Pinkerton — Madama Butterfly / Opera San José 2019

"Tenor Dane Suarez as Pinkerton displays heroic lyricism in all of his highlights. His duets with Butterfly ‘Viene la sera’ and ‘Bimba dagli occhi pieni di malia’ … as well as his duet with the United States Consular Officer Sharpless ‘Addio fiorito asil’ … are praiseworthy. Suarez captures the smarmy, self-serving affect of Pinkerton that makes him such a despicable character, yet his owning up for his bad deeds, along with his remorse and cowardice are also well acted."
- Victor Cordell, For All Events

"The American naval officer, Pinkerton, performed by Dane Suarez, is also portrayed well; his transformation from an ignorant and cocky young man only wanting to make love to Cio-cio San to a deeply troubled man who has come to terms with his own actions is incredible to watch."
- Emily Tieu, Crown and Shield

“Dane Suarez possesses a classic lyric tenor, but one vested with just a bit of an edge – not all the way to spinto, but one capable of a little force. This serves to bring out Pinkerton’s early knuckleheadedness about cultural differences, his young man’s focus on his own needs. He’s a bit of a firecracker. … This timbral match makes the wedding-night duets into soaring tonal tangos.”
- Michael J. Vaughn, Operaville

“No, Pagliaccio non son” — Aria Marathon/ Opera NEO 2019

"On to the powerhouse tenors—who did not disappoint! Dane Suarez, who sang the impressive title role in Opera NEO’s Idomeneo last year, gave a spine-tingling account of ‘No, Pagliaccio non son’ from Leoncavallo’s beloved Pagliacci. His magnificent, Italianate tenor continues to bloom, and his fiery verismo declamation brought roars of approval from the audience. I am eager to hear his Lensky in next month’s Eugene Onegin."
- Ken Herman, San Diego Story

Fenton — Falstaff / West Bay Opera 2019

"As usual, West Bay Opera served up a cast of singers worth hearing. … The opera’s young lovers get some of the most lyrical music. Dane Suarez’s bright tenor (as Fenton) and Anastasia Malliaras’s silvery soprano (as Nannetta) made the most of it."
- Ilana Walder-Biesanz, San Francisco Classical Voice

“Dane Suarez’s warm tenor comfortably fits his ardent Fenton.”
- OperaChaser

Erik — Der fliegende Holländer / Baltimore Concert Opera 2019

"Senta is already in a relationship with a hunter named Erik (played by the powerful tenor Dane Suarez). ... His powerful emotions and voice grip the mind of all who’ve been heartbroken as the result of the loss to another suitor.”

“Thomas’s voice as the Dutchman was undoubtedly impassioned, as was LoBianco’s lustrous and dramatic exhibition of Senta. Hopkins’s deep baritone bursts of excitement at the prospect of acquiring riches as Daland was quite the delight. However, I was genuinely moved by Suarez’s portrayal of Erik, whose retelling of a premonition in a dream where Senta and the Dutchman disappear together at sea is deeply sobering. His aches and wails clench the walls of the heart and tear it to shreds. Bravo!"
- JV Torres, MD Theatre Guide

“The role of Senta’s would-be beau, Erik, was played by tenor Dane Suarez.  Mr. Suarez’s singing was another highlight of the performance, though he looked rather suave to be a provincial, hunter type.  He and Senta have a stirring duet where he reveals a dream he had of Senta going away with a sea captain dressed in black, which disturbs Erik but inflames Senta’s passion, well done by both singers…”
- OperaGene

Love is in the Air! — Preview Concert / Opera NEO 2019

"I was ready to call 911 when tenor Dane Suarez as Don José reacted with equal zeal to Doche’s impassioned, seductive ‘Seguidilla’ from the same act of Carmen. Suarez topped off this fiery Carmen fix with a heart-rending account of ‘La fleur que tu m’avais jetée,’ the aria in which Don José confesses his desperate love for the fickle Carmen. Suarez also lavished his ample tenor on Lensky’s confessional aria ‘Kuda, kuda’ from Tchaikovsky’s Eugene Onegin, readily engaging that trademark Russian pathos and existential remorse.”

