Upcoming:
March 3, 5m 2023
MDLO - Lodovico I Otello
May 19, 20 8pm 2023
Houston Symphony I Tiresius I Oedipus Rex
https://houstonsymphony.org/tickets/concerts/stravinsky-oedipus-rex/
ravinsky-oedipus-rex/
June 29-July 30, 2023
Ivoryton Playhouse - Captain von Trapp I The Sound of Music
https://ivorytonplayhouse.csstix.com/event-details.php?e=800
Past Seasons
January 18, 2019; January 20m, 26, 30, Feb 3m
Houston Grand Opera - El Capitan | Florencia en el Amazonas
April 12, 14m, 2019
Opera Omaha - Mephisopheles | Faust
June 9, 13, 15m, 22, 26, 28, 2019
Opera Theater of Saint Louis - Seneca | L'incoronazione di Poppea
Noember, 2019
Dallas Opera - Die Zauberflote
December 2019
IPH Christmas Radio Hour with David Pittsinger and Friends
Ivoryton Playhouse, Ivoryton, CT
June 10, 2018
George Flynn Concerts, Clinton, CT
April 2018
Trinity Church on the Green, New Haven, CT
October 19th, 7:30pm
"Enchanted Evening" with David Pittsinger and guests
Andrews Memorial Clinton Town Hall, Clinton, CT
November 12th, 2pm and 7:30 pm
"Arlington Sons" with David and Richard Pittsinger
Ivoryton Playhouse, Ivoryton, CT
December 5-8, 2018
Radio Christmas Hour with David Pittsinger and Friends
Ivoryton Playhouse, Ivoryton, CT
July 5-18, 2017
Aix-en-Provence - Father Trulove | The Rake's Progress
May 2-13, 2017
Metropolitan Opera - Cyrano de Bergerac
January 21-29, 2017
Utah Opera - Don Quixote | Man of La Mancha
December 16, 18, 2016
New Jersey Symphony Orchestra - The Messiah
November 15, 2016
Riverside Theater, Vero Beach - American Songbook concert
October 22, 29, 2016
Cincinnati Symphony Orchestra - Missa Solemnis
October 15-20, 2016
Les Theatres de la ville de Luxembourg - Fred Graham/Petruchio | Kiss me Kate
September 7-October 2, 2016
Ivoryton Playhouse - Man of la Mancha
July 23 - August 27, 2016
Glimmerglass Festival - Reverend John Hale | The Crucible
April 30, May 3 - 8, 2016
Pittsburgh Opera - Nick Shadow | The Rake’s Progress
March 4 - 12, 2016
Dallas Opera - Le Comte | Manon
February 3 - 12, 2016
Théâtre du Châtelet - Fred Graham/Petruchio | Kiss Me Kate
November 14 - 22, 2015
Washington National Opera - Robert E. Lee/ Edgar Ray Killen | Appomattox
July 21, 2015
Brevard Music Center - A Celebration of the American Songbook
July 1 - 26, 2015
Ivoryton Playhouse - Emile de Becque | South Pacific
June 11 - 14, 2015
Portland Opera - Nick Shadow | The Rake’s Progress
January - March 2015
The Metropolitan Opera - Luther & Crespel | Les Contes d’Hoffmann
December 6, 2014
Ann Arbor Symphony Orchestra - Handel’s Messiah
November 22 - December 20, 2014
LA Opera - The Captain | Florencia en el Amazonas
September 25, 2014 @ 10:30AM & 7:30PM
U.S. Air Force Orchestra | Arlington Sons
Bowie Center for the Performing Arts
September 21, 2014 @ 2PM
US Air Force Reed Quintet & the US Air Force Chamber Trio | Arlington Sons
Arlington National Cemetery, Women in Military Service for America Memorial
September 20 - 28, 2014
Washington National Opera - The Captain | Florencia en el Amazonas
May 3 - May 18, 2014
Washington National Opera - The Speaker | The Magic Flute
February 18 - March 16, 2014
Riverside Theatre - Emile de Becque | South Pacific
REVIEWS
Robert E. Lee
”The meat of the act, though, is the exchanges...between Robert E. Lee (David Pittsinger) and Ulysses S. Grant (Richard Paul Fink), standing before large Confederate and Union flags as they correspond with each other before the signing of the truce, leaving Pittsinger’s statuesque Lee, resonant of voice and nuanced of acting, honorable in defeat.”
