"Joseph Dennis...shone as Tamino with a melodious, almost baritone sound. With his youthful and amiable demeanor, coupled with an impressive vocal expressiveness, the gradual transformation from naive boy to self-confident man in the course of the opera was all the more enjoyable. Dennis reflected this change in small format in "Dies Bildnis ist bezaubernd schön" and calmly analyzed his new feelings, with ever greater self-confidence and greater determination."
"Those of the singers who can have a gentle braking effect on the orchestra will be carried by the velvety Mozart sound of the Staatskapelle. Joseph Dennis, for example, as Tamino, who stood in for the sick Sebastian Kohlhepp at short notice as a member of the ensemble. Dennis's voice is one of enchanting warmth, still blessed with baritone richness in the high heights, but as agile as a lyrical tenor voice requires."
"Dennis' Chevalier takes the audience on a complicated journey of loss. His astonishing tenor voice lets us feel the yearning of a young man falling in love, to a man disparaged by love, to captivate by love again, to the final pain of loss...As an audience, we see his yearning to forget Manon, but the longing he still has for her when she shows back up."
"Impacted perhaps the heaviest is the German opera star-turned-soldier Nikolaus Sprink, played here by company newcomer Joseph Dennis. With his powerful tenor and command of facial expressions, Dennis communicates war's degradation of the creative soul. On opening night, when he took those defiant first steps into No Man's Land, setting off the chain reaction that results in the show's dramatic peak, the audience went breathless and I felt my heart in my throat."
"Clark and Dennis rise to the top of this otherwise ensemble piece, as it should be, and their storyline is especially compelling."
"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..."
"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."
"[Katya is] ably partnered by Joseph Dennis as Boris, whose tenor carries beautifully even from offstage ..."
"Joseph Dennis was just as convincing in his role debut as the virtue-seeking prince. The pronunciation of the young American tenor was outstanding."