"...The Barber of Seville, featuring a terrific performance by Robert Mellon in the title role in his Union Avenue debut. Mellon matched his considerable singing prowess with an engaging comic performance, which accentuated both the music and the comedy in the two-act opera buffa, which has long stood the test of time."

Il barbiere di Siviglia

The Ladue News

"Founder and Artistic Director Scott Schoonover has a long habit of finding remarkable voices for his productions, but he struck pure gold in Robert Mellon, who sings Figaro. I was impressed with Mellon's vocal and comic gifts in a supporting role at Opera Theatre of St. Louis a few years ago. But here, as Figaro, he has the opportunity to let those gifts flourish.

Now a circus tent, with its vast overhead space, simply dares a singer to "fill the hall", but Mellon easily does just that. His rich and powerful baritone is equal to all challenges. But he also has immense skills as an actor. Such utter investment, such quick lively energy, such imagination! His every moment is full of invention. With flashing eyes and a roguish moustache he makes it all seem so natural. A glorious, lovely self-confidence pervades his performance."

Il barbiere di Siviglia


"Baritone Robert Mellon, in his first appearance with the company, was both the musical star of the performance and its dramatic vertex. As the merchant Simone, he delivered the role in robust, dark-hued tones that consistently rang out at the forefront of the musical texture. He made the character at once pitiable and profoundly dangerous, with a steely vocal edge that never interfered with the beauty and flexibility of his singing."

Eine Florentinische Tragödie (Zemlinsky)

San Francisco Chronicle


“Robert Mellon, as Papageno....His “Ein Mädchen” was colorful, vibrant and confident, while in “Papagena! Weibchen, Täubchen” his mahogany baritone was alternately ardent and antic.”

Die Zauberflöte

Opera News Nov. 2019


"The four lovers are manipulated by Don Alfonso, who seems to want only to prove his theory that all women are untrustworthy. The character is tailor-made for Mellon, who eschews the villainous stereotypes often associated with the role in favor of creating a robust prankster who delights in mischief. Mellon is funny as he weds his burly bass to physical comedy enhanced by extravagant facial expressions."

Cosi fan tutte


"Robert Mellon, as Leporello, is a crowd favorite for his resonant voice and his physical humor.”

Don Giovanni


"Robert Mellon’s excellent comic timing made Figaro a masterful mischief-maker. His flexible baritone suited this lighthearted interpretation."

Le nozze di Figaro

Opera News


"Where to begin? Probably with Figaro himself, sung by bass-baritone Robert Mellon. If he were not a world-class singer, he could make a career as a stand-up comic. His facial expressions as he tries desperately to explain events in the countess’ chamber are priceless, like his antics with Marcellina, sung by mezzo-soprano MaryAnn McCormick. He is perfectly cast."

Le nozze di Figaro

Maine Classical Beat


"Robert Mellon brought a good sense of comic timing to the title role, but also used his solo turns – his angry, scheming cavatina, “Se vuol ballare,” his comic set piece, “Non più andrai,” and his momentarily heartbroken “Aprite un po quegli occhi” – to make Figaro a more three-dimensional character."

Le nozze di Figaro

The Portland Press Herald


"But it is Robert Mellon as Papageno, Tamino's sidekick, who steals the show with his comedic timing and strong voice."

The Magic Flute 

The Sullivan County Democrat


"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." 

The Trial (Glass)

Opera News - August 2017 Issue


"Mellon presents with stunning finality the absurdity of K.'s situation as the Priest in the opera's climactic cathedral scene."

The Trial (Glass)

Jay Harvey Upstage Blog


"Blue and Mellon have remarkable vocal and comic gifts...Robert Mellon later does beautiful work as a priest who, in the evening's longest "aria," tells a puzzling parable to Josef.

The Trial (Glass)

Broadway World



"Robert Mellon also shines as the priest who sings the opera’s only aria, a rendition of Kafka’s parable 'Before the Law.'"

The Trial (Glass)

Playback St. Louis


"The performers’ realization of Mendonça’s difficult music, under the leadership of Etienne Siebens, was beyond reproach. Both singers coped heroically with the spiky vocal lines. Robert Mellon’s dark, rounded baritone provided an element of sensual pleasure in a piece that offered few of its own."

The House Taken Over (Mendonça)

Opera News


"Mellon, with considerable experience performing new music, exhibited a robust, rich baritone, and was facially expressive..."

The House Taken Over


"The brutality of his baritone that reverberated forcefully in this little space lent his Don Alfonso an air of the embittered older man who has a bone to pick not only with the opposite sex but also with the young and naive. He embodied Don Alfonso’s foibles with a masculine wrath and rage, almost like an Old Testament God pulling the strings of his latest human subjects. Mellon's Don Alfonso was the charismatic glue of the evening. Anytime he was on stage, he kept the pace of the story humming right along, never compromising the fun even of the recitatives, with his fully articulated Italian pronunciation. He was like an old pro up there."

Cosi Fan Tutte



"Robert Mellon, a young alumnus, sang the title role with a dark baritone, full and fresh and quick with dramatic fire."

Macbeth (Ernest Bloch)


"As Macbeth, a long and demanding role, the baritone Robert Mellon, combined a husky voice with dramatic subtlety."

Macbeth (Ernest Bloch)

The New York Times


"As Macbeth, baritone Robert Mellon warmed to a large, shapely tone, filling the hall with often excruciating beauty."

Macbeth (Ernest Bloch)


"Baritone Robert Mellon, a member of PORTopera's Young Artists, was a standout as Marullo, proving once again that no role is too small for a performer who can seize the moment."


Opera News


"Robert Mellon made a winning Figaro, with a sonorous voice and an affable, good natured openness. Figaro's attack of jealousy in act iv read more plausibly than it often does because Mellon seemed to suffer from sudden self-doubt, rather than misplaced bitterness."

Le Nozze di Figaro

Opera News


"The appealing baritone Robert Mellon, sang with colorful flair and myriad shadings, imbuing the somber texts with poignancy and dramatic vigor in equal measure."

Songs and Dances of Death

New York Times


Photo credit: sfsphotography