Joseph Wright
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Malcolm X
Malcolm X
Dutchman
The Flying Dutchman
Count di Luna
Count Di Luna
Papageno
Papageno
Escamillo
Escamillo
Silvio
Silvio
“And it's hard to believe that there could be a more testosterone-fueled Escamillo than was sung by baritone Joseph Wright. Wright proved an incandescent stage presence, and his booming voice did not disappoint.”
(Edward Ortiz, Sacramento Bee, February 26, 2006)
“The star of the show, though, was the outlandishly gifted baritone Joseph Wright in the title role, whose impersonation of Malcolm X was a tour de force of musical and theatrical authority. His voice is large and superbly controlled, and he leavened his steely charisma with a glimpse of the man beneath the public exterior.”
(Joshua Kosman, SF Chronicle, June 6, 2006)

 “As Count Ankarstoem (Renato), Joseph Wright sang beautifully and exhibited a noble, magnetic presence.”
(Jason Victor Serinus, Opera News.com, February 2006)

 “Joseph Wright took charge as John Proctor, replete with his familiar stage dignity and compelling baritone.”
(Scott MacClelland, Metro Silicon Valley, September 14, 2005)

“…an opera lives or dies on the quality of the music and vocal performances.  With the cast I saw led by the magnificent Joseph Wright in the title role [the Dutchman], both in voice and presence, Mr. Wright steps into the Wagnerian role with charismatic assurance, his powerful, liquid baritone sound filling the house with beauty and passion."
(Paul Myrvold , Out & About – The Valley, May 2005)

 “As the Dutchman, was the formidable Joseph Wright, whose powerful, deep baritone was consistently conveyed with aristocratic bearing.  The second-act duet [with Senta] sizzled with chemical energy and smoldering intensity.”
(Scott MacClelland, Metro Silicon Valley, April 13, 2005)

 “As the braggart bullfighter Escamillo, Joseph Wright lent clarion vitality to the “Toreador Song” and cut a fine enough figure to make us believe, for once, that a savvy gal like Carmen could actually fall for this macho blowhard.”
(Kip Cranna, San Francisco Classical Voice, February 8, 2005)

  “…in the second act, the orchestra created a zinging set-up for baritone Joseph Wright’s entrance as Escamillo, the bullfighter who steals Carmen from Don Jose.  Wright, with gleeful hand claps, made it fresh, made it sizzle…and Wright sang it with authority and verve.” 
(Richard Scheinin, San Jose Mercury News, February 7, 2005)
 
…when Joseph Wright appeared as the evil Scarpia; the drama suddenly intensified.  Wright etched a compelling character with cruel authority.”
(Scott MacClelland, Metro Silicon Valley, November 11, 2004)
 
“The opening night cast was superb. As Figaro, Joseph Wright brings his considerable charm, good looks and gorgeous baritone voice to make he quicksilver factotum come alive.  Together, [with Sandra Rubalcava as Susanna] their utterly believable, playfully easy relationship, superb singing and spontaneity form the foundation of the evening’s delights.”
(Paul Myrvold, Out & About – The Valley, October 2004)
 
“Out stepped Figaro, sung by Joseph Wright, whose rich, booming baritone finally has a hall commodious enough to handle it.  These two [with Sandra Rubalcava as Susanna] are terrific comic actors, conveying the joy, anguish and hormonal escalation of young lovers.”
(Richard Scheinin, San Jose Mercury News, September 21, 2004)
 
“Joseph Wright’s Figaro stood out; a warm, sonorous baritone, a voice used with discretion and finesse.”
(Janos Gereben, San Francisco Classical Voice, September 18, 2004)
 
“Smart Joseph Wright as Dr. Falke exploited his opportunity for revenge with charm, elegance, excellent timing, and a warm comfortable baritone at service to his every whim.”     
(Scott MacClelland, Metro Silicon Valley, April 21, 2004)
 
“Joseph Wright’s Zurga was properly burly in appearance and voice and he also impressed with clearest French on stage.”
(Janos Gereben, The Oakland Post, February 4, 2004)
 
“…Wright’s dramatic talents hold the stage as the revenging husband Alfio in “Cavalleria” and as Silvio, the frustrated young lover who precipitates the tragedy in “Pagliacci.”
(Keith Kreitman, San Mateo County Times, November 13, 2003)
 
“In the torrid love duet with the always excellent Joseph Wright as Silvio was as scorching as anything I have seen on any stage.  They gave themselves freely and honestly to each other and to the audience.  The chemistry between these two was thrilling.”      
(Paul Myrvold, Out & About – The Valley, Demember 2003)
 
“The most thrilling thing about the four leads is their rich and fluid musicality. They are more than just vocalists. Each has an amazing feel for the dynamics and is capable of succinctly turning and molding a phrase. Baritone (Joseph) Wright not only has a great voice, but is chillingly effective as heartless Count di Luna.”  
(Keith Kreitman, Oakland Tribune, February 14, 2003)
   
“...Valentin, Marguerite's icy brother makes an impact, thanks to baritone Joseph Wright's remarkable performance. The combination of his huge voice, acting instincts and stage presence has made him an audience favorite. His performance of "Avant de quitter ces lieux" was an unexpected show-stopper.”       
(Mike Guersh, San Jose Mercury News, November 12, 2002)
  
“As Dandini, Joseph Wright makes the most of the role ... with his comic trilling and occasional chewing of the marblesque scenery, (he) puts the show over the top in the best sense of the word.”
(Colin Seymour, San Jose Mercury News, September 10, 2002)
 
“...young baritone Joseph Wright drew fervent cheers from the Montgomery Theater audience as the fatherly American consul Sharpless, who warns against clipping Butterfly's wings.”
(Colin Seymour, San Jose Mercury News, April 16, 2002)
  
“Joseph Wright played Manon's cousin, Lescaut, with suitable panache and swagger. Wright has a full easy baritone which he pours forth in generous, full tones with even production throughout the range.”                                
(Kelly Synder, ConcertoNet.com, February 2, 2002)
   
“The young couples, especially soprano Lori Decter as Fiordiligi and baritone Joseph Wright as Guglielmo, are relative newcomers with fresh voices and expressive acting. She and Wright played well off each other, taking advantage of all the comic nuances. Wright, as the masculine and attractive swain, sung with power and flexibility, he was great fun to watch as well.”                                                    
(Susan Brown, San Mateo Daily Journal, November 27, 2001)
  
“Joseph Wright is equally delicious as the painter Marcello, whose ill fate is to love Musetta. His baritone is wonderfully rich and large, and his acting has real energy and spark. If his charismatic portrayal of the sexy, spirited painter is any indication, he would make a wonderful, Don Giovanni. (Jennifer) Samuelson and Wright were perfect as the combustible lovers.”  
(Sarah Bobson Oakland Tribune, April 24, 2001)