l'elisir d'amore, New Zealand Opera, Radio New Zealand 1 June 2018
The comedy honours probably go to Conal Coad whose visual and musical evocation of the swashbuckling fake Dr Dulcamara filled the stage.
l'elisir d'amore, New Zealand Opera, Stuff 27 June 2018
Conal Coad revels in the role of the duplicitous Dr Dulcamara.
l'elisir d'amore, New Zealand Opera, Bachtrack 24 June 2018
Conal Coad has had a 40-year career in principal bass roles and this long experience was clear in his handling of Dulcamara’s character. He employed every trick from the comic bass handbook and it worked wonderfully well.
l'elisir d'amore, NZ Herald, 1 June 2018
Conal Coad's Dulcamara is a persuasive and portly purveyor of potions, inevitably the focal point of many a frisky ensemble, with a seemingly limitless repertoire of stage business.
Katya Kabanova, New Zealand Opera, NBR NZ 22 September 2017
The acting overall lifted the whole opera - Conal Coad's comedic chops deserva a special mention.
Katya Kabanova, New Zealand Opera, Middle C NZ 7 October 2017
Conal Coad’s convincingly larger-than-life Dikój was all outward macho aggressiveness
Katya Kabanova, New Zealand Opera, Scoop Culture 10 October 2017
All round the acting and singing are very good, with great turns from Conal Coad (as Dikoj)
Billy Budd, Aldeburgh Festival, 27 June 2017
...to admire the gruff bravery of Conal Coad’s Dansker.
Billy Budd, Aldeburgh Festival, Ipswich Star 25 June 2017
...Conal Coad as Dansker adding a particularly welcome touch of humanity to the lower deck.
Turandot, Sydney Morning Herald 27 March 2016
Conal Coad raged with tender solicitousness as the ageing Timur.
Turandot, Opera on the Harbour, Simon Parris 27 April 2016
Conal Coad also gives a sympathetic performance as the fragile Timur.
Turandot, Opera on the Harbour, Talking Arts March 2016
….blind Timur (delicately played by Conal Coad)
Opera Australia, Elixir of Love, Simon Parris 22 November 2015
Treasured bass Conal Coad is in his element as the duplicitous Doctor Dulcamara, his nimble stage presence belying his many years of experience. Bringing an innate dignity to the comedy, Coad is a terrific scene partner with each of his co-stars, and, vocally, his rapid patter never fails to entertain.
Opera Australia, Elixir of Love,The Sydney Morning Herald 22 November 2015
Conal Coad was a fine and elegant Dr Dulcamara
Elixir of Love,The Culture Concept Circle November 2015
Conal Coad was as irrepressible as ever, his light hearted roguish role as Dulcamara the ‘quack’ selling pills and potions from his fabulously tricked up corrugated bright yellow truck, had everyone rolling in the aisles!
He’s a master of comedic opera, and he and Durkin have such a great rapport, their few turns together turn out to be a real treat.
The Turk In Italy, Opera Australia, Sydney Opera House
City News (Canberra) 28 January 2014
I’ve left the best for last. Conal Coad as Geronio and Emma Matthews as his fickle wife Fiorilla hold the centre of the stage throughout the evening. Whether bickering or making up, their vocal splendour is equalled by their fine voices. You could argue that Matthews takes the limelight in her insincere repentance aria towards the end of the Opera, but it is Coad as the long-suffering husband who makes us laugh, shows he is no fool and ultimately tugs at the heartstrings.
The Turk In Italy, Opera Australia, Sydney Opera House
Stage Noise 22 January 2014
'The stars in question are the indomitable Conal Coad, the magnificent Emma Matthews, the brilliant Simon Phillips, the ingenious Nick Schlieper and the incomparable Gabriela Tylesova. Each brings an extra zing to the table that has resulted in a production that would grace the stage of any company anywhere. And let's face it, if you're going to cook up a flummery such as The Turk in Italy, the vital ingredients have to be beyond first class for it to work.'
