As Don Fernando in Fidelio
Schlossfestspiele Zwingenberg
"The future belongs to the Fernando of Seth Malkin."

Dieter Schnabel, Stuttgarter Wochenblatt, 8/26/99

In Messiah
Obertraubling, Germany
"The lyric-dramatic field was left to be taken by... above all Seth Malkin, (bass). Malkin's prophetic, thunderous power was echoed by the solo trumpet."

Michael Kohlhaufl, Mittelbayerische Zeitung, 4/18/00

As Omar in Kismet
"Seth Malkin makes an imposing figure of Omar, the Caliph's head honcho, who has a way with words, himself."

Boston Globe, 9/98


"There is a little gem of a performance by Seth Malkin, who plays the Caliph's faithful advisor, Omar. This very tall singer, who is also a most convincing actor, is obviously well trained for opera. He is certainly someone whose career warrants watching... a new Theodor Uppman in the making?"

Bay Windows, 98

As Figaro in The Marriage of Figaro
"(Malkin) showed no weakness at the end of three and a half hours. His limber acting made him extremely persuasive as the shining, affectionate young groom, not the seasoned churl of some performances."

Mike Dunham, Anchorage Daily News, 11/13/2000

As Director, and Dulcamara in The Elixir of Love
"Credit for the effective staging- unusually rapid-fire and intelligently funny for a bel canto opera- goes to co-directors Ed Bourgeois and Seth Malkin. Feet are almost always in motion. Choreography enlivens the crowd scenes. Each of the main characters is clearly drawn and convincing, despite the slapstick nature of their stock comic personalities.Laughter flowed freely from the audience, in part due to the jokes..., but mostly because of the well-timed antics with which the players responded to their situations. Malkin did double-duty singing the role of a spindly medicine-show quack...,his strutting and huckstering were first-rate."

Mike Dunham, Anchorage Daily News, 3/19/2002

As Choreographer of The Marriage of Figaro
"There were also points of fresh insights, unexpected in such a familiar work. For instance, the third act fandango, (truly danced for once), was positioned at the front of the stage, where backs, faces, and interchanging partners created a visual realization of the text. The device transposed the old courtly dance filler into a surreal moment of psychological interplay."

Mike Dunham, Anchorage Daily News 11/13/2000

As Don Bartolo in Paisiello's Barber of Seville
Schlossfestspiele Zwingenberg
"The performance by Seth Malkin in the role of the defeated Dr. Bartolo was extraordinary. Through his superb physical mastery, the singer-dancer achieved with tall, slim figure a portrait sharply drawn from a comic book. No cliche destroyed the overall comic effect.

Anja-Rosa Thoml, Frankfurter Allgemeine Zeitung, 8/25/99


"Throughout the piece Daniel Fiolka and Seth Malkin played their parts with superiority. With his attention-claiming bass voice and his gangling movement quality Malkin made Dr. Bartolo a loveable oddity."

Grit Steiner, Mannheimer Morgen, 8/25/99


As Barabaschkin in Shostokovitch's Moskau-Tscherjomuschki
Theater Regensburg, Germany
"And Seth Malkin joining in the dance as the spindel-thin caretaker Barabaschkin-- everyone Achtung!"

Bernd Feuchtner, Opern Welt, 7/2000

As the King in Aida
Anchorage Opera
"The Pharaoh was regally sung and portrayed by Seth Malkin, whose sculpted physique probably provided the inspiration for the bare-chested costumes."

Anchorage Daily News, 2/98


As the Police Sergeant in Pirates of Penzance
Anchorage Opera
"Seth Malkin creates a police sergeant who mixes rubber-legged antics with a droll grasp on solemn British duty..."

Anchorage Daily News, 11/97


As Don Alfonso in Cosi Fan Tutte
"Malkin gave the strong performance that Anchorage audiences have come to expect from him. In fact, 'Cosi' was our first chance to see him really act as well as sing, both of which he did superbly."

Anchorage Daily News 1/24/99