“Robert Mellon’s Frank, the prison warden, is a comic gem, and the ensemble’s timing is razor-sharp. The scene’s loose structure allows for playful invention, and this cast makes the most of it, turning bureaucratic absurdity into comic opportunities.”

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Pop Life STL - Frank (Die Fledermaus)
Opera Theatre of Saint Louis

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“Robert Mellon was another commanding baritone as an imperious toned Frank, characterized by testosterone-infused color and impeccable musicality.”

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OperaToday - Frank (Die Fledermaus)
Opera Theatre of Saint Louis

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“As the tragedy unfolds, Mellon’s performance deepens, his Sharpless torn between duty and conscience. His final scenes, heavy with regret, reveal a man powerless to stop the inevitable, his voice colored with quiet anguish. With both vocal strength and emotional depth, Mellon offers a deeply moving portrayal of Butterfly’s lone advocate.”

 

American Express Wire - Sharpless (Madama Butterfly)
Anchorage Opera

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"As the deformed clown Tonio, Robert Mellon unfurled a large, voluminous baritone. Singing his Prologue from the audience, Mellon’s warm timbre matched Leoncavallo’s rhapsodic burst of melody. In his scene with Brown, he begged for Nedda’s love in suave tones before turning to fury and vowing vengeance at her rejection. In a role often played as a stock villain, Mellon offered a fully realized, complex portrayal."

 

Florida Classical Review – Tonio (Pagliacci)
Florida Grand Opera

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"At the vertex of the drama was baritone Robert Mellon's rich-hued and expressively complex portrait of George. The first aria Floyd gives him reflects his unattainable dream of being free of that obligation, and Mellon's magnificent delivery created a lasting moral framework for the entire piece."

 

San Francisco Chronicle – George (Of Mice and Men)
Livermore Valley Opera

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"Robert Mellon continued his string of exemplary performances with Opera Maine as Dandini, the fanciful valet to Prince Ramiro...Mellon's valet was all too delighted to play with each and every character, generating an exuberance and humor that energized the rest of the cast. Mellon's quick wit was matched by his beautiful, blooming baritone that filled the house with ease."

 

Opera News – Dandini (La Cenerentola)
Opera Maine

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"Last season Robert Mellon was a brilliant Figaro in Union Avenue's Il barbiere di Siviglia. Now he is the perfect Falstaff. The additional apparent avoirdupois has not in the least weighed down his splendid baritone voice, which rises to truly fill the hall. And what a sense of comedy! (Such a smile! [Such teeth!]) Towards the end, after Falstaff has been mocked and abused and dunked in the muddy Thames, we see him slumped alone, exhausted, quiet--sagging like a fat, defeated lump of despair. But then Mellon's glorious voice bursts out brimming with life and vigor. It's astonishing!"

 

BroadwayWorld.Com – Falstaff (Falstaff)
Union Avenue Opera

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"Robert Mellon displayed a domineering baritone, gleaming like polished copper, best employed as the Priest, whose delivery of the cryptic "Before the Law" parable was furiously barked and howled against Glass's grotesque glories."

 

Opera News – Priest/Willem/Usher/Clerk (The Trial)
Opera Theatre of Saint Louis
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"The appealing baritone Robert Mellon, sang with colorful flair and myriad shadings, imbuing the somber texts with poignancy and dramatic vigor in equal measure."

 

New York Times
(Mussorgsky’s Songs and Dances of Death) 

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"Robert Mellon...prevailed among the artists of the company of comedians...with that special vocality in the lyrical lines, to portray the widest range of sentiment, from the darkest passions they live, between reality and fiction."

 

OperaActual.Com – Tonio (Pagliacci)
Opera de Oviedo