The Daily Echo – Puccini’s Tosca

“As for Scarpia, American Mark S Doss was quite brilliant in the role – which is undoubtedly one of the greatest in opera.

A strong punchy baritone, he chewed up the stage with an elegant but menacing flamboyance – at times fastidious, at times revelling in his forthcoming conquest – not to mention a suitably louche silk gown.

He was overall the best Scarpia I have seen performed live, mixing beauty with brutality.”

Published in The Daily Echo by Will Frampton
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The Review’s Hub – Puccini’s Tosca

“Mark S Doss is a highlight, relishing in playing up the villainous Scarpia. Mellifluous and prowling, he cuts an unnerving figure as he stalks around Tosca with increasing lust, matched by his deep and rich bass-baritone. On occasion in productions of Tosca, the orchestra can overpower, but here the singers are all well matched and in Mark S Doss’s case, soars in his spine-tingling and sinister Act 1 closer, Te Deum.”

Published in The Review’s Hub by Emily Pearce
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Bachtrack – Puccini’s Tosca

“Mark S Doss sang Scarpia with pleasing depth of character beyond the thuggish villain he can sometimes be. This was a scheming, manipulative and cruel chief of police who delighted in tormenting Tosca during her lover’s torture while simultaneously carving a ham. His tall, upright figure and measured but striking tone more often hinted at great power rather than trying to dominate the stage through mere volume, and the result was something quite menacing.”

Published in bachtrack by Rohan Shotton
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TheArtsDesk – Puccini’s Tosca

“Scarpia, likewise, is a one-dimensional figure, though the dimension is large: an Iago in authority and of a viciousness not confined to a single grudge. Mark S Doss portrays well both the ruthlessness and the elegance that if anything intensifies the cruelty, and he sings with a certain refined power, imposing himself on proceedings from the moment of his arrival at Sant’ Andrea – not, admittedly, a moment that Puccini is inclined to play down. Scarpia may be an ugly character, but his genre, unlike Iago’s, is civilised. Doss gets absolutely right, in voice and manner, the extremely sinister tone of this combination.”

Published at TheArtsDesk.com by Stephen Walsh
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The Spectator – Verdi’s Macbeth

“Macbeth,… was taken by Mark S. Doss. I don’t know whether it’s more my fault or his, but he is new to me, and clearly a major artist. Whatever charisma is, he has it to spare, looks marvellous, acts powerfully and has the most impressive bass-baritone voice I have come across in years.”

Published in The Spectator by Michael Tanner
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Bachtrack – Verdi’s Macbeth

“Mark S Doss gave a thrilling Macbeth: his bass-baritone powered
relentlessly through the music, showing ease at both ends of the voice, the
bottom fruity and the top packing a real punch, while his sense of line was
both authoritative and delicate… This was an ideal portrayal of the role.”

Published in bachtrack by Dominic Lowe
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