| Joshua Bloom baritone |
| In SFO 2005-2006 Garibaldo - Rodelinda (CAST B Sat 10/2 10/8) |
| What made the thing tolerable at all was the singing. Joshua Bloom, the extravagantly gifted Australian bass who also took a small role in the Milhaud, deployed his resonant tone with appealing flexibility - Review "What Fools These Husbands Be!" |
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| Baritone Joshua Bloom was a handsome Escamillo and provided the kind of virile "Toreador Song" women swoon over - Music Reviews |
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| Joshua Bloom, Gerald Thompson and John Duykers in SFO 2004 - The Grand Macabre |
| I liked Chiummo just fine and would have been happy to hear him again. Joshua Bloom, though, has got an outstanding voice, very firm and dark, and more vocal and stage presence, overall. The last young bass who made this kind of impression on me was John Relyea, another Adler Fellow. I expect Bloom will also go on to great things and a fine career, and I'm definitely looking forward to hearing him in the future. Posted by Lisa Hirsch/ Irontongue |
| Joshua Bloom showed himself to be one to watch: a voluptuous, burnished baritone with a natural and easy presence on stage./ Review-Tosca 2004 |
| Opera Australia Saturday 18 March 2006 In Performance: Rake's Progress Nick Shadow |
| HAS JOSHUA BLOOM DISERTED SAN FRANCISCO ? HE WAS HEARD IN THE SF BALLET SEASON 2005 - DYBBUK. San Francisco Ballet opened its premiere of Jerome Robbins' Dybbuk tonight. Very talented young Australian bass Joshua Bloom, a second year Adler Fellow whom we enjoyed in Tosca, Doktor Faust, La Traviata and Le Grand Macabre sang Bernstein's work along with baritone Tim Kroll. It's not a lot of singing but it was nice hear him in this usual work. I loved this music. I know this must attract some balletphobic opera-lovers. / Kirsten Lee Review BUT WHAT HAPPENED WHEN DYBBUK WAS BACK IN THE SFB 2006 SEASON? The reconstruction of Dybbuk has acquired considerable polish this season, especially among the corps. Thanks to West, Leonard Bernstein�s original score has gained a measure of coherence and orchestral weight, as well as more satisfactory balancing of the vocal soloists (Tim Krol, Matthew Trevino). / Review 2006 Martin West conducted the score with (occasionally barbaric) power. The orchestral colors included gongs, and memorably quoted the funeral bells of "Les Noces." Tim Krol (baritone) and Michael Trevino (bass) sang in Hebrew, but they sounded exactly like the voices in "Les Noces."/ Review 2006 |
| SFO 2006 - 2007 Count Ribbing - Un Ballo in Maschera |
| As the devilish alter ego Nick Shadow, Joshua Bloom was impressive and charming, the proverbial villain one loves to hate./ Review-Rake's Progress |
| Joshua Bloom and Jeremy Galyon were superb as the two conspirators who threaten the king's life, muttering crisply in the opening scene and singing with chilling malice in the great Act 2 finale./ Review-Ballo |
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| OPERA DATABASE |
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| Joshua Bloom. Absolutely staggering. He was an excellent Figaro and absolutely glorious in the St Matthew Passion with the Sydney Philhamonia Choirs. His career is growing more glittery by the minute so evidently I'm not the only one terribly impressed by him./ 2007-Opera Australia in Sydney |
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