“Conal Coad is the luckless spouse, Geronio, capturing that blend of middle-aged pomposity underneath an unconvincing ginger dye-job. Coad is a master of buffo style, his gruff bass always at the service of the text and capable of some pretty nifty patter. The duet for Geronio and the Turk, where the latter attemts unsucesfully to purchase the former’s wife, is comic genius – a duel that incorporates each protagonist’s national beverage, lemons as hand weapons, ice down the pants and a soda syphon that ends up all over the hapless cocktail waiter”
(Limelight Magazine) 22 January 2014
The Turk In Italy, Opera Australia, Sydney Opera House
Sounds Like Sydney 24 January 2014
The casting is superb, with characters and voices twinned to perfection. The cast meets the demands of bel canto singing, the constant movement and the physicality of their roles with energy to spare. Emma Matthews’ voice is ravishing in her role as the fickle Fiorilla, drawn like a moth to a flame by the eminently unsuitable and shiny suited Selim, played and sung brilliantly by the visiting Italian baritone and Rossini exponent Paulo Bordogna. Conal Coad’s portrayal of Don Geronio, the discarded husband, rolls humour, humiliation and anguish into one. His rendition of the Act 2 aria Oh, guardate che accidente in which he seeks the disguised Fiorilla as she cavorts with Selim, is as poignant as they come.
The Turk In Italy, Opera Australia, Sydney Opera House
The Australian 23 January 2014
The pace, too is right. The work’s comedic peaks and dramatic troughs ideally judged. Bass Conal Coad (Geronio) excels in his fast patter singing.
Albert Herring, Opera Australia, Sydney Opera House
The Telegraph - Grant Jones (August 2013)
'Superintendant Budd, the brilliant Conal Coad, who makes the most of his Constabale Plod-like character and his distinguished bass.'
Albert Herring, Opera Australia, Sydney Opera House
The Australian - Murray Black (August 2013)
'Amid a strong cast, Conal Coad's animated Superintendant Budd stood ouot...'
Albert Herring‚ Opera Australia‚ Sydney Opera House
Limelight Magazine.com (August 2013)
'Superintendent Budd...a delightful revelation and handled with style by Conal Coad...well matched by Conal Coad’s bumbling Superintendent‚ all bluster and lack of imagination. Both actors possess the ability to fill the silences as well as the musical moments'
Don Pasquale‚ Opera Australia‚ Sydney Opera House
Crikey.com.au (July 2013)
'Conal Coad becomes the portly‚ old Don and‚ apart from his creditable‚ colourful bass baritone and surety in wrapping his tongue around comical staccato passages‚ we’re made well-aware of his acting prowess: all at once‚ we can find ourselves laughing at the buffoonish Pasquale‚ then feeling immediately guilty for being complicit in poking fun at a sensitive‚ vulnerable‚ essentially loveable septuagenarian; next thing we know‚ we want to give him a hug. In short‚ his performance is definitively charismatic'
Don Pasquale‚ Opera Australia‚ Sydney Opera House
Limelight Magazine (July 2013)
'Opera Australia veteran Conal Coad makes a highly sympathetic case for poor old Pasquale. This mild-mannered traditional gent is touchingly concerned that he will prove too elderly to go a-wooing and conveys with tasteful subtlety a comical fear that his potency might be in doubt. His fluttering hands‚ forever trying to tame his ludicrous toupée‚ and his hangdog weariness in the second half captures the full pathos of the wannabe roué. Vocally he is on the money too displaying a firm buffo bass that belies the quivering jowls'
Don Pasquale‚ Opera Australia‚ Sydney Opera House
Sounds Like Sydney.com.au (July 2013)
