Reviews
“Baritone Grant Youngblood, as Pater Ecstaticus, hurled his resonant, Teutonic voice like a hammer.”
“Baritone Grant Youngblood, as Alfredo’s misguided father Germont, gave both an expressive and authoritative portrayal.”
Austin360.com, 2010
“A perfect Verdi baritone with a chocolaty chiaroscuro of both darkness and brilliance, Youngblood delivered everything the work requires in a masterful interpretation.”
Broadstreet Review, May 1, 2018 / Michele, Il Trittico with Opera Delaware
“Grant Youngblood played an ice-cold Scarpia…. [with] a fantastic ability to project sinister drama.”
The Hartford Courant
“Grant Youngblood emerged vividly larger than life and imposingly full-voiced, having no problems with the extensive range. His Lindorf and Dr. Miracle were particularly chilling.”
“Veteran singing actor Grant Youngblood (Michele) still commands much resonance (and legato when needed); he used his voice’s battle scars for expressive effect and, with Barrese, paced ‘Nulla, silenzio’ to exciting effect.”
Opera News, April 28, 2018 / Michele, Il Trittico with Opera Delaware
“In another outstanding debut, Grant Youngblood uses his smooth baritone to make Germont a surprisingly sympathetic villain. His confrontation with Violetta, in which he ultimately persuades her to give up his son, is absolutely devastating.”
The Nashville Tennessean, October 2011
“From the moment that Grant Youngblood stepped on stage as the starched and single-minded Giorgio Germont, an Opera Naples performance that was already on a high-plane vaulted skyward…. every time Youngblood sang he projected aria power.”
Naples Sun-Times, 2008
“Rigoletto, brilliantly sung & acted by Grant Youngblood… impressive throughout, was particularly effective in conveying the wide range of intense emotions in Act II, particularly the shattering ‘Cortigiani’ scene.”
“But the spectacular performances by Mr. Werley and Grant Youngblood as Alfredo’s father (Giorgio Germont) help to propel the narrative and to generate a true musical tour de force. “Un Di Felice Eterea” (“One Day, happy and Ethereal”) and “Di provenza, il mar il suol” were phenomenal musical accomplishments that were eagerly enjoyed by Sunday’s sold-out audience.”
CoolCleveland.com, April 2019 / Giorgio Germont, La Traviata with the Cleveland Opera Theater
“…'Tito Gobbi,' says the scrawl. The memory of that paragon of Italian baritones came to mind instantly when Grant Youngblood sang the first phrase of the I Pagliacci Prologue. The powerful, warm voice cradled the audience, the singing came from the heart, the singer appeared as if possessed by the music, and yet every note in place, every consonant projected clearly. On the stage: not Youngblood, but Tonio, the crippled carnival actor, disheveled, bitter, rejected, vengeful… and utterly believable.”
San Francisco Classical Voice, 2003
“Also making his debut was a North Carolina-born baritone, Grant Youngblood, in the role of the toreador Escamillo. This was a more secure match of voice to role: Mr. Youngblood has a robust sound with ringing top notes.”
“Grant Youngblood, past guests with the Grand Rapids Symphony, were welcome for their color and flexibility…Youngblood’s rich voice is neither young nor old. It’s just timeless.”
MLive.com, November 17, 2012 / Stephen Paulus’ oratorio ‘To Be Certain of the Dawn’ with Grand Rapids Symphony Chorus
“Also turning in a strong vocal performance is baritone Grant Youngblood as Enrico, Lucia's conniving, selfish brother. Another Central City veteran, he has a rich, resonant voice with abundant power.”
The Denver Post, 2009
“…Grant Youngblood's commanding baritone and authoritative stage presence perfectly met the demands of Giorgio Germont, Alfredo's misguided father.”
The Denver Post, 2007
“Baritone Grant Youngblood had a full and resonant sound, rich and legato but with the text clearly enunciated.”
“Baritone Grant Youngblood is a real find. His voice is a true baritone, with no sense of strain up top, and his sound is rich. He almost caresses the lines, and certainly delivers the texts from the heart. He is the vocal equivalent of a shape-shifter, transferring his consciousness via song into each of the four groups. … But it is the Cheyenne Prayer that cuts the most. Barker really understands that less is more: Textures are pared right down and each interval counts. … Over all this, Youngblood’s voice soars...” — Colin Clark, Fanfare Magazine, Issue 48:1 (Sept/Oct 2024), reviewing the CD release of Harmonious Dreams by composer Jennifer Margaret Barker