Anne Midgette, The Washington Post
“It is 1865 and the meeting between General Robert E. Lee (Bass-baritone David Pittsinger) and General Ulysses S. Grant (baritone Richard Paul Fink) is a standout. The characters never feel like caricatures or reverential to a fault as they realize they must make amends for the bloody conflict that has torn the country apart. Pittsinger is a dream of a singer who expresses every nuance of a line with authority and natural yet authoritative ease. His aria preceding this scene-as he sings of having been willing to join the Union Army but not being able to because of his sense of honor as a native of Virginia is a standout. Pittsinger’s expressive voice brings out every nuance of his feelings.”
David Friscic, DC Metro Theater Arts
King Arthur
“But the standout performance was David Pittsinger’s charismatic, nuanced Arthur, touchingly characterized and nobly voiced.”
Steve Smith, The New York Times
Emile de Becque
“Dominating the show, at least in this reviewer’s opinion, is David Pittsinger as Emile de Becque. Emile is in many ways the most operatic role ever written for a Broadway musical... Mr. Pittsinger fits this substantial résumé, and more. A veteran opera singer himself, his vocal skills are carefully tailored here to fit the mostly-Broadway spirit of the show. His brilliant, knife-clean bass-baritone voice, impeccable enunciation—even with a French accent—and his authoritative, passionate delivery provide the perfect mix of romance, passion, and traditional masculine bravado. And his vocal delivery of ‘Some Enchanted Evening’ as well as the sorrowing ‘This Nearly Was Mine’ registers extraordinarily high on the three-hanky scale. His Emile is perhaps the definitive interpretation of this role in our time."
Terry Ponick, The Washington Times
“But wait until you hear the gorgeous ‘Some Enchanted Evening’ and ‘This Nearly Was Mine’ as sung by bass-baritone David Pittsinger, who portrays Emile de Becque... That quadruple bassoon of a voice interpreting the Richard Rodgers melodies—among the most melting ever composed for the theater—is all the seduction that you or Nellie need. Somehow, the effortlessness of Pittsinger’s technique helps in the illusion that the great romance at the core of ‘South Pacific’ truly is operatic in scope."
Peter Marks, The Washington Post
Lodovico I Otello
"The seasoned and wonderful singer-actor David Pittsinger makes a welcome appearance and brings stateliness and lustrous low notes as Lodovico when law and order close in on the Moor, who has completely gone off the rails in front of everyone."
Susan Galbraith, DC Theather Arts
Eugene O’Neill
“The bass-baritone David Pittsinger, in commanding voice, inhabited the role of the tormented O’Neill.”
Anthony Tommasini, New York Times
“Pittsinger, on crutches, created a physicality perfectly suited to portray the older playwright becoming paralyzed by a neurological illness and toppling marriage. His musical phrasing was impeccable. In certain sections, he delivered his unmistakable dramatic power, but it was in the higher lyrical portions of the score that his voice become most achingly expressive.”
Susan Galbraith, DC Theatre Scene
“The participation of the Pittsingers in the project was instrumental to its success. David Pittsinger is not only an especially effective character actor, he is one of the great American bass-baritones, with impeccable credentials in a wide swath of the operatic repertory from Puccini to bel canto to the French Romantic repertory...”
OperaWarHorses.com
Roy Disney
“Bass-baritone David Pittsinger uses his elegant demeanor and deep, creamy voice to embody that rock of common sense, Walt’s brother Roy Disney.”
Roberto Herrscher, Opera News
Lodovico
Don Giovanni
“The bass-baritone David Pittsinger made an intimidating Don Giovanni, physically impressive and deploying a voice that radiated power even when he was singing softly. In Là ci darem la mano, he displayed vocal beauty that had a muscular edge, preventing his voice from ever descending into empty prettiness. This was particularly apparent in the mandolin-accompanied serenade Deh vieni alla finestra, where Pittsinger’s husky voice effectively undermined the Don’s would-be sweetness.”
David Fleshler, South Florida Classical Review
Mephistopheles
“The generally strong cast is led by a first-class performance by David Pittsinger as Mephistopheles. Swashbuckling in appearance and manner, he commands the stage at all times. His singing is authoritative and rich, and his acting is never less than compelling.”