'A superb cast has been assembled. Conal Coad sings the title role with a natural flair for comedy. His rich bass voice is ideal for the role and his physical appearance and relaxed stage presence present the buffo character as humorous but sympathetic. One of the delights of the production is the spontaneous interaction between Coad and Rachelle Durkin’s Norina'
Don Pasquale‚ Opera Australia‚ Sydney Opera House
Sydney Morning Herald (July 2013)
'As Don Pasquale‚ Conal Coad presents a character both delightfully ridiculous yet painfully vulnerable as he begins to comprehend his folly. It is the Don’s capacity to forgive that elevates the action beyond mere commedia-style buffoonery. The Act 3 scene in which Norina slaps Don Pasquale is the turning point at which the humanity of these characters emerges from the stereotypes of the earlier scenes. Coad’s consummate artistry was evident as much in his delivery of rapid patter songs as it was in his ability to find the exact vocal colour to match the emotional roller-coaster of the Don’s hapless ambition'
Don Pasquale‚ Opera Australia‚ Sydney Opera House
The Australian (July 2013)
'As the blustering Don Pasquale‚ bass Conal Coad was superb. He maintained a focused‚ dark-hued timbre‚ but his voice was nimble and flexible enough to capture his exasperation in being outwitted at every turn'
The Bartered Bride‚ New Zealand Opera
Opera (January 2013)
'Kecal‚ now a bullying mayor with two enforcers‚ was the ever-reliable but ever-fresh Conal Coad'
The Bartered Bride‚ New Zealand Opera
NZ Listener (October 2012)
'Conal Coad is comic‚ pompous and vocally a delight'
The Bartered Bride‚ New Zealand Opera
LiveNews.co.nz (September 2012)
'The local power is personified in the marriage broker‚ Kecal – played by New Zealand bass Conal Coad. The character is a pivotal piece in The Bartered Bride and Conal Coad plays it wonderfully‚ commanding centre-stage with his delivery of deep brooding bass notes‚ and connecting to the audience with his comic-timing'
The Bartered Bride‚ New Zealand Opera
Opera Critic.com (September 2012)
'Conal Coad is a rather likeable rogue as the mayor and marriage broker Kecal. This updated production perhaps demands a more authoritarian portrayal‚ but Coad nevertheless uses all his vocal and acting abilities to create a thoroughly enjoyable character'
Don Giovanni‚ Opera Australia DVD
SuperConductor (July 2012)
'Leporello remains the most interesting role in this opera. Here‚ Conal Coad plays the faithful servant as much older and more experienced than his master‚ as the weary caretaker instead of an eager apprentice. His baritone is much crisper than Mr. Rhodes‚ with razor-sharp diction that makes the "Catalogue Song" a first-act highlight'
A Midsummer Night’s Dream‚ Opera Australia
Theatre People.com.au (June 2012)
'A stand out performance is delivered from the "rustics" lead by a powerhouse and stupendous performance by the larger than life Conal Coad as Bottom‚ the weaver. It was his towering ego and titanic performance that was a stand out for the opera and an instant crowd hit‚ the stand out scenes being both the rustics "play within the play" (or "opera within the opera" as your tastes dictate) which was a bombastic and hilarious satire of the art form of opera itself. The other stand out scene was Coad’s ?Bottom ?being transformed into an ’anatomically correct’ mule. This was a hilarious and beautifully imagined segment‚ brought to full fruition by Coad who was crude‚ rude‚ monstrous and utterly brilliant'
Le Nozze di Figaro‚ Opera Australia‚ Sydney Opera House
Opera (May 2012)
'Dr Bartolo and Marcellina were in the safest of safe hands - Conal Coad and Jacqueline Dark'
The Barber of Seville‚ Opera Australia
Arts Hub (May 2012)
'...The doctor’s sometime accomplice‚ Don Basilio‚ is played with deliciously bumbling self-interest by Conal Coad...'
