as Don José in Carmen
"David Pomeroy’s voice brought life, depth and breadth to Don José, while his descent into obsession was believable and heartfelt." - Apt613
"...glowing renderings of some of Bizet’s most beautiful arias. His 'flower song' in Act II, ...was a lyrical moment...captured magnificently. Then his performance reached greater heights in Act IV with his tortured, and pulsating pleading, a lover driven to his wit’s end by the taunting of Carmen." - Capital Critics' Circle
"David Pomeroy, as Don José, was magnetic. His dark good looks and impressive acting skills made for a tragic hero. The voice is a beautiful one, with a seamless sound. There is plenty of power when the moment arrives to use that power, and a decided bravura in its use. The final confrontation in Seville belonged entirely to the tenor, who gave full vent to the desperation and rage of the hapless soldier. On the other hand, his use of soft singing was remarkable, displaying amazing tenderness in the duet with Micaëla, ending in a beautifully floated high phrase." - Belgian Operaguide
"David Pomeroy's Don Jose had a new-car smell: The voice was fresh and unlabored with a particularly gratifying bloom in the upper range."- Philly.com
"In La fleur que tu m'avais jetée, he was wonderfully expressive and passionate...He reached the demanding high notes with smooth ease...Totally compelling as a ruined man, Pomeroy's sublime sorrow was palpable." - Winnipeg Free Press
"...glowing renderings of some of Bizet’s most beautiful arias. His 'flower song' in Act II, ...was a lyrical moment...captured magnificently. Then his performance reached greater heights in Act IV with his tortured, and pulsating pleading, a lover driven to his wit’s end by the taunting of Carmen." - Capital Critics' Circle
"David Pomeroy, as Don José, was magnetic. His dark good looks and impressive acting skills made for a tragic hero. The voice is a beautiful one, with a seamless sound. There is plenty of power when the moment arrives to use that power, and a decided bravura in its use. The final confrontation in Seville belonged entirely to the tenor, who gave full vent to the desperation and rage of the hapless soldier. On the other hand, his use of soft singing was remarkable, displaying amazing tenderness in the duet with Micaëla, ending in a beautifully floated high phrase." - Belgian Operaguide
"David Pomeroy's Don Jose had a new-car smell: The voice was fresh and unlabored with a particularly gratifying bloom in the upper range."- Philly.com
"In La fleur que tu m'avais jetée, he was wonderfully expressive and passionate...He reached the demanding high notes with smooth ease...Totally compelling as a ruined man, Pomeroy's sublime sorrow was palpable." - Winnipeg Free Press