The Calgary Herald Kenneth DeLong
“Some were pure naturals, case in point David Pittsinger, and his brilliantly sung Mephistopheles. It’s a role that demands swagger and panache, humor, and, yes, a demonic flair; it’s a role for a free-wheeling bass voice, one that can wow and woo, snarl and seduce. Pittsinger had it all and more. Add an agile, virile, commanding stage presence, and you have a performance people will talk about for seasons to come. The showpiece “Le veau d’or” was a thrill and “Vous qui faites l’endormie” in the last act was enticing and gracefully sardonic.”
Bob Scrofani/ Stamford Advocate
Lindorf/Coppelius/Dr. Miracle/Dapertutto
“As Lindorf, he is unctuous and spiteful – evil in human form. His Coppelius is mad genius, and his Dr. Miracle is the devil as Peter O’Toole might have played him, if only O’Toole could have made such a mellifluous sound. Finally, as Dapertutto he shows us ghostly evil, the black magic that nightmares are made of. His voice is delicious, dramatic and musical. His interpretive singing along with an intensely physical performance make this a tour de force of singing theater.”
The Philadelphia Weekly Mark H. Beers
Nick Shadow
“All the colors – shadings are there in David Pittsinger’s performance. We knew that this baritone is well suited to the villainous roles; with the fire that burns in his eyes, he awakens (our) anxiety. He makes a marvelous Nick Shadow, with a voice richly dark, seducing from beyond the grave and a musical finesse of the premier ordre.”
Jean-Jacques Roth, L’Opéra Internationale
Verdi Requiem
“...a noble toned American bass, David Pittsinger, whetted the appetite for an appearance in one of Verdi’s great operatic roles for this voice category.”
Hugh Canning, The Sunday Times
Don Quichotte
“The singers were ideally cast. Quichotte’s gentle idealism reflected in David Pittsinger’s velvety bass-baritone, contrasted well with his sprightly servant.”
Moore Parker, The Opera Critic
“In the title role, David Pittsinger provided a flexible, orotund basso cantabile of unusual beauty and delicate coloration...”
Larry L. Lash, Opera News
Zoroastro
“The bass David Pittsinger brought handsome tone and sure technique to Zorastro’s music.”
George Loomis, Financial Times (London)
Britten - Death in Venice
“Some of the most memorable parts, perhaps because they are the most cheerful and colorful, come from bass-baritone David Pittsinger, who portrays a half-dozen characters. Although most appear briefly, these catalysts - such as the Barber, the Old Fop, the Hote Manager and the Traveling Performer - are unforgettable.”
Jonas Kover, Observer Dispatch
“The excellent Pittsinger has notes that seem to come from his toes, and sings with manly, robust command.”
The Globe and Mail
Verdi - Don Carlo
“Special note must be made of David Pittsinger’s Friar in the first monastery scene: his gorgeous tone and elegant phrasing sent me scrambling for my program to see who this marvelous singer could be.”
James M. Keller, Opera News
Mozart - Don Giovanni
“Bass-baritone David Pittsinger gets Juan just right in Opera Colorado’s hip, deliciously sexy and wonderfully entertaining production of “Don Giovanni”...Pittsinger looks and acts the part, smoothly and compellingly capturing Giovanni’s combination of craftiness, charisma, conceit and cruelty. At the same time he takes full advantage of his handsome agile voice, as he delivers honey-toned versions of Giovanni’s love serenades and adroitly joust with his servant, Leporello, during their comedic patter duets.”
Kyle MacMillan, The Denver Post
“David Pittsinger is about the greatest Don one could imagine. The American bass...has a command of body language that would make him ideal in this role even if he didn’t sing. His every gesture is lust writ large. Happily, he’s got the voice to go along with it. And the passion that Pittsinger puts into the Don underscores what this greatest of all operas is really about...As Mozart’s Don, Pittsinger is Dionysus made man.”
Wes Blomster, Colorado Daily Camera
Handel - Samson
“The finest showings, though, came from bass-baritone David Pittsinger in a capacious and note-perfect performance as Harapha.”
Joshua Kosman, San Francisco Chronicle
Bellini - La Sonnambula
“Bass David Pittsinger gave a magnificent portrayal as Count Rodolfo, his rich, flexible and well supported voice made him an audience favorite.”