Le Nozze di Figaro‚ Opera Australia‚ Sydney Opera House
Limelight (February 2012)
'The performers dive in with tremendous enthusiasm...a magnificent supporting cast. Conal Coad’s ailing curmudgeon of a Dr Bartolo is a masterpiece replete with wheeled walking frame and portable oxygen cylinder‚ great gulps of which are required to complete the da capo of his vengeance aria'
Le Nozze di Figaro‚ Opera Australia‚ Sydney Opera House
The Australia (February 2012)
'...stand-out performance from Conal Coad’s Bartolo'
Don Giovanni‚ Opera Australia‚ Sydney Opera House
Curtain Call (October 2011)
'...Conal Coad picks up on the comic promise of the situation immediately and instinctively; we’re primed for laughing and nary a word has been sung. There he is‚ an operatic clown‚ the stage equivalent of Oliver Hardy or some such. And when he opens his mouth‚ out pours this thundering bass‚ very much in keeping with the drama written into the score. His Leporello is lovable rotund teddy bear‚ horribly exploited by his master‚ but no less worthy of affection for his pathetic loyalty. A kind of Sergeant Schultz...Moreover‚ Coad and Rhodes are such an inspired double-act‚ as master and servant‚ it’s hard for anyone else to command attention'
Don Giovanni‚ Opera Australia‚ Sydney Opera House
Opera Insider Australia (October 2011)
'...his side-kick in his sexual misdemeanours‚ Leporello was sung by Conal Coad‚ now a veteran of buffo roles who delivered as fine as a Leporello as you will hear or see'
Capriccio‚ Opera Australia
Crikey.com (July 2011)
'Conal Coad is factory-fitted with the fulsome ebullience one imagines of La Roche‚ the self-aggrandising impresario‚ producer and director. Here‚ in prophetic‚ living colour is the Cam Mackintosh of the day'
Capriccio‚ Opera Australia
Opera Insider Australia (July 2011)
'Enter stage left‚ the rambuctious theatre impresario‚ La Roche‚ superbly characterised by Australian international bass Conal Coad. Portraying his boisterous character with exuberance'
Capriccio‚ Opera Australia
Sydney Morning Herald (July 2011)
'Conal Coad balanced the bluff pragmatics‚ the humanising generosity and the all-conquering hubris of the Impresario/Director‚ La Roche‚ with droll urbanity'
A Midsummer Night’s Dream‚ Opera Australia Melbourne
Curtain Call (December 2010)
'And Conal Coad‚ as the buxom Bottom‚ steals the show along with his merry band of Rustics (those scenes are really funny)'
A Midsummer Night’s Dream‚ Opera Australia Melbourne
Herald Sun (December 2010)
'Top performances‚ particularly from Conal Coad as Bottom‚ Tobias Cole as the fairy king Oberon‚ and Lorina Gore as his queen Tytania‚ give this show real magic'
A Midsummer Night’s Dream‚ Opera Australia Melbourne
The Age.com.au (December 2010)
'Conal Coad as Bottom and Graeme Macfarlane as Flute were inspired'
Le Nozze di Figaro‚ Garsington Opera
MusicalCriticism.com (July 2010)
'Conal Coad as Dr Bartolo‚ who relished his showpiece aria ’La Vendetta’‚ and who underpinned all his ensemble pieces with a sonorous bass line'
Le Nozze di Figaro‚ Garsington Opera
Stage (June 2010)
'Jean Rigby and Conal Coad bring a whiff of (classy) pantomime to the roles of Marcellina and Dr Bartolo'
Le Nozze di Figaro‚ Garsington Opera
The Arts Desk.com (June 2010)
'Conal Coad’s Doctor Bartolo delivered some lovely low sounds‚ full and clean‚ through passages of pianissimo and forte'
A Midsummer Night’s Dream‚ Opera Australia‚ Sydney Opera House
Opera Critic.com (February 2010)
'Conal Coad leads the Rustics as a preening Bottom‚ relishing the character’s asinine antics with resounding vocal flamboyance...The men save their best tricks for the Pyramus and Thisbe scene‚ where Andrew Moran’s mincing Moonshine‚ Coad’s wayward wig and Smith’s clumsy pirouettes and lace knickers conspire to form the evening’s comic climax'
A Midsummer Night’s Dream‚ Opera Australia‚ Sydney Opera House
Sydney Morning Herald (February 2010)
'Leading the mechanicals‚ Conal Coad is artfully unsubtle as Bottom and in the play within a play‚ which Britten turns into a parody of Italian opera‚ he sings the impassioned bell canto satire so well‚ one almost forgets it is a send-up'
A Midsummer Night’s Dream‚ Opera Australia‚ Sydney Opera House
Sydney Sun Herald (February 2010)
'Conal Coad is hilarious as Bottom. He keeps the audience giggling as Tytania falls lustily in love with him after he’s transformed into a donkey with a stupendous member. He excels when Bottom plays the hapless Pyramus‚ bravely trying to woo his Thisbe while struggling to prevent his mini-toga from revealing his whopping underpants'
The Italian Girl in Algiers‚ Opera New Zealand
Opera (October 2009)
'Mustafa was a much more experienced Kiwi‚ Conal Coad‚ enjoying every opportunity Rossini offered'
Fidelio‚ Opera Australia
OperaCritic.com (August 2009)
'Conal Coad brings his characteristic mix of wit‚ warmth and sonorous‚ stylish singing to Rocco‚ the flawed but goodhearted jailer'
The Italian Girl in Algiers‚ Opera New Zealand
"Middle C" Electronic Classical Music Reviews (May 2009)
'"...Then (c.1700) there were no Human Rights Commissions to object to stereotyping and ridiculing of a religious community. And‚ so a Muslim Leader could be pilloried for behaviour considered not comme il faut by polite European Society of the time.
