The Saint Paul Chamber Orchestra – The Rake's Progress

"On Thursday night at St. Paul's Ordway Center, the SPCO, Minnesota Chorale, conductor Edo de Waart and seven very impressive vocal soloists performed a "Rake's Progress" that will likely be looked back upon as the triumph of this festival. Impeccably executed with unflagging energy and inspiring musicianship, it not only illuminated the composer's genius, but left the enthusiastic audience debating who deserved the greatest praise for its success."

-The St. Paul Pioneer Press (2010)

"This was partly due to the excellence of the cast members, who managed not only to relate to one another while standing in front of their music stands but to create believable characters. Continually impressive was William Burden in the title role, displaying a sweet tenor that took on a heroic ring in the climaxes and drawing a compelling, chameleonic character throughout. Heidi Stober was the vocally radiant Anne Trulove, Peter Coleman-Wright the subtle but sinister Nick Shadow, and mezzo Nancy Maultsby a foxy Baba the Turk. Kevin Langan, Judith Christin and Joseph Gaines were excellent in smaller roles..."

-The Minneapolis Star-Tribune (2010)

Saint Thomas Church Fifth Avenue – Messiah

"The tenor, Joseph Gaines, contributed an attractively focused, shapely tone and some thoughtfully turned ornamentation."

-The New York Times (2009)

Pittsburgh Opera – Falstaff

"Joseph Gaines captured the disdain of the sniveling Dr. Caius well."

-Opera News (2010)

"Joseph Gaines was a nasty Dr. Caius."

-The Pittsburgh Post-Gazette (2009)

Indianapolis Opera – Ariadne auf Naxos

" Joseph Gaines sparkled vocally as Scaramuccio."

-Opera News(2009)

"... members of the comedy troupe made a fine ensemble..."

-The Indianapolis Star (2009)

Ars Lyrica Houston – Music of Alessandro Scarlatti (NAXOS Records)

"The compact work is skillfully performed by the Houstonians."

-Gramophone (2009)

"In particular the two vocal items are fine additions to the growing catalogue of Scarlatti’s vocal music. The interpreters have certainly succeeded in bringing the music’s quality into the limelight. Lovers of Alessandro Scarlatti’s music in particular should not overlook this disc."

-Johan van Veen/MusicWeb International (2009)

"Their approach is decisive and melodious, full-bodied and confident…their singing is careful and precise."

-Mark Sealey/MusicWeb International (2009)

The Saint Paul Chamber Orchestra – Handel's "Ode for St. Cecilia's Day"

"This one took me by surprise because this sort of music just doesn't stir my soul. Tenor soloist Joseph Gaines was such an exuberant performer you couldn't help but smile. He looked pretty hip, too -- more Michael Stipe than old-school orchestral."

-The Minneapolis Star-Tribune (2008)

"Its text was delivered not only by the choir but also by a pair of strong soloists, sweet-voiced soprano Claire Ormshaw and colorful tenor Joseph Gaines."

-The St. Paul Pioneer Press (2008)

Ars Lyrica Houston – Rockin' Rococo

"Last but not least we enjoyed the voice of tenor Joseph Gaines who sang French and German lyrics crisply and clearly so that we could understand every word."

-Arts Houston (2008)

Glimmerglass Opera – Das Liebesverbot

"Glimmerglass Young American Artist Joseph Gaines gave a bright characterization as the toadying Pontio Pilato."

-Opera News (2008)

"The comic parts were entertaining, especially the contributions of tenor Joseph Gaines as Pontio Pilato (as he says, not that one)..."

-The Wall Street Journal (2008)

"Joseph Gaines, a tenor, was impressive as Pontio Pilato, by turns a flesh peddler and a jailer."

-The New York Times (2008)

"Tenor Joseph Gaines (one of the Young American Artists) always makes a fine impression, and he relished every moment of his stage time (as did we) with a delectable character turn as “Pontio Pilato.” He has a pleasantly clear, well-projected voice, and very good German diction. A committed and concentrated actor, his honest and animated performance was blessedly cliche-free."

- Opera Today (2008)

"Lauren Skuce’s Dorella and Joseph Gaines Pontio Pilato showed vocal skill and assured comic presence."

- The Boston Musical Intelligencer (2008)

"Among Shakespeare’s character Pompey (another outspoken advocate of lust) is here renamed Pontio Pilato (one wonders what was going through the young Wagner’s mind) and Joseph Gaines gives a vivid portrayal."

- ConcertoNet (2008)

" Joseph Gaines as Pontius Pilate (one of the opera’s few good jokes lurks behind the name) was channeling Stanley Tucci in The Devil Wears Prada, bringing good timing and a very nice voice to the character."

- Metroland (2008)

" Among a large cast of comprimarios, the Pontio Pilato of tenor Joseph Gaines (a fusion of Shakespeare's Pompey and The Provost) stood out for his exemplary diction in the transposed dialogue with Luzio in Act 2."

- The Ithaca Journal (2008)

"Tenor Joseph Gaines was great fun as the pimp Pontio Pilato, "guilty of aiding and abetting the practice of free love."

- The Oneida Daily Dispatch (2008)

Indianapolis Opera – The Magic Flute
“Monostatos (Joseph Gaines) looked authentically Egyptian and svelte in a revealing mini-skirt and collar...
Gaines sang Monostatos's music beautifully while cavorting about the stage.”

