“Poor Lenksy is the closest thing this opera has to a tragic victim, and Hage embodies that throughout, first in an overwrought love song to Olga (the young man protests too much), and later in a haunting rendition of “Kuda, kuda, kuda vï udalilis.” His wide, watery eyes agonize over the youth he has lost and the love that can never be as he touches heaven with his delicate high notes. This is why we attend the opera.”

“Roy Hage, as Lensky, had the looks and the voice of a romantic hero, his tenor especially appealing in its glistening upper reaches.”

“Roy Hage’s Lensky is absolutely haunting. Early on in his beautiful love song to Olga, there are already hints that she is not worthy of the true passion he holds in his heart for her. No one would be. The birthday party scene is less about Tatyana’s strength in the midst of the man who has spurned her, but more about Lensky and how he endures and responds to slap after slap to his fragile masculinity at the hands of Onegin, a man he once loved and, unfortunately, still does. Hage’s “Kuda, kuda, kuda vi udalilis” is achingly beautiful in a way that we have never heard before. It is a realization that all will be over soon, and he will never come to experience love as he so deserves. It is a rich sound, luxurious even in the depths of pain.”

“Tenor Roy Hage’s Lensky was the true tragic hero of the production, and he brought a powerful tenor to the role. He’s a committed actor with an exciting ring to his voice, pushing himself to the very boundaries of vocal control in his fight with Onegin. But he’s also capable of some wonderfully nuanced singing, showing off his breath control and soft singing in his big aria.”

“[Onegin] ... was no match for ... Roy Hage’s poignant Lensky, whose pre-duel farewell aria—to Olga and life—was eloquently sung.”

“Acting-wise [Roy Hage’s performance was] reminiscent of John Stride’s ardent Romeo with the Old Vic, splendidly and elegantly sung – intimate passages gossamerly spun and sensitively delivered in heart-stopping piano or mezza voce, forte phrases powerfully and passionately opulent without loss of focus or poetry (including the high Cs of ‘Non! je mourrai, mais je veux la [revoir]’ and ‘… a’ cette ardente [ivresse]’) - [he] brought honor to Gounod’s vocal writing, Shakespeare’s star-crossed tragic hero, [his] adoring public, and mostly to [his] personal artistry currently at the nuanced zenith of [his] tenure in Philadelphia.”

“Hage’s characterization of Hoffmann was a subtly shaded depiction of a terminally romantic soul in search of himself. His tall, devilishly handsome presence was matched by an elegant tenor that remained strong, from the Prologue’s Kleinzach story to “O Dieu! de quelle ivresse” in this production’s Act III. ”

“The role of Hoffmann is what opera veterans call a “big sing.” A key part of the prologue, epilogue and all three acts, he acts as both storyteller and protagonist. Hage never lost his poise, singing with unerring sweetness and clarity[.]”

“Roy Hage was an ardent Hoffman. His lyric tenor was free of strain in the top range and he artfully conserved his vocal resources for the big moments throughout the protagonist’s long and taxing role. Hage brought special fervor and tonal richness to the duet with … Antonia.”

“Roy Hage in the title role was very confident in his part. In addition to a beautiful voice, the young singer has an excellent French diction that could be envied by some famous professionals.”

“The magnificent opera singers from the night featured Inna Dukach as Violetta, Roy Hage as Alfredo, and Paul La Rosa as Germont. ... Roy Hage[’s] ... vocal and artistic talent [was] ... both brilliant and profound.”

“Roy Hage, a tenor whom I previously saw as Tamino in Zauberflote and the Duke in Rigoletto, has developed nicely and sang an ardent Alfredo with hefty squillo (ping) in his voice.”

“Tenor Hage is an artist whose operatic incarnations invoke the kind of intensity, commitment, integrity and musicianship that inspire me to forsake important projects, such as bathroom remodeling - I’ll shower at the recreation facility - and roofing repairs - I’ll get a hard hat for falling debris. Descriptors applied to Manon can actually be borrowed au masculin for Roy’s Rene’ - “beau”, “charmant”, “enchanteur”, “ravissant”, “séduisant” even “(andro)sphinx étonnant”. Roy was entirely convincing en route through the Chevalier’s transitions from bookworm to romantic lover to betrayed lover to tormented novice priest to transcendent redemptive love personified. Massenet’s music for Des Grieux demands vocal refinement and élan. The tenor was able to spin a touchingly gorgeous “Rêve”, replete with exquisite piani and mezza voce, gentle as rose petals floating on a spring zephyr, in the manner of Valletti and Legay, and then summoned the requisite passion and drama for “Ah, fuyez douce image”, blowing me away as did the young Di Stefano.”

“Tenor Roy Hage who sang the Chevalier for the closing performance was a magical talent on stage. As Chevalier, his stage time is limited, but his ovation at curtain call was not. In character, he has a luminescent quality about him. His lush lyric tenor enraptured the audience.”

“Excellent singing ... was heard from Roy Hage as Chevalier.”

“Others who show their acting and singing mettle in the production ... [include] Roy Hage, who contributes two wonderful scenes as Blanche’s brother and who looks every inch the chevalier he portrays[.]”

“Tenor Roy Hage was a good vocal fit with Nemorino, and ... the performance bared his soul.”

“A true ensemble of singer-actors starred ... tenor Roy Hage, the ideal Tom, combining beautiful voice and handsome presence with the irresistible naiveté that almost makes Tom’s selfishness forgivable and gives poignancy to his fate.”

“Tenor Roy Hage as Rakewell did a fine job of filling out the journey of a flawed man: acquisitive Tom, debauched Tom, disillusioned Tom.”

“Roy Hage’s incisive Tanzmeister, far from the usual caricature, was a streetwise hunk, fully etched.”

“I also quite liked the Tanzmeister of Roy Hage, who was delightfully smarmy while singing beautifully.”

“My personal favorite was Roy Hage, a unique Arturo. Hage stepped on the stage with the swagger of a proud young man, with a conquering smile and puffed up chest. He strutted around like a peacock, shaking hands with men and nodding to women, secure in his welcome. In most productions Arturo comes off as an insufferable snob or just a bore, but this one was charming and likable. I am looking forward to seeing him again.”

“Roy Hage, a transfer from the Curtis Institute, sang the secondary tenor role of Arturo with a first-class voice.”

“Tenor Roy Hage was as mean-spirited an Arturo as I’ve ever encountered in the opera, yet his voice rang with clarion brilliance.”

“The Armored Men ... [brought] brightness and poise to their ‘choral prelude’ and, especially, the quartet. Roy Hage (First Armored Man) sports an engaging, ringing tenor ...”

“Roy Hage proved himself that rarest of things: a young tenor with a clean tone, impeccable diction, and the ability to act.”