A Standout Performance as Marcello

“The work is well sung and well played with standout performances by Vanessa Vasquez as Mimì and Zachary Nelson as Marcello.[...]Zachary Nelson’s portrayal of the painter was excellently sung, energetically presented and attuned to events on a moment-to-moment basis. Musetta may have left him by Act 4 for a more comfortable and conformist life, but he won’t be alone for long.”-Mark Tiarks of the Santa Fe New Mexican

Plumbing the Riches of Marcello

‘[...]Maryland baritone Zachary Nelson successfully plumbed the riches of the role of Marcello.

The role of Marcello is enriched by some of Puccini’s most inspired music. Nelson’s rich baritone and dramatic powers were enlisted for Marcello’s on-again, off-again intense love affair with Musetta, and the beautiful third act duet with Mimi, E fredo, Entrate.”-William of Operwarhorse

Smoothed Voiced as Marcello

“As Marcello, smooth voiced baritone Zachary Nelson was the perfect opposite for Musetta. He could not live without her, but he was seldom comfortable in her presence and did not earn her respect until the last scene.”-Maria Nockin of Broadway World

Menacing as Conte Almaviva

“Baritone Zachary Nelson was a bully of a Count who thought his birth status entitled him to benefit from the labor of every person in his county. Some counts are seductive, this one menaced his victims. He was the law and he expected to have all of his demands, both official and personal, met with alacrity. Nelson did have some warm tones in his voice, however, and their resonance pervaded the house.”-Maria Nockin from Operawire

Standing out in La Bohème

“The cast was uniformly excellent, starting with the four struggling artists: Michael Fabiano (Rodolfo), Zachary Nelson (Marcello), Ricardo José Rivera (Schaunard) and Adrian Sâmpetrean (Colline). They evinced an authentic feeling of easy camaraderie and light-hearted conviviality. A particular standout was Nelson, with his flexible, expressive baritone voice.”-Kyle MacMillan, Chicago Sun-Times

Embodying Belcore

"[...]Sergeant Belcore, embodied by the strong baritone of Zachary Nelson (I am exhausted just typing the talent), it is a burst of energy from start to finish. It was the energy I was searching for in what seems like an endless Pittsburgh winter."-Jessa, Wavy Alibaster

Brilliant performance in the Lyric's Turandot

"Turandot's three ministers, Ping, Pang and Pong, bring to the opera a spin on classic Commedia dell'arte style. They are brilliantly performed by famous American baritone Zachary Nelson (Ping), charismatic Filipino-American tenor Rodell Rosel (Pang), and talented American tenor Keith Jameson (Pong)."- Natalia Dagenhart, Patch.com

A funny and touching Ping

"Badly needed antic vitality came from baritone Zachary Nelson and the clear-voiced tenors Rodell Rosel and Keith Jameson as the commedia dell’arte ministers Ping, Pang and Pong, who managed to be funny and touching at the same time."- John von Rhein, Chicago Tribune

A return to Santa Fe as Enrico

"Zachary Nelson, Figaro in 2014’s “The Marriage of Figaro,” provides a strong Enrico Ashton, Lucia’s imperious brother. His bare-chested bedroom scene is a bit over the top for the character, but, hey … this is Santa Fe!"- Adrian Gomez, Albuquerque Journal

Enrico that impresses

"Baritone Zachary Nelson displays the kind of swagger and vocal skill that is truly impressive, and unleashes his vitriol against his sworn enemy Edgardo, the last Lord of Ravenwood."- Carl Newton, LA Daily Post

Wonderfully sinister in Lucia di Lammermoor

"As the angry, vengeful Enrico, Zachary Nelson was wonderfully sinister: in his three finest scenes – his opening-scene attempts to discover the identity of Lucia’s lover, his presentation of the forged letter, and his challenge to Edgardo – he conveyed the cold determination of a man following the script of his own fate."- Jesse Simon, Mundo Classico

Enrico with swagger

"Zachary Nelson brought his cultivated baritone to the role of Lucia’s brother, Enrico. He delivered especially fine swagger in “La pietade in suo favore,” the cabaletta of his Act 1 aria, and he was downright fearsome in his confrontation duet with Lucia, “Se tradirmi tu potrai.” One did not sense much evolution in his character in the course of the opera, but he was convincing in the persona of his sister’s oppressor, underscoring her late-in-opera exclamation “Vittima fui d’un crudel fratello” (I was the victim of a cruel brother)."- James M. Keller, Santa Fe New Mexican