Soprano Claire de Sévigné and tenor Ryan Downey (what an attractive lyric
tenor colour he has) were more in the Baroque oratorio voice tradition,
though Downey in Part II became noticeably more martial in his bearing.
– Mark Morris, Edmonton Journal
Tenor Ryan Downey displayed excellent comic timing as the Witch, notable for his nimbleness of voice as well as in his maneuvering of his massive costume.
– Kevin W Ng, Bachtrack
Ryan Downey was a very fine Corcoran. He has a good voice and can act and was prepared and able to distort to comic effect when needed…it’s not a surprise that maybe the three best voices at U of T right now nailed the romantic roles.
– John Gilks, Opera Ramblings
Newfoundland tenor Ryan Downey offers little by way of real menace as the red-caped, three metre tall over-the-top necromancer.
He does, however, manage to steal just about the entire third act.
-John Jane, Review Vancouver
Ryan Downey rips into the role of the cannibalistic witch, and it’s a feat considering he’s performing inside such a giant puppet contraption. Still, he’s visible enough that you can appreciate what he’s bringing to the part: watch him tear into a cackling song, enthuse “Plump and juicy, mmm-mmm-mmm!”, and maniacally manoeuvre a gigantic hand around little Hansel’s torso.
-Janet Smith, Georgia Straight
In the pantomime tradition of cross-dressing, the Witch was played by Ryan Downey, a tenor. Downey did a fine job, hamming up this character part with appropriate glee.
-Harvey de Roo, Vancouver Classical Music“