REVIEWS

Chaya Czernowin’s Infinite Now
The young bass David Salsbery Fry thrilled with his extremely sensual and almost impossibly deep tones.”
- Andreas Falentin, concerti (2017)

Also notable is the singing, especially when we hear bass David Salsbery Fry plumbing the unexpected black depths ...
- Stefan M. Dettlinger, Mannheimer Morgen (2017)

Bass David Salsbery Fry contributed a profound musical impression with his penetrating entrances.”
- Bernd Feuchtner, KlassikInfo.de (2017)

As Caliban in Summer’s The Tempest
“Caliban (Prospero’s slave), whose entrance is marked by swirling, pounding music, is sung with granite-like tone by the reverberant bass David Salsbery Fry.”
- Joshua Rosenblum, Opera News (2017)

“The vocalists all did creditable work; most notable among them were Katherine Pracht and David Salsbery Fry, who invested Ariel and Caliban with appropriately airy and earthy personalities.”
- Brian Schuth, The Boston Musical Intelligencer (2015)

As Mr. Wood in Karchin’s Jane Eyre
“David Salsbery Fry injected a note of wry humor as the minister, Mr. Wood, and became the focal point of the wedding.”
- Joanne Sydney Lessner, Opera News (2017)

As Abbot & Master Chen in Naga
“David Salsbery Fry gave a fine, resonant performance as the Master to whom the Monk apprentices himself and whom he eventually kills.”
- David Shengold, Opera (2017)

As Seneca in L’incoronazione di Poppea
“The strongest, steadiest voices belonged to De Vita, Nathanson and Fry, who each nimbly managed Monteverdi’s challenging passagework.”
- Marc Shulgold, Opera News (2013)

As Mosè in Mosè in Egitto
“With noble stature and flowing bass-baritone, Fry’s Moses had a world weary and endearing quality, highlighted by the prayer-like ‘Dal tuo stellato soglio (From your starry throne)’ in the final act.”
- Ronald Blum, The Associated Press (2013)

“Moses, here sung handsomely by the mellow-voiced bass-baritone David Salsbery Fry ...”
- Anthony Tommasini, The New York Times (2013)

“[Fry] brought out the inner humanity in the prophet with a sweet, plangent bass-baritone that could dip low for important notes as needed. He was absolutely authoritative in the brief final act, when leading the famous Prayer Chorus and parting the Red Sea.”
- Paul J. Pelkonen, Superconductor (2013)

As Ramfis in Aida
“David Salsbery Fry ... soared powerfully as Ramfis, the High Priest”
- Mary Johnson, The Baltimore Sun (2012)

“... wonderfully imposing sounds.”
- David Lindauer, The Capital (2012)

As Judge Turpin in Sweeney Todd
“As the evil Judge Turpin, David Salsbery Fry rolled out an unctuous bass sound and was especially good in the ‘Pretty Women’ duets ...”
- Harvey Steiman, The Aspen Times (2012)

As Basilio in Il barbiere di Siviglia
“David Salsbery Fry, as Bartolo’s co-conspirator Basilio, hits his low-bass notes with ease, while covering each note with a slimy veneer.”
- Matthew J. Palm, Orlando Sentinel (2012)

Charles Wuorinen’s “Never Again the Same”
“David Salsbery Fry sang it with a winning fluidity and some impressive sepulchral tones.”
- Allan Kozinn, The New York Times (2011)

“Bass David Salsbery Fry was an excellent witness, singing a challenging part in a way that made the challenge its least interesting aspect.”
- Matthew Guerrieri, NewMusicBox (2011)

As the Ogre in El gato con botas
“The kids adored the coming together of a huge, ugly six-piece Giant, voiced creditably and with fine diction by the bass David Salsbery Fry.”
- David Shengold, Opera (2011)

“David Salsbery Fry lent a properly fearful bass to the ogre.”
- Ron Cohen, Back Stage (2010)

As Arkel in Pelléas et Mélisande
“Especially impressive was young Bass David Salsbery Fry as the old king, the most promising voice I’ve heard in the season.”
- Haggai Hitron, Haaretz (2009)

As Il Commendatore in Don Giovanni
“The voices? They’re all marvelous. That includes the frightening passages sung by bass David Salsbery Fry as The Commendatore. I think even Mozart aficionados who know this show backwards will agree he brings fresh life to such an iconic role.”
- Evans Donnell, The Tennessean (2008)

“... the darkly sonorous Commendatore of bass David Salsbery Fry.”
- Mark Thomas Ketterson, Opera News (2008)

As Sarastro in Die Zauberflöte
“The discovery of the evening: David Salsbery Fry. Incredible! A young guy, whom you cannot imagine as Sarastro until you hear what he has to offer vocally. Wow! Rich, deep voice, stirring and overwhelming. Truly remarkable and astounding.”
- Haaretz (2008)

“The American David Salsbery Fry, who graduated from Juilliard two years ago, was astounding with his deep voice and personal mature expression, which he brought to the role of Sarastro, the representative of enlightenment and wisdom.”
- Zvi Goren, Habama (2008)

As Zweiter Soldat in Salome
“There was good work from most of the large cast, particularly David Salsbery Fry’s Second Soldier ...”
- Sarah Bryan Miller, Musical America (2006)

As Der Kammersänger in Intermezzo
“The pals, played by student singers, distinguished themselves, especially Jonathan Taylor as Stroh (another conductor) and David Salsbery Fry as an opera singer. This scene played vividly, musically and dramatically, and a got a well-deserved ovation that cut into the ensuing intermezzo.”
- Harvey Steiman, The Aspen Times (2005)

As Polyphemus in Acis and Galatea
“As Polyphemus, bass David Fry threw marvelously wild tantrums, while plunging securely down in his range.”
- Joanne Sheehy Hoover, Albuquerque Journal (2003)





David Salsbery Fry

As Sarastro in Die Zauberflöte, International Vocal Arts Institute in
Tel Aviv

Photo © Ariel Besor


David Salsbery Fry

As Olin Blitch in Susannah (with Catherine Spadora Stebbins), Opera at Rutgers
Photo © Larry Levanti



Copyright © 2010-2017 David Salsbery Fry d/b/a Vocal Fry Productions