II Trovatore - Ferrando
"Ashley Howard Wilkinson's Ferrando was top class vocally and dramatically."
OPERA NEWS
Rigoletto - Sparafucile
"The strongest voice in the cast apparently was that of the bass Ashley Howard Wilkinson as the assassin Sparafucile. His voice was rich and well-focused, spinning out lyric lines with great ease, while he also seemed to have a winningly natural stage presence."
BUFFALO NEWS
La Boheme - Colline
"Act 4 brought what I had been waiting for ever since Colline, performed by Ashley Howard
Wilkinson, sung his first line in act I: the bass aria. Wilkinson's voice has beautifully
distinguishable timbre and an unusually addictive quality. I followed him around the stage, waiting for him to open his mouth. When he exited, I was disappointed that he was off the stage."
ANCHORAGE DAILY NEWS
"of Rodolfo's trio of roommates, Peter Lightfoot and Ashley Howard Wilkinson were outstanding in their roles"
THE GRAND RAPID NEWS
The Abduction from the Seraglio - Osmin
"Abduction" is so challenging vocally, even instrumentally, there's no possibility of phoning in a performance. The vocal range by the roles of Constanza and Osmin is especially vast, and Osmin is asked to sing some of the lowest notes in opera history... Soprano Heather Buck and Ashley Howard Wilkinson were admirable in their musicianship, controlled vocal power, and aplomb."
THE COURANT
Porgy and Bess - Crown
"Physically the tall hugely muscled Ashley Howard Wilkinson makes a formidable Crown. He's handsome, buff and a classic bully. He also has a sturdy baritone voice and his possession of Bess in their duet What You Want Wid Bess is as frightening a display of violence as his killing of Robbins in the first act."
THE NEWS JOURNAL
"Rowe was larger than life and so was Ashley Howard Wilkinson as Crown, whose voice and
physical presence loomed huge; he makes the Governor of California look petite. He was
appropriately menacing and compelling."
COURIER AND PRESS
"Wilkinson towered physically (think Jaws in the James Bond movies) and vocally."
THE SALT LAKE TRIBUNE
Faust - Mephistopheles
"Ashley Howard Wilkinson's Mephistopheles had roguish elegance and sonorous low notes."
THE PLAIN DEALER
"Ashley Howard Wilkinson reveled in his part as Mephistopheles and his French diction set the bar for the rest of the cast... quite impressive singers..."
BEACON JOURNAL
The Magic Flute - Sarastro
"Wilkinson was a favorite of the evening with his deep, bass notes and commanding presence."
THE DAILY HERALD
"Ashley Howard Wilkinson is a regal Sarastro; in Saturday's performance, his voice seemed to grow more resonant with each scene."
THE SALT LAKE TRIBUNE
"As Sarastro the high priest, Ashley Howard Wilkinson succeeds with commanding stage
presence in a smashing costume. His fine young bass, still in its formative stages, is already impressive."
DESERET NEWS
Barber of Seville - Basilio
"Swirling his black cape and sniveling, Ashley Howard Wilkinson was a curiously
Mephistophelian Basilio, but a riveting one."
KANSAS CITY NEWS
Les Pecheurs de Perles - Nourabad
"Ashley Howard Wilkinson took the relatively minor role of Nourabad... and filled it out with distinction"
SAINT PAUL PIONEER PRESS
Noye's Fludde - Noah
"Bass Howard Wilkinson, IPTO's earnest Noah, was serenity personified after the Storm."
NEW YORK NATIVE
Carmen Jones - Husky
"Ashley Howard Wilkinson impresses, too, as the man mountain boxer Husky with a truly
powerful voice."
MIDWEEK
Iolanthe - Private Willis
"As the godlike Private Willis, Ashley Howard Wilkinson stands like a waxen figure in Madame Tussaud's and pours out deep rolling tones in his song."
THE BOSTON GLOBE
