Tenor Matthew Plenk is blessed with the perfect voice for Faust – a scream of a role for most tenors, but comfortably within his range and timbre. Eugene is similarly blessed for having been able to hear such a voice sing this role. His “Invocation to Nature” at the start of the fourth part was sensitive consistent and filled with luscious agony.
– Alison Kaufman, The Register-Guard
..but the best of all was Matthew Plenk, as Macduff, who could follow an emotion, drenched in vibrato, from the bottom of his heart to the top of his voice, all in a single breath. His “O figli miei” sounded fresh and youthful yet appealingly old-fashioned. He has a truly unique sound.
– Henry Stewart, Opera News
Matthew Plenk’s dulcet tenor and dramatic commitment made Macduff’s grieving remembrance of his murdered family a high point of the evening.
– Sarah Bryan Miller, St. Louis Post Dispatch
Tamino…sung by tenor Matthew Plenk…, was excellent. Convincing as young lovers, (he) sang with a sincere expression that fit Mozart’s music. (HIs) warm timbre and smooth, elegant lines suggested both innocence and inner strength.
– Lee Teply, The Virginian Dispatch
Arturo, the arranged husband Lucia murders, was charming as sung by the young tenor Matthew Plenk. – Zachary Woolfe, NY Times
Matthew Plenk brought a trumpet-like light tenor voice to the role of Ferrando. There is ample power in his voice, and a level of security not normally heard in such a young tenor.
– James L. Paulk, ArtsCriticATL
Matthew Plenk, as the blond Ferrando…. His tenor was bright and youthful, with a delightful “ping” in the tone, and more than once he pushed his voice to the edge of searing intensity.
– Pierre Ruhe, Atlanta Journal-Constitution
Matthew Plenk, in the small role of the shepherd who witnesses Oedipus’s crime, created an air of luxury casting with his limpid sound.
– Matthew Guerrieri, The Faster Times
Matthew Plenk, who has a large, sweet tenor voice and great presence, as Frederic;
– Sarah Bryan Miller, St. Louis Post-Dispatch
And tenor Matthew Plenk, as the Steersman, also sang with idiomatic refinement.
– Donna Perlmutter, LA Observed
As the show’s hard-to-take-seriously romantic lead Nanki-Poo, tenor Matthew Plenk surprised with a hefty, well-supported instrument and with, once again, a fine comic acting presence.
– Terry Ponick, Washington Times
Britten’s settings of Donne’s urgent, death-haunted poems… got a formidable reading by tenor Matthew Plenk and pianist Ken Noda. Plenk, a young singer affiliated with the Metropolitan Opera, has the bright, piercing tone and flawless diction needed to make this music work, and he shaped the songs with dramatic sureness
– Joshua Kosman, SF Chronicle
Matthew Plenk’s Don Ottavio … his vocal chops were astounding; his light, high tenor at first didn’t even hint at the clarion power which he unleashed to stunning effect in “Il mio tesoro.”
– Thomas Garvey, The Hub Review
As Don Ottavio, Mathew Plenk delivered a flawless “Il mio Tesoro,” showcasing his technical precision and textual sensitivity.
– Sarah Young, KCMetropolis.org
Matthew Plenk is a winning presence as Don Ottavio, singing his Act II “Il mio tesoro” with a clear-eyed, intelligent bel canto and carving out a heroically supportive… Ottavio. The dramatic and vocal chemistry between Matthew and Rachelle Durkin is so palpable that you really want their hapless characters to work out their difficulties (but you know they probably won’t)
– Paul Horsley, KC Independent