric tenor that was shown to its best advantage in an epilogue that begins with the words ‘I know why the caged bird sings’, a line from Paul Laurence Dunbar’s poem ‘Sympathy’.
- Rick Perdian, Seen and Heard International 4/26/2021
Bakari tackles the taxing marathon role of “Bird” without missing a beat. The music by Daniel Schnyder requires the tenor to hit the rafters regularly – in this case, all while wearing a mask.
- Tyler Dague, Pittsburgh Post-Gazette 4/11/2021
Tenor Martin Bakari tossed off the lengthy and trying passages of Charlie with abandon and seemingly with ease. The score is an almost unrelenting rollercoaster ride for the tenor, but he was able to deliver the final passage, “I know why the caged bird sings,” the last stanza of Paul Laurence Dunbar’s “Sympathy,” with a tender freshness of voice surprising after such a test of endurance.
- George B. Parous, Pittsburgh in the Round 4/15/2021
Solo Recital, Portland Opera
When Bakari jumps the octave on “O bien aimée” it’s impossible not to swoon a little. Fauré’s “Adieu” is equally affecting, Bakari’s gaze serenely focused on the final farewell. We see that Bakari is not only a beautiful singer: he is also a deft actor.
- Max Taponga, Oregon Artswatch 1/13/2021
Così fan tutte, Syracuse Opera
Bakari’s engaging acting and melodious tenor make for an entrancing performance. As Ferrando, his first act aria “Un’aura amorosa” is a brilliant outpouring of his devotion to Dorabella.
- Linda Loomis, Syracuse Post-Standard 10/19/2019
In the Penal Colony (Glass), Portland Opera
Tenor Martin Bakari was clear, calm, objective, and in beautiful voice as The Visitor.
- Charles Shere, San Francisco Classical Voice 7/30/2019
Murasaki’s Moon, On Site Opera/The Metropolitan Museum of Art (NYC)
As Genji, the charismatic tenor Martin Bakari sang with well-shaded vibrato and supple diction that also had a distinct Broadway flavor.
- Maria Mazzaro, Opera News 5/17/2019
Martin Bakari’s Genji, both imp and rogue, nonchalantly toted a large sack of fans that he had collected from women he had seduced. His burnished tenor was as endearing as his charm. I’ve heard Bakari on several occasions, and he is a wonderful performer who always delivers.
- Rick Perdian, Seen and Heard International 5/22/2019
Tenor Martin Bakari made an amusingly arrogant Genji.
- Heidi Waleson, Wall Street Journal 5/20/2019
With a burnished golden tenor and a glint in his eye, Martin Bakari gave us Genji-as-savior.
- Jon Sobel, BlogCritics 5/26/2019
…the irresistible tenor Martin Bakari…
- Susan Brodie, Classical Voice America 5/23/2019
Ms. Choi and Mr. Bakari dove deep into their characters, finding real weight in the moment where Murasaki finds her way to a story's end and redemption in the moment where the cad comes back. The singers moved and swirled in their finery, arching over a nimble score that combined the voices of eastern and western instruments to create minimal pulse, kinetic rhythms and always, strong support for the voices of the two leads.
- Paul J. Pelkonen, Superconductor 5/19/2019
Martin Bakari gave a brash and aggressive portrayal of Genji, bringing a powerful, bright tenor to match his character’s devil-may-care attitude. He underwent a moving transformation, discovering that he is not fulfilled by his affairs and beginning to understand the harm he has done along the way.
- Eric C. Simpson, New York Classical Review 5/18/2019
Porgy & Bess, Fort Worth Opera
The street vendors were exceptionally well sung by Martin Bakari…
- Jonathan Pell, Opera News 5/2019
Charlie Parker’s Yardbird (Schnyder), Atlanta Opera
(The title role) was convincingly sung and acted by Martin Bakari.
- Mark Gresham, ArtsATL 10/2/2018
Morning Star (Gordon), On Site Opera
Martin Bakari was especially memorable among the supporting cast as Prince, an all-purpose street vendor, with his muscular tenor and confident bearing.
- Eric C. Simpson, New York Classical Review 3/22/2018
The supporting cast was also good, with special kudos to Martin Bakari for a charismatic portrayal of Prince, the deli-man.
- Arlo McKinnon, Opera News 3/21/2018
George London Competition Finals Concert
Tenor Martin Bakari gave an expressive performance of "Un'aura amorosa", Ferrando's aria from Mozart's Cosi fan tutte. His tone is sweet and his pacing was perfect.
