Press
Sweeney (MB) is reunited with his faithful friend.
Matt Boehler Is A Sweeney Todd To Die For

"His name may not mean much as you settle into your seat... but make no mistake: Once the lights go down, you'll be deeply grateful for your new acquaintance with Matt Boehler. He is quite simply a marvel as Sweeney, the demon barber of Fleet Street..." Read More...
Peter Marks, The Washington Post
"...ma passion predominante è la giovin principiante."
One Dark Don

"As an uncommonly put upon Leporello, Minnesota native Matt Boehler makes a wonderful Chicago debut as the Don's enabling manservant. With a rich, dark voice and both physical and vocal agility, the bass-baritone helps us to see why his character cannot leave a master he despises." Read More...
Andrew Patner, Chicago Sun-Times
"Why do the nations so furiously rage together?"
Exploring Variations in a Christmastime Favorite

"...St. Thomas presented a cast of soloists on Tuesday evening that filled out the finest performance this grizzled follower of the work has heard in many years...Mr. Boehler too was excellent, producing solid tone right down to the lowest notes of darkness and death. And when the text furiously raged, this was clearly a bass with an attitude and the goods to back it up." Read More...
James R. Oestreich, The New York Times

Outbursts of Full-Bodied Joy

"The fine bass Matt Boehler combined earthy, robust sound with stern delivery in what is, for me, the oratorio’s most chilling aria, 'The trumpet shall sound.' The dead 'shall be raised incorruptible,' he sang, and 'we shall be changed.'

"Changed? As sung by Mr. Boehler, with such power and gravity, this seemed an unsettling prospect."

Read More...
Anthony Tommasini, The New York Times
The Officer (MB) reveals his disdain for the current regime to The Observer (Jason Papowitz.)
Music in Review: In the Penal Colony, American Opera Projects

"I'm sure I wasn't the only listener who shivered at the creepy, chilling intensity of Matt Boehler's performance as the Officer...Mr. Boehler wielded his sonorous bass to potent effect... [He] sang with a heft and clear English diction that rendered the titles superfluous." Read More...
Vivien Schweitzer, The New York Times
The Officer (MB) describes the machine's ghastly corporeal punishment process to The Observer (Jason Papowitz.)
"With superb diction, an eerie, caressing lyricism in the higher parts of his range and an easy descent into punctuating profundo notes, [Mr. Boehler] was terrifying." Read More...
Heidi Waleson, The Wall Street Journal
Drebednov (MB) vies for Vava's (Ashleigh Semkiw) attention in a scene from Act 1.
Winsome, handsome singers sell satire by that wacky Shostakovich

"A shame that Shostakovich did not give Drebednyov a solo 'Damn Yankees' 'Those Were the Good Old Days'-style solo number; the purple-suited Boehler has more than the chops to pull one off." Read More...
Andrew Patner, Chicago Sun-Times
Classical music review: "Rigoletto" a celebration by the river

"And big-voiced bass Matt Boehler deserves kudos for his scene-stealing turns as the murderer with a code of honor, Sparafucile." Read More...
Ron Hubbard, St. Paul Pioneer Press
Matt Boehler photographed at Wolf Trap
"There's nothing more gay than opera!'' exclaims opera singer Matt Boehler. ''We have fabulous divas wearing fabulous things, shrieking and being dramatic!'' He's joking, of course. But then again, he has a point. Read More...
Doug Rule, Metro Weekly
Leporello (MB), just about to get real with Donna Elvira via the Catalogue aria.
In Review

"Matt Boehler made Leporello a genuinely likeable, often very funny guy, darting about the tight stage area with abandon. Words danced on his voice, giving phrases considerable color and impact." Read More...
Tim Smith, Opera News
Kepler and the Scholars on the verge of a discovery.
The Voices in His Head

"Standouts among the scholar soloists were soprano Anne-Carolyn Bird, who negotiated the high tessitura fearlessly, and Matt Boehler, whose opulent bass brought particular humanity to Kepler's inner doubts." Read More...
Heidi Waleson, The Wall Street Journal
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