- Opera News Online (2007)

Glimmerglass Opera – Orpheus in the Underworld
“Joyce Castle (Public Opinion) and Jake Gardner (Jupiter) performed with skill and comic nuance, sang well, and comported themselves like the seasoned pros that they are. They were matched by a wonderfully fey, wonderfully sung “Mercury” from tenor Joseph Gaines, who by the way, also gave a lovely Young Artist’s recital at week’s end accompanied by Timothy Hoekman.”

-Opera Today (2007)

“More good work came from … tenor Joseph Gaines as Mercury, who reports that ‘hell, fire and damnation are not as unsavory’ as he was led to believe.  Mercury's patter song was cut from the production, but operagoers can hear Gaines sing it in French (the production is sung in English) during the pre-performance lecture.”

-The Oneida Daily Dispatch (2007)

 Indianapolis Opera – Falstaff
“The sweet-voiced Bardolfo of Joseph Gaines could have been singing Fenton… The rapport and interplay between Condy, Gaines and Plourde was a particular delight.”

-Opera News Online (2007)

 Regina Opera – Madama Butterfly
“Joseph Gaines was a scene-stealing Goro, his fine robust and secure tenor and amusing deportment in his gold Japanese robe and black bowler that made him an intriguing character. Goro’s being the ‘victim’ of Cio-Cio-San’s wrath when he spread rumors that ‘Sorrow’ was not necessarily Pinkerton’s child, was very well done. Gaines had the audiences’ attention at all times. He is naturally stage-worthy.”

-The Italian Voice (2007)

St. Thomas Church Fifth Avenue – Messiah
“The strong soloists were ... Joseph Gaines, tenor… all of whom often sang with dramatic flair and plenty of bite.”

-The New York Times (2006)

Central City Opera – The Coronation of Poppea
“Tenor Joseph Gaines makes the most of the minor role Liberto…”

-Denver Post (2006)

Houston Chamber Choir – St. John Passion
"The back-and-forth change of leadership worked without a hitch, and the performance kept momentum because of the totally engaged singing of Joseph Gaines as the Evangelist.  He was the standout of the evening. In contrast to most of the other singers, his English diction was excellent. He vividly declaimed the text taken from the Gospel According to St. John. He used a wide palette of vocal colors to establish the right emotional tone for every moment. His work was filled with character."

-Houston Chronicle (2005)

Houson Bach Society – St. John Passion
"...tenor Joseph Gaines sang with ardor."

-Houston Chronicle (2005)

Washington Bach Consort – “Leipzig Legacy”
"Soprano Jacqueline Horner, alto Patricia Green, tenor Joseph Gaines and bass James Weaver were a uniformly strong ensemble..."

-Washington Post (2004)

“…all four vocal soloists (Jacqueline Horner, Patricia Green, Joseph Gaines, and James Weaver) performed well.”

-Ionarts (2004)

Mercury Baroque Ensemble – Messiah
"...the outstanding tenor solos offered by tenor Joseph Gaines ... held the attention of the audience for nearly three hours .... Tenor Joseph Gaines was the outstanding soloist, singing with warmth and arching phrases that had an unquestionable logic."

-Arts Houston (2004)

Washington Bach Consort – St. Matthew Passion
"...Joseph Gaines sang with resilient soulfulness."

-Washington Post (2004)

Mercury Baroque Ensemble – Messiah
"Tenor Joseph Gaines ... was the best of the quartet in conveying the meaning of key words."

-Houston Chronicle (2004)

Houston Bach Society – Bach Christmas Oratorio
"Tenor Joseph Gaines offered snap-crackle singing as the Evangelist..."

-Houston Chronicle (2003)

Washington Bach Consort – “Magnificat Times Three”
"The soloists were ... tenor Joseph Gaines ... in outstanding material, they gave distinguished performances."

-Washington Post (2003)

Houston Chamber Choir – 1610 Vespers
"Gaines had the largest part of the solo work, which he handled with a nice sense of style."

-Houston Chonicle (2003)

Hochschule für Musik und Theater, Leipzig – Eugene Onegin
"Joseph Gaines did complete justice to the unusually high acting demands of this Triquet."

-Leipzig Almanach (2002)

"[Director] Matthias Oldag let all threads of this tragic play come together with Joseph Gaines' Triquet."

-Leipziger Volkszeitung (2002)

Hochschule für Musik und Theater, Leipzig – Die Israeliten in der Wüste
"The native Texan Joseph Gaines (tenor) proved to be the shining choice for this work. He mastered the somewhat extensive portions of Aaron at the beginning and the end with oustanding pronunciation and clarity of text, clear and clean intonation, as well as appropriate expression."

-Leipzig Almanach (2002)

Landesjugendorchester Sachsen – HMS Royal Oak
"...individual settings came out best, such as the Panama Song with the American Joseph Gaines..."

-Sächsische Zeitung (2002)

"A large tenor part gave us the chance to get to know a young American singer, who presently studies in Leipzig. Joseph Gaines had a wonderfully clear lyric voice with a gently responsive upper range."

-Dresdner Neueste Nachrichten (2002)

University of Houston Moores Opera Center – Euridice
“Joseph Gaines plays a wonderfully love-stricken Orpheus.”

-The Daily Cougar (2001)

University of Houston Collegium Musicum -- Jonah
"But, above all, I will remember the variety of emotions composers expressed through such simple means. [Carissimi's] Jonah was the best example, especially Jonah's long solo of repentence. Simplicity is hard to convey but, as tenor Joseph Gaines showed, it can be powerfully moving. "

-The Houston Chronicle (1998)

Translations: Joseph Gaines