Rex Alan Hearn, Choral Gables Gazette
March 3, 5m 2023
MDLO - Lodovico I Otello
May 19, 20 8pm 2023
Houston Symphony I Tiresius I Oedipus Rex
https://houstonsymphony.org/tickets/concerts/stravinsky-oedipus-rex/
ravinsky-oedipus-rex/
June 29-July 30, 2023
Ivoryton Playhouse - Captain von Trapp I The Sound of Music
https://ivorytonplayhouse.csstix.com/event-details.php?e=800
Past Seasons
January 18, 2019; January 20m, 26, 30, Feb 3m
Houston Grand Opera - El Capitan | Florencia en el Amazonas
April 12, 14m, 2019
Opera Omaha - Mephisopheles | Faust
June 9, 13, 15m, 22, 26, 28, 2019
Opera Theater of Saint Louis - Seneca | L'incoronazione di Poppea
Noember, 2019
Dallas Opera - Die Zauberflote
December 2019
IPH Christmas Radio Hour with David Pittsinger and Friends
Ivoryton Playhouse, Ivoryton, CT
June 10, 2018
George Flynn Concerts, Clinton, CT
April 2018
Trinity Church on the Green, New Haven, CT
October 19th, 7:30pm
"Enchanted Evening" with David Pittsinger and guests
Andrews Memorial Clinton Town Hall, Clinton, CT
November 12th, 2pm and 7:30 pm
"Arlington Sons" with David and Richard Pittsinger
Ivoryton Playhouse, Ivoryton, CT
December 5-8, 2018
Radio Christmas Hour with David Pittsinger and Friends
Ivoryton Playhouse, Ivoryton, CT
July 5-18, 2017
Aix-en-Provence - Father Trulove | The Rake's Progress
May 2-13, 2017
Metropolitan Opera - Cyrano de Bergerac
January 21-29, 2017
Utah Opera - Don Quixote | Man of La Mancha
December 16, 18, 2016
New Jersey Symphony Orchestra - The Messiah
November 15, 2016
Riverside Theater, Vero Beach - American Songbook concert
October 22, 29, 2016
Cincinnati Symphony Orchestra - Missa Solemnis
October 15-20, 2016
Les Theatres de la ville de Luxembourg - Fred Graham/Petruchio | Kiss me Kate
September 7-October 2, 2016
Ivoryton Playhouse - Man of la Mancha
July 23 - August 27, 2016
Glimmerglass Festival - Reverend John Hale | The Crucible
April 30, May 3 - 8, 2016
Pittsburgh Opera - Nick Shadow | The Rake’s Progress
March 4 - 12, 2016
Dallas Opera - Le Comte | Manon
February 3 - 12, 2016
Théâtre du Châtelet - Fred Graham/Petruchio | Kiss Me Kate
November 14 - 22, 2015
Washington National Opera - Robert E. Lee/ Edgar Ray Killen | Appomattox
July 21, 2015
Brevard Music Center - A Celebration of the American Songbook
July 1 - 26, 2015
Ivoryton Playhouse - Emile de Becque | South Pacific
June 11 - 14, 2015
Portland Opera - Nick Shadow | The Rake’s Progress
January - March 2015
The Metropolitan Opera - Luther & Crespel | Les Contes d’Hoffmann
December 6, 2014
Ann Arbor Symphony Orchestra - Handel’s Messiah
November 22 - December 20, 2014
LA Opera - The Captain | Florencia en el Amazonas
September 25, 2014 @ 10:30AM & 7:30PM
U.S. Air Force Orchestra | Arlington Sons
Bowie Center for the Performing Arts
September 21, 2014 @ 2PM
US Air Force Reed Quintet & the US Air Force Chamber Trio | Arlington Sons
Arlington National Cemetery, Women in Military Service for America Memorial
September 20 - 28, 2014
Washington National Opera - The Captain | Florencia en el Amazonas
May 3 - May 18, 2014
Washington National Opera - The Speaker | The Magic Flute
February 18 - March 16, 2014
Riverside Theatre - Emile de Becque | South Pacific
REVIEWS
Robert E. Lee
”The meat of the act, though, is the exchanges...between Robert E. Lee (David Pittsinger) and Ulysses S. Grant (Richard Paul Fink), standing before large Confederate and Union flags as they correspond with each other before the signing of the truce, leaving Pittsinger’s statuesque Lee, resonant of voice and nuanced of acting, honorable in defeat.”
