His singing was wonderfully powerful—also physically energetic and dramatically portrayed. The winner of the evening.


Nmon Ford earned the most applause of the evening for his charismatic Jochanaan. Ford sang with feverish gusto, a big-toned performance.



Nmon Ford, the American bass-baritone, is a Jochanaan of imposing stature with a superb stage presence, and furthermore he has a powerful and magnificent voice. His replies to the desperate calls of Salomé possess the power and rage of thunder and lightning.



Nmon Ford is definitely not the standard old Jochanaan: he makes us understand why Salomé is crazily obsessed with him...The success is unquestionable because Mr. Ford has an extraordinarily powerful voice.

- LA SCÈNE OPéra (res musica)



In an impressive performance, the evil chief-of-police Scarpia: sung with assured power by Nmon Ford.



But the show may belong to Ford as Scarpia, who plots his brutal conquest of Tosca with the same fervor he gives to planning Cavaradossi's undoing. His voice during the famous "Te Deum" sequence that ends Act I has sufficient edge and power, never once causing us to doubt his malevolent intent.



As physically imposing as vocally, in his mostly black costume, he can not only roar, but chillingly insinuate with a quieter turn of phrase.


MACBETH (Macbeth, by Ernest Bloch)


The revelation here is the towering Macbeth of Nmon Ford: matinee-idol handsome, with a rich and supple baritone capable of both power and subtlety. He radiates star quality while above all making a complex emotional creation of his conflicted antihero, projecting both vulnerability and arrogance in sensitive proportions.

Felicitously, he embodies a much younger Macbeth than conventionally portrayed, which in truth suits the character far more appropriately, though less experienced actors are often not considered of the necessary stature for the role. Ford has that stature, and this is as memorable a Macbeth as any essaying the part without benefit of the intricacies of classical singing.



Nmon Ford sang the title role with an exceptionally voluminous, agile baritone that effortlessly managed the leaps between registers, and he brought a striking stage presence to the part.



The extraordinarily powerful reading of Macbeth by baritone Nmon Ford further enhanced the performance. Ford should have a major career ahead of him; not only can he sing at heightened volume with flexibility and without the slightest sign of strain, he is also an actor of rare accomplishment. His Macbeth, ranging from the heights of megalomaniac power to the helplessness of an infant caught in the toils of his own naughtiness, could easily make its way on the world's leading Shakespearean stages.


DI LUNA (Il trovatore)


Baritone Nmon Ford was a powerful, threatening Count di Luna. He has plenty of weight in his dark, rich-toned voice, along with plenty of stage presence, allowing him to dominate the stage or hold his own with his Leonora and Manrico. Besides conveying the Count's jealousy and rage, Ford's refined control of his dynamics and timbre allowed him to fully bring out the few tender emotions Verdi gave his character.



Nmon Ford likewise delivered vocal and theatrical rewards as di Luna, including his share of added high notes. The baritone's distinctive timbre, with a fast vibrato, generated terrific intensity...his account of "Il balen" taken very slowly and nicely inflected with rubato.



Nmon Ford brought regal bearing to the Count di Luna and made this villain sympathetic--his "Il balen" was rich and heartfelt.


DON GIOVANNI (Don Giovanni)

OVATION FOR THE HEARTTHROB BARITONE NMON FORD - Nmon Ford, Don Giovanni: he is the charming, beautiful, and, above all, bravissimo Panamanian-American baritone, a fantastic addition to this revival. His performance is perfect, not only in terms of voice. Just look at him the moment the curtain rises on the opening scene designed by Pizzi--black, with white light over the bed on which lay the red clothes of the Great Seducer.

- Il resto del carlino


Nmon Ford is brilliantly villainous as Don Giovanni.

- WALL STreet journal


Nmon Ford, who made his Italian debut at the Muse in Ancona as the protagonist in the rarity "The Emperor Jones" by Louis Gruenberg, has a large, full and resonant baritone voice. Yet what strikes one mainly about this Afro-American artist is his careful phrasing--the recitatives were perfect--and excellent diction. Moreover, he knows the art of singing mezzavoce, which was invaluable for the execution of the Serenade. This actor and interpreter also has an overwhelming physical presence.

- l'opera


The Panamanian-American baritone Nmon Ford was an imposing soloist, flinging out texts with splendid diction and a close emotional connection with the material.

- chicago tribune


As Iago, Ford was ominous and threatening by turns, histrionically and vocally adroit. His clear voice reverberated freely as it rolled out, godlike.

- american record guide


As Escamillo, the Panamanian-American baritone Nmon Ford was self-confidence personified, and he has a beautiful voice to back it up.



But one does not arrive at a success like last night's, without a dramatically and vocally impeccable protagonist like baritone Nmon Ford.



Nmon Ford cuts a striking figure. This Grammy-winning, bodybuilding baritone may look like an escapee from an upmarket catwalk, yet he sings with intelligent musicality and a warm, expressive upper range, and brings both grace and energy to the role.

- financial times


Nmon Ford was dashing and vocally acute as the loyal Kurwenal, breathing real heroic fire into the final act.

- washington times


EMPEROR NMON CONQUERS THE MUSE - Over ten minutes of applause greeted the prima of Emperor Jones, with a special and highly deserved ovation above all for the protagonist, Nmon Ford...The powerful and expressive talent of the protagonist Nmon Ford, fully engaged in a long a difficult part in which he is seen onstage for a full one-and-a-half hours. Dramatically perfect in his overwhelming and vital physicality (and it doesn't hurt that he is an actor of great expressivity and charisma), Ford was capable of dominating the technical exigencies of a part alternating between pure singing, and moments of sprechgesang and declamation, all addressed with enviable security and commitment.

- il messaggero


The Panamanian-American baritone Nmon Ford, in his Italian debut, was perfect. His scenic mastery of the role was at one with the vocal, which was of a naturally fluid quality, well supported and full as much as in "parlance" as in the more full-voiced sections. In his first arioso Ford demonstrates perfectly his stylish phrasing during the revelation of his crimes in America. The great Act II prayer was magnificent, where the voice powerfully dominated the full orchestra at forte and illuminated thousands of shades of distress, the folly of religious fervor and ambition destroyed. The orgiastic finale completed a performance by which all others must surely be measured.

- operaclick