Reviews
"The two most demanding roles, superbly filled in this production, are those of Attila (bass-baritone Mark S. Doss) and Odabella (soprano Martile Rowland). On Friday night, both Doss and Rowland sang with power, well-focused tone, a good sense of the Italian text and commanding stage presence. Doss faced and surmounted other challenges, notable that of moving his big voice with precision and agility."
(As the Title Role in Verdi's Attila with Washington Concert Opera)
"Back as Escamillo was bass-baritone Mark S. Doss... He played the bullfighter as a swaggering hunk of machismo in tight black leather and delivered a robust Toreador Song, whose awkward vocal placement has undone more than a few basses and baritones."
(As Escamillo in Lyric Opera of Chicago's Carmen)
"Her extraordinary performance (Renée Fleming) was effectively complemented by Mark S. Doss, whose rich basso cantante ennobled the paternal warnings of Vodník, the sepulchral Water Gnome."
(As Vodník in Rusalka with San Diego Opera)
"There was one outstanding performance by Mark S. Doss as Scarpia... Doss has made his career in bass roles, but he commands the top range for Scarpia; with resonant, wide-open tones he sang every note of a part that is often barked. Subtle he wasn't, but Scarpia isn't a notably subtle character. Doss also has the physique and imagination to dramatize the element of sexual appetite and danger; most Scarpias, portly and aging, require some suspension of disbelief on this point."
(As Scarpia in Tosca with Boston Lyric Opera)
"...and Mark S. Doss, who made a meal of Basilio's 'Slander' aria, in quite the best vocal performance he has given at Lyric."
(As Don Basilio in Il Barbiere di Siviglia with Lyric Opera of Chicago)
"And Mark Steven Doss, a bass of considerable vocal assurance, made a compelling case for the centrality of Alidoro."
(As Alidoro at Teatro alla Scala)
"As Mefistofele, Mark S. Doss is so charismatic, he may change your mind about an ultimate destination in the afterlife. In total command, Doss raises hell with his raven-black voice and titillates with his balletic presence."
(As Mefistofele in Oper Frankfurt's opera Mefistofele)
"On the opening night at least, the flame that flares up periodically onstage right burst forth right on cue at the first orchestral brass eruption; and when Mark Doss as Ferrando delivered his monologue with as stylish an example of basso cantante singing as you could hear anywhere in the world, there was every indication we were in for a treat. Rugged and penetrating yet flexible and expressive, Doss' voice is surely exactly the kind that Verdi wrote these roles for."
(As Ferrando in Il Trovatore with Canadian Opera Company)
"Mark S. Doss made an admirable Elijah, singing from the pulpit, his vast deep bass-baritone carrying steadily to the back of the packed cathedral. Elijah's imprecations are not the most winning music in the oratorio; indeed, the role sometimes calls for stentorian oversinging. But Doss was always convincing and he brought a pleading urgency to the great aria 'It is Enough' that was decidedly uncommon."
(As Elijah in Mendelssohn's Oratorio of the same name with Cathedral Choral Society at the National Cathedral)
"At the bottom of the vocal compass, but top of the honor roll, is Mark S. Doss, who turns in a Figaro of uncommon richness and charisma."
(As Figaro in Le Nozze di Figaro with Cleveland Opera)
"Bass-baritone Mark Doss sang Mefistofele with wry wit, vocal pungency and theatrical authority. He is a first-class singer; his voice was not huge, but it was smoothly produced and focused, and it penetrated without resort to shouting."
(As Mefistofele in the Prologue of Boito's Mefistofele with Baltimore Symphony)
"In fact, Mark S. Doss' Méphistophélès is no slouch. Doss plays the Devil with relish - the voice dark and charged, the figure all demonic dash."
(As Méphistophélès in Oper Frankfurt's Faust)
"...Mark Doss sang the role amazingly well... he strode onstage like a true general, and his ability was evident in the first aria, 'Presti Omai'. One rarely hears such coloratura from a bass-baritone and the audience appreciated his work."
(As Cesare in Handel's Giulio Cesare with Cleveland Opera)
"The three rivals were all outstanding, most notable bass Mark S. Doss, who sang the role of Gomez with impact, grace, clarity and a nearly flawless command of Italian diction."
(As Silva in Verdi's Ernani with Washington Concert Opera)
"Bass-baritone Mark S. Doss (Ormonte) surprised with his musical agility."
(As Ormonte in Partenope with Lyric Opera of Chicago)
"Mark S. Doss was a compelling Amonasro."
(As Amonasro in Aida with Minnesota Opera)
"Mark Doss does make the opera go round. Devilishly handsome and an imposing figure, his strength of interpretation and his powerful bass enliven his every moment in the spotlight."
(As Méphistophélès in Faust with Opera Columbus)
"Mark S. Doss was a commanding Jochanaan, with ringing top notes."
Tragic Seduction Classical Review