Loft Opera / Critiques

Peter Scott Drackley as MacDuff brings the performance to an awestruck standstill with his exquisitely sung Act IV aria. He cuts a fine figure throughout the performance, with an intense stage presence

As Macduff, tenor Peter Scott Drackley won massive ovations after his heart-rendering performance of the famed “O figli, o figli miei… A la paterna mano,” his pianissimo singing full of an intimate pathos so necessary to render the pain and suffering otherwise lacking in this opera. He retained a reserved and gentle legato line throughout the opening of the aria, letting his voice build to the orchestral and vocal explosion that takes place halfway through. This allowed the audience to take the emotional journey with him from pain to anguish to eventually blood lust... for the murder of his family

As is usual in their productions, LoftOpera presented a strong vocal cast. From all the singers one felt a great love for this music, and it was a great pleasure to watch and hear the interplay among them. Soprano Megan Pachecano, the Fiordiligi, gave a flawless rendition of 'Come scoglio,' handling the technical gymnastics of this aria with great ease and with impeccable timing as the character’s rock-like stance on fidelity begins to show a few cracks.

I believe that the evening’s success truly hinged on the charisma and talent of the four young lovers. As Fiordiligi and Dorabella, Megan Pachecano and Sarah Nelson Craft were excellent, believable within their roles, while remaining vocally reliable. Despite the cognitive dissonance I felt about their setting and situation, both singers were able to build fully realized characters. [...] Pachecano and Craft’s fluid, robust singing. [...] the pliant and luminous Craft and Pachecano.