Press
Oedipus Rex with Michael Tilson Thomas & the Chicago Symphony Orchestra
“The promising young bass-baritone Ryan McKinny did triple duty as Creon, Tiresias and the Messenger.”
- John von Rhein, Chicago Tribune, February 20, 2010
“Young bass-baritone Ryan McKinny made an impressive CSO debut in a variety of roles, handling the twisting challenges of Tiresias with aplomb.”
- Lawrence A. Johnson, Chicago Classical Review, February 19, 2010
“Mr. McKinny was a new name for he, but he's clearly an up-and-comer--an attractive and dark-voiced singer…”
- The Year of Musical Thinking (blog), February 22, 2010
Leone in Tamerlano with Los Angeles Opera
“Ryan McKinny's Leone scores a huge hit with crowd…”
- Laurence Vittes, Seen and Heard International, November 22, 2009
“Ryan McKinny lights up the stage for a few moments of sheer virtuosity.”
- Alan Rich, Variety, November 22, 2009
“One of Rader-Shieber’s more interesting ideas, however, involved Leone, Irene’s escort. As she voluptuously contemplated ascending the throne in a second-act aria, Leone began fidgeting and struggling mightily to contain his attraction to her, even as she seemed unaware of her effect on him. All this provided the motivation for his leaping up to sing the showpiece aria about the power of love for good or evil, “Amor dà guerra e pace.” Ryan McKinny galvanized the production at that moment.”
- Chris Pasles, Los Angeles Times, November 22, 2009
“Bass-baritone Ryan McKinny made the most of the small part of Leone, putting over his lone aria with compelling conviction.”
- Tim Mangan, Orange County Register, November 22, 2009
The most surprising contribution of the afternoon came from the Leone, bass-baritone Ryan McKinny. Somewhat familiar as Montano from the Los Angeles Otello and the Herald from the recent Houston Lohengrin, his fast, furious and totally accurate coloratura was a revelation. We need to hear a great deal more from him.
- Maria Nockin, Music & Vision, December 8, 2009
Don Basilio in Il barbiere di Siviglia at Los Angeles Opera
“Ryan McKinny, who had a show-stopping aria last month in “Tamerlano,” sang the wily, conniving music master Don Basilio’s slander aria with power, if not with the booming, hall-filling sound bass of his predecessor [Andrea Silvestrelli]. Yet, McKinny’s contained oiliness and especially his sly facial expressions when accepting gold as a bribe were priceless.”
- Chris Pasles, Los Angeles Times, December 6, 2009
The Herald in Lohengrin at Houston Grand Opera
“Rounding the cast perfectly was Ryan McKinny as the Royal Herald. With rich, deep colors reminiscent of Samuel Ramey, this young HGO Studio alumnus is sure to have a long and promising career.”
- Jake Johansen, Houston Examiner, October 31, 2009
“Ryan McKinny was an honorable Herald.”
- Scott Cantrell, Dallas Morning News, October 31, 2009
Oedipus Rex with the LA Philharmonic, Esa-Pekka Salonen, conductor / Peter Sellars, director
“Ryan McKinny played Creon, Tiresias and the Messenger and managed a different voice for each one, all of them elegant and articulate.”
- Tim Mangan, OC Register, April 20, 2009
Figaro in Le nozze di Figaro at Utah Opera
“Tall, handsome Ryan McKinny made a sly and engaging Figaro. An adept comedian, McKinny drew frequent laughter without becoming buffoonish. His lyrical bass-baritone voice drips with gold in its upper and middle registers.”
- Celia R. Baker, Opera News, June 2009
Figaro in Le nozze di Figaro at Berkshire Opera
“[Bass]-Baritone Ryan McKinny was a quick, confident Figaro who rattled off recitatives like an auctioneer but also delivered his more lyrical passages with persuasive seduction.”
- Joseph Dalton, Opera News, November 2008
Flint in Billy Budd' at Houston Grand Opera
“In other roles, Liam Bonner and Ryan McKinny turned in fine, prime vocal performances as officers Redburn and Flint, respectively. Like the leads, they created engrossing characters who commanded the audience's attention from start to finish.”
- Marcia J. Citron, Opera News, July 2008
Cardiff Singer of the World Competition 2007
“There’s something special for me about Ryan McKinny’s programming. It feels more substantial – not just a bus trip along the motorway of Song. It’s not really about individual pieces but the overall sense of the programme. Though, being a Brit, I struggled a little with the father/son thing in the initial round, I love ‘The Life of an Artist’ theme tonight. For me, the four Poulenc pieces were a delight, particularly the Chagall. I wanted to hear it again while looking at the paintings. Tonight Ryan had a dialogue with his audience – I was engaged and included.”
- Maggi Willis, BBC Cardiff Singer of the World 2007 official reviewer
“Personal highlights of the Song Prize – My list is headed still by Ryan McKinny’s singing of Schubert’s Erlkönig, miraculously accompanied by Llŷr Williams. It’s been quite a diverse year for Erlkönigs too. McKinny’s intelligence of programming stands head and shoulders above the rest where the song prize was concerned for its coherence and suitability to his voice.”
- Evan Dickerson, MusicWeb – BBC Cardiff Singer of the World 2007
Figaro in Le nozze di Figaro at Wolf Trap
“Ryan McKinny brought to the title role a steady, colorful baritone and a knack for enlivening a phrase, delivering a particularly vibrant reading of Figaro’s ode to misogyny in Act IV. His comic timing was likewise impressive.”
- Tim Smith, Opera News, Summer 2006
“The cast was spearheaded by baritone Ryan McKinny, who delivered an engaging Figaro.”
- Stephen Brookes, Washington Post, Summer 2006
The Messiah with Musica Sacra Orchestra
“Ryan McKinny displayed a robust and well-supported bass-baritone in his Carnegie Hall debut.”
- Jeremy Eichler, New York Times, 2005
Masetto in Don Giovanni at HGO
“…baritone Ryan McKinny (a rustic, well-sung Masetto).”
- Charles Ward, Houston Chronicle, 2006