Mulligan’s sturdy baritone and soulful acting assured an appealing Mandryka.
Opera Warhorses
“Mulligan’s supple baritone did not tire, and his impeccable technique made his solid, salt-of-the-earth portrayal of Mandryka even and free from low to high range. We could see and feel him overcome a painful shyness to forge human relationships, first with Count Waldner (Arabella’s father) and then with Arabella. He never overdid it even when, overhearing an unfortunate ploy by Zdenka, he believed Arabella had deceived him. The forgiveness they awarded each other in the final scene was well earned.”
“Mandryka is sung here by baritone Brian Mulligan, who was quite impressive in this role. Mulligan is a large, barrel-chested fellow, and his stentorian voice is, as Opera News put it, “a rugged, perfectly articulated baritone.” Dramatically, Brian Mulligan fits the part to a T: we believe this impetuous Mandryka has traveled all this way to seek a wife on the basis of a photograph.”
“Baritone Brian Mulligan too is wonderfully cast as Mandryka, his robust voice is velvety and he is a fine actor.”
Brian Mulligan sang Mandryka (another role debut) in a gravelly, weighty voice with bursts of warmth. His character was gruff, smitten, and awkward – obviously out of his element in cosmopolitan Vienna.
“Arabella’s Mandryka, baritone, Brian Mulligan, sang with energetic and round highs…When he resorted to the broad gestures of handing Waldner…flaunting his billfold for him to help himself to much-needed cash; and when he scooped up the bouquets of roses at the coachman’s ball, then went on to sprinkle them on and around the guests, his playfulness convinced us all, and buoyed up the scene. So too when he stood between twin columns centerstage and sang a brisk patter that he animated with high energy.”
Operawire
“Arabella’s three young suitors look appropriately shallow next to Mulligan’s compelling Mandryka.”
“Mulligan is a technically oriented singer and I admire his commitment to musical accuracy…He [took] obvious pleasure in powerful climaxes, and in his final monologue he managed to capture a bittersweet mix of remorse and hope.”
San Francisco Classical Voice
“…He put his robust, fluid sound to good use, especially in his first meeting with Arabella at the beginning of Act 2.”
Datebook
“Baritone Brian Mulligan, appealingly resonant and pleasantly ursine”
San Francisco Examiner