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Conte Almaviva: Il barbiere di Siviglia


Christopher Bozeka's Almaviva was impressive, with a fine technique and expert agility aligned to a pleasant timbre that carried well. He certainly earned his right to sing “Cessa di più resistere”...



[Christopher Bozeka] serenaded his object of desire with a longing tenor while standing on a giant guitar. Bozeka dialed up the humor when disguised as a drunken soldier and substitute music teacher..."

The Washington Post 

"Tenor Christopher Bozeka’s clean and focused high notes gave him the right vocal swagger for Almaviva, with just enough hamminess to pull off the character’s disguises as soldier and music teacher."

Washington Classical Review 

Nemorino: L'elisir d'amore



"Nemorino, sung by tenor, Christopher Bozeka, established immediately his comfort and command with this role in his opening aria, 'Quanto è bella,' singing with a beautiful, clear tone... A highlight of the first act was Adina and Nemorino’s duet. Their chemistry was evident... Here Bozeka came into his own vocally with superb phrasing, amazing dynamic control, and a breathtaking decrescendo... A touching moment was 'Una furtiva lagrima,' which was gorgeously sung by Bozeka, displaying velvety tone coupled with simple and highly effective vocal delivery. He received a well-deserved 'Bravo!' from the audience." - Opera Today

"[The] tenor was the lyrically gifted Christopher Bozeka whose smooth but warm and hefty legato immediately won the audience over to his side of the argument." - Opera Today

Nadir: Ali Baba



"Tenor Christopher Bozeka sang the role of Nadir and is a major voice to look out for in the future. The tenor has a fine and elegant sound that he controls and uses to compelling effect. On this evening he sang with an ardent and rounded sound that easily moved through the legato orchestral line. In his Act One aria, he relished the vocal lines, extending them with gorgeous piano sounds that crescendoed to a forte and that went into the upper tessitura beautifully. As he became more desperate about losing Delia, his voice garnered a more passionate weight that climaxed in the final lines of the act on “O Gioia” once he found the money to marry Delia. Here he let out glowing high notes that cut potently through the orchestra. Then in Act Four he sang another aria accompanied by a mandolin with bright and joyous timbre that portrayed the happiness Nadir felt upon seeing Delia return to him. In this aria he held out legato lines as long as he could and his upper register gleamed with delicacy and beauty. His duet with Delia at the end of Act One was also a highlight as both voices harmonized into one." - Opera Wire 

Rodrigo: Rossini's Otello



"The other tenor, Christopher Bozeka (Rodrigo), has the most difficult and longest role. Bozeka was stunning in the duets with the other two principal tenors and in his aria sung at Desdemona’s rejection of him, “Ah! come mai non senti.” Bozeka recently sang the title role in Comte Ory in Albuquerque (and before that he was in Ali Baba). As Rodrigo he acted convincingly and sang with unbridled emotion; his is a full-bodied sound which never goes screechy in the upper register and those long-held high notes were never screamed. Rossini uses the coloratura and high notes to depict emotion and struggle, and these tenors wielded them like swords."- Donizetti Society



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