“Soprano Anna-Lisa Hackett joined Suarez in that all too sweet finale of the first act of Puccini’s La bohème, ‘Che gelida manina’ and ‘O soave fanciulla.’ Her striking yet effortless soprano matched Suarez’s vocal power magnificently, and it was easy to imagine these two accomplished young singers tearing into these roles in a major opera house.”

“Suarez’s Mario Lanza tribute performance of ‘Be My Love’ easily stole the show."
- Ken Herman, San Diego Story

Idomeneo – Idomeneo / Opera NEO 2018

"As the title character, Dane Suarez cogently balanced his acute sense of royal authority with his internal conflict over carrying out the savage will of the gods, and his hearty tenor proved more than up to the task."
- Ken Herman, San Diego Story

Alfredo – La traviata / Opera San José 2018

"Dane Suarez is perhaps the most effortlessly boyish Alfredo I have yet seen, and he communicates his helpless romantic (and sexual) infatuation with Violetta with honesty and abandon. His fresh faced, puppy dog approach made him stand out from the other jaded men in Violetta’s circle, and made us understand why Violetta might be attracted to his impetuous sincerity and handsome naiveté.

Mr. Suarez has an appealing, substantial tenor, which he deployed with considerable nuance. Although he sang sturdily throughout the evening, he found his most solid vocal footing in the sardonic phrases and recriminating outbursts in Act III, where he poured out highly charged high notes that were riveting in their intensity. When Dane affected the boyish sweetness earlier on, the gears were sometimes on display as he worked (albeit successfully) to reign in his sizable tone, and to color it youthfully. ... Still, his total emotional investment in pursuing and later, comforting Violetta proved heart rending."
– James Sohre, Opera Today

Rodolfo – La bohème / Opera in the Heights 2016

“But best of all, we get an evocative, vim-filled cast who would be welcomed on any world stage. They bring this sympathetic potpourri of dreamers, schemers, flirts, and woe-be-gone jealous lovers to amazing life. They really do seem to be these characters, not over-stuffed divas and divos who have left their youth many operas ago.

[I]t’s no surprise that horny young writer Rodolfo, tenor Dane Suarez, would instantly fall for this comely waif who crafts flowers out of paper. Can you smell the patchouli? Suarez has boyish charm for days, a lively mop top, and a golden throat that can toss off his character’s ardent phrases with poet’s ease.”
– D.L. Groover, Houston Press

Cavaradossi – Tosca / LoftOpera 2016

“Tenor Dane Suarez as Cavaradossi displayed a handsome, full voice. His is a warm and robust tenore spinto. Suarez’s Recondita armonia in Act I was beautiful, soaring, and moving. He brought down the house (and moved me to tears) with E lucevan le stelle in Act III, rendering the magic of the pure earth-shaking lyricism of a man deeply in love about to die.”
– Lei & Lui, Allegri con Fuoco

Joe - La fanciulla del West / New York City Opera 2017

"Dane Suarez was completely winning as the earnest but dim-witted Joe."
– Eric C. Simpson, New York Classical Review

Flaminio - L'amore dei tre re / Sarasota Opera 2017

“In the key tenor role of Archibaldo’s slave, Flaminio, Studio Artist Dane Suarez is strong and appropriately deferential.”
– Richard Storm, Herald-Tribune

“The major comprimario role is that of Flaminio, Archibaldo’s Alturan servant, nicely performed by Sarasota Opera Studio artist, Illinois tenor Dane Suarez.”
– Opera Warhorses

“Dane Suarez offers a fine performance as the King’s “eyes”.”
– Carolan Trbovich, Broadway World

“Smaller roles were handled with the same beauty and excellence as the leads by Dane Suarez (Flaminio)…”
– June LeBell, Your Observer