Holiday Pops Concert (featured soloist)
Grand Rapids Symphony
(Grand Rapids, MI)


"Singing with a bright-colored, yet robust baritone, Gilfry was magisterial declaiming "The Truth from Above."
Jeffrey Kaczmarczyk, MLive.com, Dec 5, 2014









Sweeney Todd (Sweeney Todd)
Opera Theater of Saint Louis
(St Louis, MO)


"Sweeney's first entrance is a stunner. Looking like a refugee from Les Misérables, he cuts a mournful figure, clad from head to foot in what appears to be black leather. Rod Gilfry's commanding presence emits the brooding stillness of a samurai; his Sweeney is as close as we'll ever come to seeing Charles Bronson in a musical."
Riverfront Times May 31, 2012

"Rod Gilfry is ideal in the title role - a tall, broad-shouldered character who puts equal menace into his persona and his dark, well-produced baritone. "Sexy" and "Sweeney" aren't words that necessarily go together, but they do in his case; this barber has a dangerous magnetism that helps to make the role his own."
STL Today May 27, 2012

"Rod Gilfry is an imposing, alluring Sweeney Todd, and his rich baritone scares us when he's angry and makes us feel for him when he's in despair."
St Louis Theatre Snob May 29, 2012

"Rod Gilfry, who sang the title role in a Parisian production last year at the Théâtre du Châtelet, is commanding as the tortured and brooding Todd. His imposing figure brings a physical menace to the dead-eyed titular character that is matched with his powerful and resonating bass-baritone voice."
Ladue News May 28, 2012

"Rod Gilfrey [sic] is a bigger brute of a Todd, whose well-inflected intentions of revenge and murder come across as menacing as the acts themselves. He sings the role with an intensity and purpose that manifests the great, very personal pain he feels after his wife's death and his long, injurious imprisonment."
CBS St. Louis May 28, 2012

" If there were any justice in the theater world, Ron Daniels' brilliant, tightly paced production would go straight to Broadway and run forever. ...Rod Gilfry's demon barber [is] impeccably played, sung and spoken."

Chicago Tribune June 19, 2012
"Bass-baritone Rod Gilfry was a haunting, knife-faced Sweeney"
Wall Street Journal June 18, 2012

South Pacific (Emile de Becque)
National Tour of the Lincoln Center Production

(Houston, Hobby Center for the Arts)
...world-class operatic baritone Gilfry is Cusack's equal: worldly, ardent, self-possessed, his gravitas nicely balancing Cusack's buoyancy. His voice is pure gold: strong, supple, brimming with fervor in his eloquent renditions of his signature ballads "Some Enchanted Evening" and "This Nearly Was Mine".
Everett Evans, Houston Chronicle, Mar 2010


(Seattle, 5th Avenue Theater)
...his rich baritone envelops the "This Nearly Was Mine" and "Some Enchanted Evening."
Misha Berson, Seattle Times, Feb 2010


(Seattle, 5th Avenue Theater)
And Gilfry's solo rendition of that song [Some Enchanted Evening] literally gave me goose-bumps. His rich baritone is superb.
Audrey Gervasi, Seattle Fine Arts Examiner, Feb 2010


(Seattle, 5th Avenue Theater)
Gilfry’s Emile has the vibrato of a purring Ferrari and enough continental bearing to sell cans of Manwich to the French.
Kevin Phinney, Seattle Weekly, Feb 2010


Trouble in Tahiti (Sam)

(Munich, Bayerische Staatsoper)
Rod Gilfry stood out as a full-voiced, superb Sam, imbuing the role with a mixture of arrogance and longing.
Jeffrey A. Leipsic, Opera News, Nov 2009



Saint François d'Assise (François)

(London, Royal Albert Hall)
Heartthrob baritone Rod Gilfry played Francis as a charismatic visionary beguiled by the glory of creation, yet fearful of both its imperfections and its transience...A stupendous evening, and one of the great operatic achievements of recent years.
Tim Ashley, The Guardian, Sep 2008


(London, Royal Albert Hall)
Rod Gilfry's St Francis was no holy wimp: he sang with real fibre, always intense, alight with conviction.
Geoff Brown, Times Online, Sep 2008


(Amsterdam, Netherlands Opera)
It starred Rod Gilfry as an intense St. Francis, in what was clearly the performance of the Southern California baritone's career.
Mark Swed, Los Angeles Times, Jun 2008


(Amsterdam, Netherlands Opera)
...especially fine singing from Rod Gilfry as François... The title role is a huge sing with the character on stage almost all of the time, and needing to express emotions ranging from quiet dignity through to overwhelming ecstasy on hearing the Angel's singing; and then ultimately to physical and emotional identification with Christ's suffering. Gilfry sustained all of this manfully, showing no sign of vocal fatigue at any point even at the conclusion.
Bill Kenny, The Opera Critic, Jun 2008


The Tempest (Prospero)
(Santa Fe Opera, New Mexico)

Rod Gilfry was an imposing Prospero.
The New York Times, August 2006

I'd see The Tempest again in a minute, especially with Rod Gilfry as Prospero.
The Philadelphia Inquirer, Aug 2006


Gilfry's Prospero was central to the opera's success, communicating the aristocrat-magician's rage at this betrayal and exile, his love for his daughter, and his acceptance and forgiveness at the end. The central figure of Prospero also got a vocal workout from the top to the bottom of baritone Rod Gilfry's considerable range.
Musical America, August 2006


Prospero was sung with intense ferocity by Rod Gilfry.
The Wall Street Journal, August 2006


The cast is uniformly strong, but out of a company of peers Rod Gilfry's winning playing and resilient baritone singing as Prospero predominates.
Opera Today, July 2006