Anne Midgette, The Washington Post
“It is 1865 and the meeting between General Robert E. Lee (Bass-baritone David Pittsinger) and General Ulysses S. Grant (baritone Richard Paul Fink) is a standout. The characters never feel like caricatures or reverential to a fault as they realize they must make amends for the bloody conflict that has torn the country apart. Pittsinger is a dream of a singer who expresses every nuance of a line with authority and natural yet authoritative ease. His aria preceding this scene-as he sings of having been willing to join the Union Army but not being able to because of his sense of honor as a native of Virginia is a standout. Pittsinger’s expressive voice brings out every nuance of his feelings.”
David Friscic, DC Metro Theater Arts
King Arthur
“But the standout performance was David Pittsinger’s charismatic, nuanced Arthur, touchingly characterized and nobly voiced.”
Steve Smith, The New York Times
Emile de Becque
“Dominating the show, at least in this reviewer’s opinion, is David Pittsinger as Emile de Becque. Emile is in many ways the most operatic role ever written for a Broadway musical... Mr. Pittsinger fits this substantial résumé, and more. A veteran opera singer himself, his vocal skills are carefully tailored here to fit the mostly-Broadway spirit of the show. His brilliant, knife-clean bass-baritone voice, impeccable enunciation—even with a French accent—and his authoritative, passionate delivery provide the perfect mix of romance, passion, and traditional masculine bravado. And his vocal delivery of ‘Some Enchanted Evening’ as well as the sorrowing ‘This Nearly Was Mine’ registers extraordinarily high on the three-hanky scale. His Emile is perhaps the definitive interpretation of this role in our time."
Terry Ponick, The Washington Times
“But wait until you hear the gorgeous ‘Some Enchanted Evening’ and ‘This Nearly Was Mine’ as sung by bass-baritone David Pittsinger, who portrays Emile de Becque... That quadruple bassoon of a voice interpreting the Richard Rodgers melodies—among the most melting ever composed for the theater—is all the seduction that you or Nellie need. Somehow, the effortlessness of Pittsinger’s technique helps in the illusion that the great romance at the core of ‘South Pacific’ truly is operatic in scope."
Peter Marks, The Washington Post
Lodovico I Otello
"The seasoned and wonderful singer-actor David Pittsinger makes a welcome appearance and brings stateliness and lustrous low notes as Lodovico when law and order close in on the Moor, who has completely gone off the rails in front of everyone."
Susan Galbraith, DC Theather Arts
Eugene O’Neill
“The bass-baritone David Pittsinger, in commanding voice, inhabited the role of the tormented O’Neill.”
Anthony Tommasini, New York Times
“Pittsinger, on crutches, created a physicality perfectly suited to portray the older playwright becoming paralyzed by a neurological illness and toppling marriage. His musical phrasing was impeccable. In certain sections, he delivered his unmistakable dramatic power, but it was in the higher lyrical portions of the score that his voice become most achingly expressive.”
Susan Galbraith, DC Theatre Scene
“The participation of the Pittsingers in the project was instrumental to its success. David Pittsinger is not only an especially effective character actor, he is one of the great American bass-baritones, with impeccable credentials in a wide swath of the operatic repertory from Puccini to bel canto to the French Romantic repertory...”
OperaWarHorses.com
Roy Disney
“Bass-baritone David Pittsinger uses his elegant demeanor and deep, creamy voice to embody that rock of common sense, Walt’s brother Roy Disney.”
Roberto Herrscher, Opera News
Lodovico
Don Giovanni
“The bass-baritone David Pittsinger made an intimidating Don Giovanni, physically impressive and deploying a voice that radiated power even when he was singing softly. In Là ci darem la mano, he displayed vocal beauty that had a muscular edge, preventing his voice from ever descending into empty prettiness. This was particularly apparent in the mandolin-accompanied serenade Deh vieni alla finestra, where Pittsinger’s husky voice effectively undermined the Don’s would-be sweetness.”
David Fleshler, South Florida Classical Review
Mephistopheles
“The generally strong cast is led by a first-class performance by David Pittsinger as Mephistopheles. Swashbuckling in appearance and manner, he commands the stage at all times. His singing is authoritative and rich, and his acting is never less than compelling.”
