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Christopher Feigum

  • Baritone


Christopher Feigum press reviews

Ghosts of Versailles

“As his alter ego, Figaro, Christopher Feigum offered sure understanding and solid singing. He was hilarious in his turn as a Turkish hootchy-kootchy dancer.”

Sarah Bryan Miller, St. Louis Post Dispatch, June 2009

“Feigum was appealing and energetic”

Wall Street Journal, June 2009

Don Pasquale

“Christopher Feigum's Malatesta was also a delight, as he engineered his sit-com shenanigans while singing with focus and power to spare.”

Marc Shulgold, Rocky Mountain News, February 2008

Romeo et Juliette

“Christopher Feigum's charisma and seductively virile baritone made him a perfectly cast Mercutio…”

Mark Thomas Ketterson, Opera News, February 2007

American baritone Christopher Feigum (Mercutio) stands out in the famous ‘Queen Mab ballad’ and Feigum engages in his duel with Tybalt with great physicality.”

Bill Gowen, Chicago Daily Herald, November 22, 2006

Die Fledermaus

“Suave and sure of himself and his well-rounded baritone voice, Christopher Feigum’s Falke was clearly in control of events.”

John. F. Hulcoop, Opera News, April 2006

“The Dr. Falke of Christopher Feigum was engaging.”

R.M. Campbell, Seattle Post-Intelligencer, January 2006

L’Elisir d’Amore

“Christopher Feigum cut a fine comic figure as the sergeant Belcore, who is convinced that every woman in the world is fascinated with him. His introductory aria, "Come paride," was done with a grand swagger, and a bit of "break the fourth wall" staging that was nicely over-the-top — and perfectly in keeping with the character.”

James Watts, Tulsa World, April 2009

Manon Lescaut

“The other principals are also effective. American baritone Christopher Feigum truly seems drunk most of the time as Manon's cousin Lescaut, a gambling-addicted lout who precipitates much of the tragedy and only encounters his own conscience in the sad final scene.”

F.N. D'Alessio, Associated Press, September 2008

“The attractive, evenly calibrated vibrato of Christopher Feigum’s baritone enhanced his roguish Lescaut.”

Mark Thomas Ketterson, Opera News, January 2006

“Lyric put together a strong supporting cast, from baritone Christopher Feigum's smarmy yet attractive Lescaut to bass-baritone Dale Travis' Geronte.”

Wynne Delcoma, Chicago Sun-Times, November 2, 2005

“The key to the tragedy was Manon's smarmy brother, sung with distinction by American baritone Christopher Feigum.”

Dorothy Andries, The Pioneer Press, November 3, 2005

The Damnation of Faust

“…baritone Christopher Feigum, oak-solid in the smaller role of Brander, bartender in that rowdy tavern.”

Richard Scheinin, San Jose Mercury News, April 28, 2007

“Baritone Christopher Feigum sang with gusto as Brander.”

Georgia Rowe, ContraCosta Times, April 28, 2007

“I was also impressed by the musicality, as well as the vocalism, of baritone Feigum. His was a brief role, done with excellent artistry.”

Heuwell Tircuit, San Francisco Classical Voice, April 27, 2007

“Baritone Christopher Feigum did well in the role of the Brander, offering a properly snarky ‘Song of the Rat’.”

Pierre Ruhe, The Atlanta Journal-Constitution, March 17, 2005

“Christopher Feigum filled out the cast ably as Brander.”

Robert S. Clark, The Hudson Review, Summer 2005

La Cenerentola

“Good-looking bass-baritone Christopher Feigum was a spirited Alidoro who brought visual piquancy to the production.”

Maria Nockin, Opera Japonica, January 1, 2005

Cosi fan Tutte

“Christopher Feigum was an ardent, romantic Guglielmo who gave a fine rendition of an ungrateful role.”

Maria Nockin, Opera Japonica, September 3, 2003

“…newcomer Christopher Feigum brought a well-placed, robust baritone to Guglielmo.”

Allen Young,, August 21, 2003

Le Nozze di Figaro

“Christopher Feigum does splendid work as Figaro, imbuing the role with a spirited sense of determination…”


Chris Gibson,, May 30, 2010


“As Figaro, Feigum was a natural actor in both comic and shameful moments; he handled his English narration with natural ease and his Italian singing with power, authority and humor.”

Andrew Patner, Chicago Sun-Times, August 3, 2001

“The quality of his voice and singing is matched by his amiably confident platform manner…a mellifluously sung, elegantly acted Figaro.”

John von Rhein, Opera Now, November/December 2001

The Barber of Seville

“Christopher Feigum’s…portrayed the sleazy character [Don Basilio] with delicious vitality.”

John W. Barker, Isthmus, May 8, 2003

“A very funny Christopher Feigum as Don Basilio…”

Michael Muckian, The Capital Times, May 3, 2003

Beethoven’s Missa Solemnis

“Bass-baritone Christopher Feigum must relish those rich, low, low notes he fit to the “peccata mundi” of the “Agnus Dei.”

John Aehl, The State Journal, May 11, 2003

Beethoven’s Ninth Symphony

“The…recitative and solo by baritone Christopher Feigum was a high point of the evening. Feigum has beautiful tone combined with clear diction and a confident stage presence. His voice filled the hall.”

Matthew Balensuela, Tribune-Star, April 15, 1996


“Feigum reveled in his role…Nothing in his résumé suggests a born (again) evangelist, but he has the cadence, dynamism and physical gestures down pat; and he projects a spooky sort of commanding presence that’s perfect for this character.”

Clarke Bustard, Richmond Times-Dispatch