The secret of such comedy was fully understood by Conal Coad who took the part of Mustafa‚ the Bey of Algiers (Governor of the Ottoman province). He has shortcomings in Western eyes ‚ and these are mocked by presenting him without the stock gestures of cheap farce. Coad knows that comedy depends on adopting an outwardly serious demeanour‚ with careful limits to stock comedic gestures‚ allowing pomposity and lack of self-awareness to be observed rather than drawn crassly to our attention. Thus his every movement was pregnant with satire or self-evident foolishness; and his very presence on stage caused smiles: he was the essential focus of the comedy‚ and he triumphed...'
The Italian Girl in Algiers‚ Opera New Zealand
National Business Review (May 2009)
'Conal Coad gives a well-crafted performance as Mustafa. The role can be easily overplayed as a buffoon but Coad gives the part a nice mix of self centered‚ randy‚ boor and flashy egoist‚ his voice alternating between the outlandish and the charming'
The Italian Girl in Algiers‚ Opera New Zealand
The Dominion Post‚ NZ (May 2009)
'Rossini could have created the role of Mustafa for Conal Coad‚ the quintessential basso buffo‚ and he plays the part to the hilt'
The Italian Girl in Algiers‚ Opera New Zealand
Theatrereview.org.nz (May 2009)
'Conal Coad is brilliantly blustery in the basso buffo role of Mustafa‚ eliciting many a laugh from the delighted audience'
The Italian Girl in Algiers‚ Opera New Zealand
Wellington Dominion (May 2009)
'...supremely polished endlessly effervescent production. Rossini could have created the role of Mustafa for Conal Coad‚ the quintessential basso buffo‚ and he plays the part to the hilt...'
The Marriage of Figaro‚ West Australian Opera
West Australian.co.au (March 2009)
'Conal Coad‚ the only non-West Australian‚ delivered a full-throated‚ comic Bartolo'
Il Matrimonio Segreto‚ Brooklyn Academy of Music, New York
ConcertoNet.com (May 2008)
'Conal Coad is befuddled‚ portly‚ very much the classical dodderer‚ but has a rich basso buffa when he gets angry (which is often).'
Il Matrimonio Segreto‚ Brooklyn Academy of Music, New York
The New York Times (May 2008)
'The opening duet for Paolino (Chad A. Johnson‚ a boyish and sweet-voiced tenor) and Carolina (the lovely‚ warm-toned soprano Heidi Stober) is tender and lyrically beguiling. Cimarosa’s skill at writing arias free from the conventional strictures of the form comes through in Geronimo’s “Che saltino i dinari‚” which stopped the show at the opera’s premiere. As this wily man (the husky bass Conal Coad‚ excellent at deadpan comedy) fantasizes about the prospect that his Elisetta (the bright soprano Georgia Jarman ) might marry a count‚ he goes through states of glee‚ avarice‚ determination and anxiety. Each mood swing is driven by pronounced shifts in the music’s rhythmic content‚ vocal delivery and melodic turns.'
Il Barbiere di Siviglia‚ Opera Australia
The Opera Critic (July 2007)
'Coad was a brilliantly comic Don Baslilio‚ his bass voice crackling with character.'
Don Pasquale‚ New Zealand Opera
NZ Opera News (October 2006)
'As a director Coad has proved himself with this show and has put his long experience as a singer to masterly use.'
