“Baritone Kenneth Mattice was a charismatic and
robust-toned Figaro. As the title character, the
jack-of-all-trades who breathlessly stage-manages
the opera's intricate series of ruses and disguises,
Mattice roamed the stage nimbly and rattled
through his famous introductory patter song,
'Largo al factotum' with aplomb.”
(Joshua Kosman, San Francisco Chronicle)

“This cast…  boasts a fine Figaro in baritone
Kenneth Mattice, one of the newcomers.  Like
a loaf of bread shot out from the factory chute,
he arrived on stage, guitar slung over his shoulder,
singing Figaro's famous opening aria (Largo al
factotum) at high speed, flying through filigreed
passages and up into a hilarious falsetto as he
shouted 'Figaro! Figaro! Fi-ga-ro!'”

“His Figaro was appealingly flip and self-
aggrandizing, a trickster who savors his role as
ringleader but recognizes his status as outsider
to the rich folks who depend on his ingenuity.”
(Richard Scheinin, Mercury News)

“As Figaro, Mattice sang his 'Largo al factotum
della citta' (Make way for the Factotum of the city)
impeccably, including the falsetto.”
(Por Íride Aparicio, La Oferta)

As Figaro in Rossini’s Il barbiere di Siviglia, Opera San Jose
As Mercutio in Gounod's Roméo et Juliette, Opera San Jose
With Thomas Glenn as Almaviva and Scott Bearden as Bartolo
(Photos: Bob Shomler)
“A cluster of familiar singers from the company's
past five seasons has recently departed, replaced
by five new resident artists, including… baritone
Kenneth Mattice, who was terrific on Saturday
as Mercutio.”

“…not only a confident singer with rounded, bell-
like projection, but also an exciting actor who kept
raising the energy level on stage. His fights with
the Montagues, for example, were nasty stuff.”

“Saturday's season-opening performance introduced
soprano Rochelle Bard (as Juliette) and baritone
Kenneth Mattice (as Mercutio, Roméo's sidekick),
a pair of expressive actors and compelling singers.”
(Richard Scheinin, Mercury News)

“The night’s Mercutio, baritone Kenneth Mattice,
turns out to be a sexy devil who catches all of his
character’s witty recklessness, notably in the Queen
Mab fantasia, 'Mab, la reine des mensonges.'”
(Michael J. Vaughn, TheOperaCritic.com)

“Baritone Kenneth Mattice, another newcomer,
gives meaning to the name Mercutio. He is a
mercurial version of Romeo's rollicking, good-
natured friend whose playfully intended duel with
Juliette's cousin Tybalt (Bill Welch) turns lethal.”
(Keith Kreitman, Oakland Tribune)
As Schaunard in Puccini’s La Bohème, Baltimore Opera
“Kenneth Mattice was a lively, light-voiced
Schaunard (he did a witty job imitating a British
gentleman’s sorry pronunciation of Italian in
Schaunard’s Act 1 entrance scene).” 
(Tim Smith, Baltimore Sun)

“Colline, sung by Christian van Horn, and
Schaunard, sung by Kenneth Mattice, were both
in good form and filled out the cast nicely.”
(Joseph Gianino, OperaOnline)

“Kenneth Mattice and Christian Van Horn
respectively play the musician Schaunard and
philosopher Colline with matching verve.”
(Gadi Dechter, City Paper, Baltimore)

With Steven Harrison as Rodolfo, Jeffrey Kneebone as Marcello, Christian Van Horn as Colline
(Photos: Mike DeFilippi)
With Christopher Bengochea as Romeo, Bill Welch as Tybalt, Michele Detwiler as Stephano and Rochelle Bard as Juliette
(Photos: Bob Shomler)
As Papageno in Mozart’s Die Zauberflöte, Opera San José

“Papageno, decked out in feathers as the Queen's official bird catcher, was performed by
Kenneth Mattice, resident baritone who has developed into a talented and athletic comic.
He was in excellent voice and proved able to sing in any number of positions.”
(Mort Levine, Milpitas Post)

“Kenneth Mattice’s Papageno was charming and animated.  He has a well-grounded baritone
voice.  His comedic timing and physical comedy...  ...spot-on and got unanimous laughs out
of the audience.”
(Lydia Mayne, San Francisco Classical Voice)



As Enrico in Donizetti’s Lucia di Lammermoor, Opera San José

“Mattice plays the part with his usual power, but lends our disastrous matchmaker occasional
vulnerabilities - hints of softer feelings for his sister that lend him a human complexity.”
(Michael J. Vaughn, TheOperaCritic.com)

“Baritone Kenneth Mattice, as the manipulative Enrico, sang with plenty of robust tone.”
(Joshua Kosman, San Francisco Chronicle)

“Conniving Enrico is sung with muscular authority by baritone Kenneth Mattice.”
(Richard Scheinin, Mercury News)



As Sharpless in Puccini’s Madama Butterfly, Opera San José

“convincing” and “…sympathetic.”
(Por Íride Aparicio, La Oferta)



As Germont in Verdi’s La Traviata, Opera San José

“Mattice sang Giorgio with elegance and gravity.”
(Richard Scheinin, Mercury News)
**Recent production photos coming soon!!**