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The Merry Widow by Lehar
(Crown Newspaper; Graz, Austria Sept, 9, 1991)
Especially noteworthy of recognition was Samuel Cook with well
established vocal technique and a voice with power to cut through the
orchestra.
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The Count Ory by Rossini
(Salzburg News; Salzburg Austria November 23, 1991)
This opera should only be performed for a tenor with strong high
notes and ability to sing coloratura. Here in the Linz Opera House
there is such a tenor in Samuel Cook who was excellently cast in
the title role. The young American showed a full bodied lyric tenor
with excitement in every range of the voice, excellent technique
and astounding flexibility. The extreme high tones were perfectly
controlled and clear as a bell.
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The Count Ory by Rossini
(The Daily Page; Linz, Austria November 23, 1991)
It is quite amazing that this opera house can cast this particular opera
without contracting outside singers. It speaks to the high quality of the
ensemble. Samuel Cook a tenor of class, conquered in the leading
(or title) role, could sing on any stage. Also the extreme high tones he
can sing without any difficulty.
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The Golden Cockerel by Rimski Korssakow
(Opera World Magazine; January 1993)
The fairy tale was held together by the Astrologer sang by Tenor
Samuel Cook, with clear and secure high tones, offering a magical
and outstanding performance.
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Negro Spirituals concert recital, Kassel, Germany
(WLZ; 9 Oct. 1996)
Magnetized and deeply stirred, the attentive audience listened as Cook gave
every song, every verse/stanza, yes, every single word its own meaning and power
of expression, for example, in the surprising version of the familiar "He's Got the
Whole World in His Hands." Borne by his expressive, lofty, and voluminous
voice, based on an obviously deeply felt piety, and supported by an intensive
gesture and facial expression, he knows how to convey the content of these songs
very convincingly.
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