Don Pasquale‚ New Zealand Opera
Opera Opera (October 2006)
'The show really belonged to bass Conal Coad. Not only did he take this role with hilarious aplomb‚ but he also directed.'
Don Pasquale‚ New Zealand Opera
Greymouth Star (September 2006)
'Conal Coad (also director) demonstrated his might in the role of the portly Don Pasquale‚ providing brilliantly times quips and trips to the buffoonery of the old uncle. His voice soared above the orchestra (and audience)‚ anchoring the piece in as tight a performance as could ever be achieved.'
Don Pasquale‚ New Zealand Opera
Hawkes Bay Today (September 2006)
'Conal Coad as Don Pasquale (and also the director) is brilliant.
Don Pasquale‚ New Zealand Opera
Manawatu Standard (September 2006)
'Conal Coad‚ fresh from playing the role in Europe is a brilliant Pasquale. He completely fills the stage with magnificent voice and a marvellous character.'
Don Pasquale‚ New Zealand Opera
Taranaki Daily News (September 2006)
'For Conal Coad it was a personal triumph because he worked on the score as well as directing and singing the title role. As the aging‚ would-be lover he has most of the fun lines and is central to the action with the wit‚ acting talent and quite majestic voice to squeeze out each last drop of humour.'
Don Pasquale‚ New Zealand Opera
Dominion Post (August 2006)
'Conal Coad‚ s Don Pasquale‚ is as close to perfection as one could imagine. The part was made for him. With his sonorous voice and his sense of comic timing‚ the character comes alive without more exaggeration than necessary.'
Don Pasquale‚ New Zealand Opera
New Zealand Herald (August 2006)
'Conal Coad’s singing was one of the prize gems.'
Don Pasquale‚ New Zealand Opera
The Opera Critic (August 2006)
'Conal Coad’s simple yet elegant production updates the work to the turn of the 20th century. Coad’s direction ensures that the comedy is well served‚ while never resorting to over the top theatricals and he is certainly helped by an ensemble of singers who throw themselves into the opera wholeheartedly. Heading the cast is Coad himself as the buffoon Don Pasquale. His carefully manicured interpretation makes him a very likeable character‚ and ultimately one feels sorry for the way Norina treats him. It is a role that he sings with feeling and finesse and acts sympathetically without hamming up his performance excessively.'
Romeo et Juliette‚ Opera Australia
Sydney Morning Herald (October 2005)
'Conal Coad’s tone as Friar Lawrence is unctuously fulsome.'
Don Giovanni‚ New Zealand Opera
National Business Review (July 2005)
'Singing Leporello‚ Conal Coad was masterly in his presentation of Don Giovanni’s bumbling sidekick... his acting and singing were exemplary. Throughout the opera he gave an insight into the complex character‚ torn between a desire to be a gentleman himself and the perverse fascination with documenting his master’s
career as a serial seducer.'
Don Giovanni‚ New Zealand Opera
Dominion Post (June 2005)
'Thankfully‚ this production is blessed with a Leporello of superb vocal ability and a fine balance between the serious and comedic. Conal Coad could steal the show‚ but balances perfectly with his Don. But it is his masterly grasp of Mozart style that is most impressive.'
Don Giovanni‚ Perth
Opera Opera (June 2005)
'Conal Coad seemed tailor made for his role as Leporello. His subtlety of gesture‚ his wonderful ability to move‚ as slippery as a snake‚ his deft control of comic situation all combined to make his one of the most memorable Leporellos I can recall.'
Norma‚ Opera Holland Park, London
Observer (June 2004)
'Conal Coad is a commanding Oroveso.'
Fidelio‚ Opera Holland Park, London
Opera (June 2003)
'Conal Coad’s warmly-sung Rocco convincingly encompassed the serious and comic sides of the character.'
Fidelio‚ Opera Holland Park, London
Sunday Telegraph (June 2003)
'Conal Coad was a powerful Rocco.'
As Dr Bartolo‚ Coad integrates singing with gestures so that the ludicrous is at once funny and touching. His bass touches bottom as surely as it does our hearts.'
CONAL COAD