To My Distant Love featured in Opera News.
To My Distant Love in the New York Times.
To My Distant Love mentioned in the New Yorker’s Goings On About Town.
“Just before this writer’s exile from the scene, however, a spark of life shot skyward, and now stands as a last memory of live performance before social distancing. The concert on Monday, March 9 lit up West Shore Unitarian Universalist Church in Rocky River from within, its performers radiant. Baritone Mario Diaz-Moresco and pianist Spencer Myer…readers should run, not walk to hear these performers as soon as live concerts resume.” Nicholas Stevens, clevelandclassical.com
Recital preview by Jarrett Hoffman. clevelandclassical.com
Preview of Dust in The New York Times. nytimes.com
Dust named one of the best opera and vocal performances of 2017 by The New York Times. nytimes.com
“Baritone Mario Diaz-Moresco, as the character ‘I Live in the Park,’ served as Virgil to the audiences Dante, in that he narrated the essential facts and gave biographical sketches of his street pals, as well as singing the transition from the stories to the songs. Diaz-Moresco’s performance was flawless.” Arlo McKinnon, Opera News
Dust in The New York Times. Photo by An Rong Xu. www.nytimes.com
Illustrated in The New Yorker magazine with Lucy Dhegrae for Les Chants de la Mi-Mort at Issue Project Room. Illustration by Niv Bavarsky. www.newyorker.com
“Diaz-Moresco channeled the deadpan humor of Apollinaire's semi-surrealistic texts as he voiced the composer's dour, aphoristic melodies to good enough effect that an encore would have been welcome.”
“The centerpiece of the evening was Schumann's Dichterliebe, which found Diaz-Moresco so fully inhabiting the unnamed lover of Heinrich Heine's poems that the cycle seemed almost operatic. The artists' collaboration reached a pinnacle of communicativeness here, and by the time they reached the last song, in which the protagonist seals his love and pain into a heavy coffin and sinks it in the sea, the effect was devastating.” Mark Satola, cleveland.com
“Baritone Mario Diaz-Moresco, as Joseph C., showcased intelligent depiction of his character and profound sensitivity towards the material. He sang a recurring theme of vocal swells with ease by navigating a smooth vocal transition between falsetto and middle range.”
“It is at the moment of Joyce’s response in the letter to these questions that Joseph understands her intentions of being with him all along, however it is too late. In this moment, Diaz-Moresco collapsed on stage and evoked a wail that permeated everyone in the hall.” Jennifer Pyron, operawire.com