Moby Dick at the Metropolitan Opera
“Also impressive was the tenor Stephen Costello, who originated the role of the innocent Greenhorn at the opera’s premiere. Fifteen years later his lyric tenor has grown and now has a clarion power while maintaining a youthful freshness. He’s most moving in duet with the harpooner Queequeg”
“Speaking of great instruments, Stephen Costello had a stellar night… From the offset, his voice had a purity to it, an elegance in its phrasing. He was a perfect contrast to Ahab’s rugged and abrasive nature, vocally embodying an innocent man. It was also a perfect complement to the roughed edge in Ryan Speedo Green’s bass-baritone. Somehow, the two men managed to blend their instruments beautifully in their duets, adding to the unity of their burgeoning friendship. Costello gets a number of arias throughout the opera, but by far his most impassioned moment came after the death of his friend, the voice pushed to the opposite extremes. From gentle whimpers of sadness to full-on explosions of sound to express the character’s confusion and pain. The tenor was at his most dynamic here. The opera ends with Greenhorn being rescued at sea. In these final moments, the character’s line is as delicate as it gets. You could feel the lament, the sense of loss encountered throughout the opera in his soft delivery. A true tour-de-force interpretation for the tenor.”
Operawire
“…tenor Stephen Costello was a plangent Greenhorn”
The New York Times
“The only Met cast member who has been with the opera from the beginning is tenor Stephen Costello, who gives one of the performances of his career as Greenhorn/Ishmael in this opera.”
Financial Times
“…Stephen Costello, who sings with his accustomed professionalism, and with the gleam of his lyric tenor absolutely intact.”
Musical America