Reviews: Glass’ Appomattox (Washington National Opera)
It perhaps comes as no surprise that King is a natural operatic figure, and Soloman Howard – young, charismatic and vocally imposing with a rumble-the-floorboards bass – does him justice.
— Anne Midgette, The Washington Post, November 15, 2015
More Critical Acclaim
“Bass Soloman Howard was imposing as Douglass/King, with the only real breakout aria in the whole opera…”
— Charles T. Downey, The Classical Review, November 15, 2015
“The scene was a triumph for…bass Soloman Howard. Howard’s performance in the second act was suitably noble without feeling clichéd: a significant achievement when approaching such a celebrated real-life figure.”
— Seth Colter Walls, The Guardian, November 15, 2015