“Phillip Addis was a superb Billy Budd. There was a cockiness to him that was without guile, and his singing had that same quality. His voice was virile, free and open.”
“Addis’s Billy is lithe, virile and athletic; his allure stems more from an inner goodness than from an outward innocence. The role fits Addis’s slender baritone perfectly. Billy’s quieter moments found the singer at his best: the lilting lullaby of “Look! Through the port comes the moonshine astray!” movingly sung. Yet when required, he also rose to the challenge of Billy’s more dramatic apostrophes to the 'Old Right’s o’ Man'."
“Billy Budd is played by Phillip Addis, who has the perfect physique du rôle and performs divinely (he often climbs, demonstrating excellent athletic skills). Beginning with the character's ballad ("Billy Budd! King of the birds!") And ending in the poignant scene of 'Billy in the darbies', Addis is always in the character, exuding candid adolescence, candid abandonment to the world, despite all the evil with which it is filled”
“Phillip Addis is Billy; he is a young agile baritone who has already interpreted the role many times (among others, in Genoa); with good looks and a great capacity for acting he is perfect for the part.
Baritone Phillip Addis sang the title role, and he moved between depicting a man capable of murder and rape, and slick seducer well enough. His interactions with his servant, Leporello (Erik Anstine), were a good mix of indulgence and physical threat. And in his final confrontation with the ghost of the Commendatore (Kirk Eichelberger), Addis generated a fearless defiance to create a powerful scene of male indignation and danger before he was dispatched to the furnace.
“As the titular Giovanni, baritone Phillip Addis brings an attractive swagger and appeal to the role. Addis excelled especially at the challenging recitative, particularly in the comedic moments with his trusty servant. At times, the orchestra drowned Addis' velvety baritone somewhat, but his performance of the boisterous aria "Fin ch'han dal vino", in which he announces a lavish, hedonistic party, was a tour de force"
"As the titular Onegin, baritone Phillip Addis offers a convincing, polished performance. Addis carries himself with poise and swagger that underscore his character's coldness. But in the third act, Addis unleashes a full range of his acting and vocal ability when his character finally recognizes his love for Tatyana. His vibrant voice is pierced with desperation as he pleads with Tatyana, who refuses to act on her feelings for him."
I hope the TSO asks Phillip Addis back after such an intelligently sung debut. I watched him marshal his resources through the “Estuans interia”, a series of (I think) high Gs, and a final powerful A. He’s a theatrical singer who happens to possess a lovely sound and flawless intonation.
Phillip Addis navigates the requirements of the piece with ease, shifting between his registers with extreme flexibility. Orff is almost cruel to his baritone in the "Dies, nox et omnia" aria - demanding falsetto in one bar and then forcing the baritone to dip down to the base of his range in the next. Though cruel, Addis makes it sound lovely.
Toronto Concert Reviews
Baritone Phillip Addis ... was brilliant displaying an abundance of power as well as comedic flair.