- Meche Kroop, Voce di Meche 2/17/2018
Bakari displayed a confident approach and pliant tenor in “Un’aura amorosa” from Così fan tutte.
- Eric C. Simpson, New York Classical Review 2/17/2018
The Difficulty of Crossing a Field / The Little Match Girl Passion (Lang), Portland Opera
Vocal standouts included... tenor Martin Bakari, who has a compelling silvery tone, navigates easily through the entire tenor range, and has a voice that carries easily through the hall.
- Bruce & Daryl Browne, Oregon ArtsWatch 8/2017
Tenor Martin Bakari was similarly vivid and eloquent as slave boy Sam, commanding a wide dynamic range and an even singing line.
- Mark Mandel, Opera News 10/2017
Dowson Songs (Smirnov), Naxos Records
Martin Bakari has a soulful quality to his pulsing, consistent tenor, and he seems to have a direct line into the emotional content of the songs. His renditions make a powerful impact, and he gives each number the shape the composer clearly wants. In the concluding 'A land of Silence', he manages a lovely floating tone as the melody maneuvers up to a high C, and his sound is thrilling at several musical climaxes.
- Joshua Rosenblum, Opera News 5/2017
Bakari sings with great expressiveness and sounds effortless above the staff; in the concluding 'Land of Silence' he hovers around high C. Texts are supplied, but Bakari's diction is so clear that they are hardly needed.
- Robert A. Moore, American Record Guide 3/2017
The Summer King (Sonenberg), Pittsburgh Opera
Perhaps the best thing about the opera was the opportunity to hear a lot of excellent young black singers, particularly Kenneth Kellogg, moving as Josh's closest friend, Sam Bankhead, and Phillip Gay and Martin Bakari, who both played multiple roles.
- Heidi Waleson, Wall Street Journal 5/10/2017
Multiple smaller parts were handled with expertise by tenors Martin Bakari, Norman Shankle, and Raymond Very...
- Robert Croan, Opera News 7/2017
The Long Walk (Beck), Utah Opera
Christian Sanders, Martin Bakari and Matthew Scollin, playing Brian's comrades, were outstanding dramatically as well as vocally…
- Catherine Reese Newton, Salt Lake Tribune 4/3/2017
Il postino, Opera Saratoga
But the most genuinely emotional moment caused by Catán's music itself proved the folkish a cappella song memorably etched by Martin Bakari, again convincing as an older man: here, Mario's widowed father.
- David Shengold, Opera News 10/2016
Le nozze di Figaro, Opera Saratoga
But the closest approximation of a real human being came from Martin Bakari's communicative, legato-based Basilio.
- David Shengold, Opera News 10/2016
Roméo et Juliette, Opera Carolina
Baritone Andrew McLaughlin’s bronze-voiced Grégorio and tenor Martin Bakari’s live-wire Benvolio were vibrant characterizations, the latter’s singing of 'Sa blessure est mortelle!' in the Act Three finale escalating the tension of the scene.
- Joseph Newsome, Voix des Arts 2/1/2016
The Cunning Little Vixen, Juilliard Opera
Martin Bakari was vocally charismatic as the Schoolmaster, who mistakes the Vixen for Terynka, the local girl he is in love with (and who is engaged to Harasta)…
- Joshua Rosenblum, Opera News 7/2013
Trois Opéras-Minutes, Tanglewood Music Center
Martin Bakari's golden tenor enriched each of the three operas, coming center stage as Jupiter-Taurin in Europe and later on, in Ariane, as Thésée.
- Hilary Somers Deely, Opera News 10/2011
Full Moon in March (Harbison), The Festival of Contemporary Music at Tanglewood
But it has plenty of high tension and occasionally melodic vocal writing, which Sarah Nisbett, as the Queen; Shea Owens, as the Swineherd; and Adrienne Pardee and Martin Bakari mastered completely.
- Allan Kozinn, The New York Times 8/17/2010
Bakari admirably roamed ever so smoothly from his normal tessitura to falsetto without a break.
- Mary Wallace Davidson, The Boston Musical Intelligencer 8/17/2010
Competition Grand Finals Concert, Palm Beach Opera
In the junior division, the velvety light tenor hues, superb control and resounding high tones of Martin Bakari garnered the $5,000 second prize with 'Spirto gentil' from Donizetti’s La favorita.
- Lawrence Budmen, South Florida Classical Review 4/26/2010