"Virginia Opera's respectable production of Lucia di Lammermoor might better have been titled Edgardo di Ravenswood. That character emerged as the dominant vocal force on April 8 at George Mason University’s Center for the Arts, thanks to Joseph Dennis, who brought to the role considerable tonal warmth, seemingly effortless power and abundant technical refinement. All that expressive vibrancy ensured that the finale was anything but anticlimactic..."
— Tim Smith, Opera News
Dark, dramatic 'Lucia' a fitting Opera finale
"Cast as her lover was tenor-actor Joseph Dennis, who also regaled us with a solid, pitch-perfect voice and ability to project that made him a super match for Lucia."
— John Shulson, The Virginia Gazette
Lucia Di Lammermoor delivers vocal performance of the season at Virginia Opera
"Joseph Dennis as Edgardo, Lucia’s true love, stands out for his energy and emotional palette, ranging believably from tender to fierce to enraged, then later utterly broken and dismayed. The harrowing power and impressive lyrical precision of his vocals provide a climactic moment."
— Andy Garrigue, Richmond Times
N.C. Opera's Rigoletto Balances All the Elements for a Highly Satisfying Success
"Joseph Dennis' youthful, handsome Duke of Mantua made it easy to believe in Gilda's attraction to him. His clear, bright tenor rang out impressively in the Duke's big moments, his technique solid and confidently applied. The opera's hit tune, 'La donna è mobile,' held no terrors for Dennis, performed not as a showy circus trick but with casual cockiness, in character."
— Roy C. Dicks, Classical Voice North Carolina
Seattle Opera’s Stark American Tragedy
"[Katya is] ably partnered by Joseph Dennis as Boris, whose tenor carries beautifully even from offstage ..."
— Gavin Borchert, Seattle Weekly
Die Zauberflote - Vienna State Opera
"Joseph Dennis was just as convincing in his role debut as the virtue-seeking prince. The pronunciation of the young American tenor was outstanding."
— Daniel Wagner, Wiener Zeitung
'Die Zauberflöte' with jubilation for new Papageno
"Joseph Dennis gave a more than remarkable talent as Tamino, with a melodic, high-pitched lyrical tenor. The young American, ensemble member since 2015, is a promise for the future!"
— Karl Masek, Der Neue Merker
Des Moines’ Elusive Manon
"As her lover Des Grieux, Joseph Dennis has the right sized tenor and he sings extraordinarily beautifully ..."
— James Sohre, Opera Today
Manon – Des Moines Metro Opera
"The des Grieux of Joseph Dennis was so ardent that the opera might have been named after him. His tenor is gaining an appealing baritonal overlay as he matures, yet he ably finessed a delicately floated head voice for 'En fermant les yeux.' His 'Ah! Fuyez douce image' was excellent."
— Mark Thomas Ketterson, Opera News
Jenůfa Packs a Wallop at DMMO
“As the feckless Števa Buryja, Joseph Dennis brought such a fresh, gleaming tenor to the part that it almost belied his status as the town wastrel. But Mr. Dennis, boyish and gangly in his brush cut, suggested the philandering ne’er-do-well with ease all the while exuding a naughty charm that made the plot believable. In the great Act Two scene where the weakling rejects Jenůfa for good, it is to his great credit (and affecting singing) that we at once despise him and pity him.”
— James Sohre, Opera Today
National Council Auditions Winners Named at Grand Finals Concert
“[Winner] tenor Joseph Dennis … sang with expressive elegance in ‘Salut, demeure chaste et pure’ from Gounod’s ‘Faust.’”
— Vivien Schweitzer, New York Times
Santa Fe Opera's 'Dr. Sun Yat-sen": Difficult to parse
“Joseph Dennis (Dr. Sun) [made] a particularly strong contribution. Under any circumstances, a big hat tip is in order for Mr. Dennis. Sure, an understudy is supposed to know his or her part thoroughly, just in case. But preparation for this particular role, even as an understudy, was considerably above the norm, as it also called for learning an entirely unfamiliar vocal style to be sung in a language that bears little if any resemblance to Western tone and inflection. And this role is a substantial one. Every understudy, of course, always dreams of that magic moment that can make an entire career. But this particular magic moment was more challenging than most, and Mr. Dennis is to be highly commended for a fine vocal effort in his difficult role and also for looking the part and coming across as strong, stable and dignified in the midst of revolutionary chaos.”
— Terry Ponick, Communities Digital News
A Brilliant Sun
“Joseph Dennis, a lanky Texan and second-year apprentice artist, assumes the title role to fine effect. He’s fearless in some stratospheric passages, has the requisite warmth for his intimate duets with Ching-ling and possesses enough charisma to be a convincing Dr. Sun.”
— John Stege, Santa Fe Reporter
'Dr. Sun Yat-sen' in the American Premiere at Santa Fe Opera
“For the American tenor Joseph Dennis, the understudy promoted to leading man at less than two weeks’ notice, it was a trial by fire, which he passed admirably.... Frequent high passages revealed a sweet and gleaming tenor of unforced beauty.”
— Corinna Da Fonseca-Wollheim, New York Times
Dr. Sun Yat-sen Triumphs in American Premiere
“Dennis made of this breakthrough opportunity a vocal triumph.... With a silvery bright ring and ardent projection, he sailed through the high tessituras of Sun’s impassioned declarations, including a touching final aria based on Sun’s actual speeches. In tender dialogue with soprano Corinne Winters’ Ching-ling, he also provided a complimentary vocal timbre. Real chemistry was established between the two in the scene of wedding vows.”
— Rodney Punt, San Francisco Classical Voice
Brooklynites in the opera world
“Joseph Dennis sang a robust yet pensive ‘Salut, demeure chaste et pure’ from Gounod’s Faust with an open and impressive C near the finale.”
— Nino Pantano, Brooklyn Daily Eagle
PBO Young Artists deftly take on Rorem's 'Our Town'
“Brilliantly guiding the audience along, playing Wilder’s Stage Manager, was Joseph Dennis, tenor, who had charm to spare and a wonderful stage presence. He also gamely played a soda jerk, lover, minister, undertaker and props man, knocking on imaginary doors and moving chairs and tables around. His cemetery soliloquy was beautifully rendered with a voice that is honey-coated mellow and easy on the ear.”