The Calgary Herald Kenneth DeLong
“Some were pure naturals, case in point David Pittsinger, and his brilliantly sung Mephistopheles. It’s a role that demands swagger and panache, humor, and, yes, a demonic flair; it’s a role for a free-wheeling bass voice, one that can wow and woo, snarl and seduce. Pittsinger had it all and more. Add an agile, virile, commanding stage presence, and you have a performance people will talk about for seasons to come. The showpiece “Le veau d’or” was a thrill and “Vous qui faites l’endormie” in the last act was enticing and gracefully sardonic.”
Bob Scrofani/ Stamford Advocate
Lindorf/Coppelius/Dr. Miracle/Dapertutto
“As Lindorf, he is unctuous and spiteful – evil in human form. His Coppelius is mad genius, and his Dr. Miracle is the devil as Peter O’Toole might have played him, if only O’Toole could have made such a mellifluous sound. Finally, as Dapertutto he shows us ghostly evil, the black magic that nightmares are made of. His voice is delicious, dramatic and musical. His interpretive singing along with an intensely physical performance make this a tour de force of singing theater.”
The Philadelphia Weekly Mark H. Beers
Nick Shadow
“All the colors – shadings are there in David Pittsinger’s performance. We knew that this baritone is well suited to the villainous roles; with the fire that burns in his eyes, he awakens (our) anxiety. He makes a marvelous Nick Shadow, with a voice richly dark, seducing from beyond the grave and a musical finesse of the premier ordre.”
Jean-Jacques Roth, L’Opéra Internationale
Verdi Requiem
“...a noble toned American bass, David Pittsinger, whetted the appetite for an appearance in one of Verdi’s great operatic roles for this voice category.”
Hugh Canning, The Sunday Times
Don Quichotte
“The singers were ideally cast. Quichotte’s gentle idealism reflected in David Pittsinger’s velvety bass-baritone, contrasted well with his sprightly servant.”
Moore Parker, The Opera Critic
“In the title role, David Pittsinger provided a flexible, orotund basso cantabile of unusual beauty and delicate coloration...”
Larry L. Lash, Opera News
Zoroastro
“The bass David Pittsinger brought handsome tone and sure technique to Zorastro’s music.”
George Loomis, Financial Times (London)
Britten - Death in Venice
“Some of the most memorable parts, perhaps because they are the most cheerful and colorful, come from bass-baritone David Pittsinger, who portrays a half-dozen characters. Although most appear briefly, these catalysts - such as the Barber, the Old Fop, the Hote Manager and the Traveling Performer - are unforgettable.”
Jonas Kover, Observer Dispatch
“The excellent Pittsinger has notes that seem to come from his toes, and sings with manly, robust command.”
The Globe and Mail
Verdi - Don Carlo
“Special note must be made of David Pittsinger’s Friar in the first monastery scene: his gorgeous tone and elegant phrasing sent me scrambling for my program to see who this marvelous singer could be.”
James M. Keller, Opera News
Mozart - Don Giovanni
“Bass-baritone David Pittsinger gets Juan just right in Opera Colorado’s hip, deliciously sexy and wonderfully entertaining production of “Don Giovanni”...Pittsinger looks and acts the part, smoothly and compellingly capturing Giovanni’s combination of craftiness, charisma, conceit and cruelty. At the same time he takes full advantage of his handsome agile voice, as he delivers honey-toned versions of Giovanni’s love serenades and adroitly joust with his servant, Leporello, during their comedic patter duets.”
Kyle MacMillan, The Denver Post
“David Pittsinger is about the greatest Don one could imagine. The American bass...has a command of body language that would make him ideal in this role even if he didn’t sing. His every gesture is lust writ large. Happily, he’s got the voice to go along with it. And the passion that Pittsinger puts into the Don underscores what this greatest of all operas is really about...As Mozart’s Don, Pittsinger is Dionysus made man.”
Wes Blomster, Colorado Daily Camera
Handel - Samson
“The finest showings, though, came from bass-baritone David Pittsinger in a capacious and note-perfect performance as Harapha.”
Joshua Kosman, San Francisco Chronicle
Bellini - La Sonnambula
“Bass David Pittsinger gave a magnificent portrayal as Count Rodolfo, his rich, flexible and well supported voice made him an audience favorite.”
Rex Alan Hearn, Choral Gables Gazette
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