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Das Rheingold  \ \  Nashville Opera


“Samuel Weiser, who sang Alberich, is perhaps the most fully formed Wagnerian voice in the ensemble and the biggest surprise, as he seems heretofore to have sung only minor roles. A recent graduate of the Cafritz Young Artist program at Washington National Opera, Weiser has a powerful, nicely-colored bass-baritone voice capable of rendering the full range of emotions, and he is a riveting actor. His curse was the highlight of the evening.”


                                                                                                                            -James L. Paulk, Classical Voice America, 2022

"Alberich, with goggles and garb of a [miner] (perhaps?) sang in incredible voice. His attempted seduction of the maidens was less lecherous than the interpretations that I am used to but it was a fantastic decision. It humanized him so that we felt for him when Wotan stripped him of his power, justifying to ourselves the reckoning of his terrible curse."

                                                                                                                           -Joseph E. Morgan, Music City Review, 2022

“The scene was further graced by the Alberich of [bass]-baritone Samuel Weiser. An artist previously unknown to us, he revealed a fully formed portrayal of the opera’s complex antagonist. The instrument is ample and produced without apparent effort, and he had a comfortable grasp on the technical trickery to wield it from growl to whisper. This rendered it serviceable to Mr. Weiser’s artistic compass, which was acutely sensitive to the disparate motivations driving our villain. Judging by the ovation which greeted his curtain calls, Mr. Weiser managed to inspire sympathy for miserable old Alberich and provided the standout performance of the afternoon.”


                                                                                                                           -Daniel Vasquez, New Outpost, 2022

Woman of Letters  \ \  Washington National Opera



“…bass Samuel J. Weiser as Sam gave [a] convincing performance conveying the emotions with [his voice]”


-OperaGene 2020


Pepito  \ \  Washington National Opera


“Bass Samuel Weiser, who made quite a mark in a comprimario role in last fall’s La Traviata, embraced his canine side with delight. His repertory of lovable dog gestures was broad and entertaining, from the moment he took the stage carrying his music folder in his mouth.”

-Charles T. Downey, Washington Classical Review, 2019

“The most entertaining show of the fledgling trio of operas was Pepito, in large part, no doubt, because the titled character was a big, shaggy dog, — a role sung, howled and barked effectively by Samuel Weiser.  But what started as what I thought might be a gimmick demonstrated as it went on a growing understanding of methodical approach and material by the young creative team.”

-Susan Galbraith, DC Theatre Scene, 2019

“The hero of the opera was a dog. Samuel Weiser, a bass, wore a full-size dog costume, black-painted nose and all, to depict the eponymous hero of “Pepito,” a shelter dog dreaming of his old life and his new one. “Are you the right dog? Are you the one?” asks Camila, a harried lawyer in a frustrating marriage, arriving at the shelter to find a pet. “I don’t know,” responds the dog helpfully. “I love you.”

-Anne Midgette, Washington Post, 2019


“Bass Samuel J. Weiser, a graduate of the WNO Cafritz Young Artists program, brings a broad and melodious timbre as he hangs around his middle and upper registers for much of the opera. His opening aria, “I can smell my old life,” is full of woofs, whimpers, and howling, the howls portamento and glissando lines push Weiser into his head voice and he sounds comfortable doing so. The aria ends with Pepito’s nose in the air, sniffing, and sensing both money and sadness in the air as Camila and David enter, arguing, setting up the question I mentioned earlier: Will Pepito be a uniter or divider?”


-Chris Ruel, Opera Wire CD review, 2020

La Traviata   \ \  Washington National Opera

Marquis D’Obigny 

“…formidable mezzo-soprano Deborah Nansteel and stentorian bass Samuel Weiser, a noteworthy addition to the program, livened up the party scenes as Flora and the Marquis d’Obigny, respectively.”


-Charles T. Downey, Washington Classical Review, 2018


The Lion, the Unicorn and Me  \ \  Washington National Opera

Lizard, Innkeeper, Ox 

Samuel Weiser, as Lizard, may not get as many notes, but he has the best costume (thinks Emilia) and does a terrific singing turn as the Inn Keeper.

-Susan Galbraith, DC Theatre Scene, 2018

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