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SELECTED REVIEWS
As Amonasro in Aida, Sacramento Opera,
November 2006:
“A strong performance also was delivered by Ralph Cato as Amonasro.
Cato’s no-nonsense baritone was intelligently rendered.”
Edward Ortiz, The Sacramento Bee, November 20, 2006
As Scarpia in Tosca, Stockton Symphony/Townsend Opera Production,
January 13, 2006:
"Their [Tosca's and Cavaradossi's] love, however, was not as
compelling as Scarpia's darker desires. In the uniformly fine
cast...Cato's characterization stood out as he brought real depth to
Scarpia, in a way presenting his hypocrisy, cruelty and lust for power
not as the attributes of a monster, but as facets of an all-too-human
personality."
Brian McCoy, The Stockton Record, January 15, 2006
In Bach's Missa Brevis, Pacific Chorale, 2000:
"Cato projected easily, wending his way through the Gratias with a
pleasing lack of strain. In his solos, he showed himself to be firm
without being overbearing, able to project without straining, capable
of emphasis without self-indulgence."
Peter Lefevre, Orange County Register
"Tenor William Smith and bass Ralph Cato weighed in with solid
performances."
Jack Robinson, Los Angeles Times
As Figaro in The Barber of Seville, Redlands Bowl, 2002:
"The orchestra was at its best when the soloists were on stage.
Mezzo-soprano Kate Butler and baritone Ralph Cato opened their part of
the program with two excerpts from 'The Barber of Seville.' Cato sang
the jaw-breaking Italian text of 'Largo al factotum' with apparent
ease.... The singers returned with more operatic excerpts from
'Carmen,' singing well, as expected, but the big surprise was that
they sang in understandable French."
Ralph Andrew, San Bernardino County Sun
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