Mark Thomas Ketterson

Lucia di Lammermoor, Lyric Opera of Chicago
“Matthew DiBattista was a bright-toned, appropriately nasty Normanno.”

Mark Thomas KettersonOpera News
James Sohre

Ariadne auf Naxos, Opera Theatre of Saint Louis
“Matthew DiBattista solidly sang an outstanding Dance Master, a case of a major artist nailing it in a minor role.”

James SohreOpera Today
Cashman Kerr Prince

Handel’s Ode for Saint Cecilia’s Day, Masterworks Chorale

“Matthew DiBattista gave strong, rich, and resonant voice to “From harmony, from heaven’ly harmony.” His later air, “Sharp violins proclaim,” proved equally strong.”

Cashman Kerr PrinceThe Boston Musical Intelligencer
Aaron Keebaugh

Moravec’s stunning “Blizzard Voices” receives powerful premiere from BMOP
“Tenor Matthew DiBattista rendered his phrases in ‘The Blizzard Bore Down’ with clarion tone and conviction.”

Aaron KeebaughBoston Classical Review
Lawrence A. Johnson

COT delivers effective staging of Picker’s compelling “Thérèse Raquin
Matthew Di Battista was ideal casting as the lame, gullible Camille. The tenor brought an affecting, nice-guy persona to the role and showed a dauntingly powerful voice that belied his short stature. He threw out resounding top notes and tackled the stratospheric tessitura of Camille’s ghost with striking ease and agility.

Lawrence A. JohnsonChicago Classical Review
Rick Schultz

THERESE RAQUIN – Long Beach Opera
“The show’s knockout performance came from tenor Matthew DiBattista as Camille. Clueless in the first act, Camille dominates the opera’s sepulchral second, relishing a chance to torment his killers from beyond the grave. DiBattista scarily embodied the role, delivering an especially gripping ghost aria.”

Karl Hesser

“Matthew DiBattista made the most of the Four Servants, differentiating them physically and getting laughs with each without overplaying the comedy. Franz’s aria was genuinely funny!”

Karl HesserOpera News
James Sohre

St. Louis: Winner and Still Champion
“The smaller roles were all cast from strength. Matthew DiBattista was a far less wasted Tinca than usual, his tenor ringing out freely.… Mr. DiBattista shone even more brightly as Beppe than he had as Tinca, and his brief Serenade was lovingly voiced.”

James SohreOpera Today
Judith Malafronte

Unsuk Chin’s ALICE IN WONDERLAND – Opera Theatre of Saint Louis (US premiere)
“Matthew DiBattista brought down the house as a rapper Dormouse, working the stage using his tail as a mike, and switched gears for the Invisible Man, his lovely tenor lending atmosphere to the final pages of the score.”

Judith MalafronteOpera News
David Wright

BSO offers mild Haydn, robust Wagner
“Tenor Matthew DiBattista sang his few lines as the apprentice David with ringing top tones that rose above the orchestra.”

David WrightBoston Classical Review
Vivien Schweitzer

Tanglewood’s Season Opens With Good Friends Like Verdi and Bellini
“The promising young tenor Matthew DiBattista sang well as Flavio.”

Vivien SchweitzerNew York Times
Jim Ruggirello

Operatic Voices Routinely Brilliant
“Matthew DiBattista only had one part, but that was the demanding title role. Schweik dominates the action for the bulk of the opera, and DiBattista gave a star-making performance. His voice is a flexible, rich tenor, and he managed the part from top to bottom with seeming ease. His acting, too, was assured, and he handled the changes of mood and style effortlessly.”

Jim RuggirelloLong Beach Gazette
Judith Malafronte

The Ghosts of Versailles, Opera Theatre of Saint Louis
“As the villain Bégearss, the mega-talented Matthew DiBattista was appropriately showy, especially in his Iago-ish ‘Aria of the Worm.’

Judith MalafronteOpera News