“Offenbach’s seductively rich voice could make anyone do anything.”

“Offenbach is particularly strong dramatically, not to mention vocally…Offenbach lives and breathes devilish energy, from his first appearance in the old, desperate Faust’s study to his final departure with his new subject. Delighting in his power, he treats every trespass into a private life as the next step in some cosmic video game. I imagined British actor Russell Brand in the role – although he couldn’t possible produce the edgy, dark bass-baritone Offenbach employed.”

“As Mephistopheles, Hawaiian native Jamie Offenbach offered not only a great vocal performance but also a magnetic stage presence. His maniacal smiles and laughs drove the show. His rendition of “Le veau d’or est toujours debout!” ­sung while standing atop a plush red ottoman in the middle of the nightclub ­ was at once evil and hilarious.”  Link

“I give special hat tips to the acting of Mephistopheles (Jamie Offenbach makes for a handsome devil).”  Link

“But in this production, like the story itself, it is Méphistophélès that holds the reins. Jamie Offenbach uses his tall, sinewy figure to create a Méphistophélès that is sexy and sinister with a touch of dark humor. With his wry smile, rock-star swagger, and rich bass-baritone voice, Offenbach is sure to play Méphistophélès time and time again during his career. The man demands attention, and if he were to ask for your soul, you’d likely let him take it.”   Link

“I must say that the role of the devil Mephistopheles could not have been given to a better player than Jamie Offenbach.  He completely looked and acted the part and his deep baritone was well commanded.”  Link

“The scene-stealer throughout is Mephistopheles, and Jamie Offenbach commands the audience from his very first entrance. The silent-screen-villain business is made for him.”Link

“Sympathy for the Devil was not part of the score, but this guy could have done it really well, channeling Mick the way Johnny Depp does Keith in his pirate persona. Though not the protagonist, he kinda stole the show.” Link

“The (anti) hero was Mephistopheles, tall and thin, with a large, rich bass-baritone and dramatic charisma, Offenbach seems made for the part. Offenbach’s Mephistopheles was the center of attention almost every time he stepped on stage.” Link

THE BONZE Madame Butterfly

Jamie Offenbach (The Bonze) has a dark and foreboding scene as the terrifying voice of tradition who condemns Cio-Cio-San for renouncing her ancestral religion and becoming a Christian.

CAPULET Romeo et Juliette

“What rescues this performance is the quality of the supporting roles and incidentals. Jamie Offenbach, with his deep bass-baritone portrays a respectable Capulet.” Link

“Jamie Offenbach was a stentorian and commanding pater familias as Capulet.” Link

TJ RIGG Elmer Gantry

“My personal favorite of the show was bass-baritone Jamie Offenbach who sang the role of TJ Rigg. Offenbach mastered the pompous ignorance of the Lewis character.” Link

“Jamie Offenbach’s resonant TJ Riggs are typical of the excellent lesser roles” BBC MUSIC MAGAZINE SEPT 2011


“Offenbach seems to have been imbued with a lot of Sparafucile’s bad-boy love-hate, judging from the rumpus his claque made at the final bows. His singing was free, relaxed, and delightful.” Link

BASILIO Il Barbiere di SivigliaDon

“Particularly good was Jamie Offenbach as Don Basilio. Bass-baritone Offenbach appeared in “Don Carlo” two weeks ago and in “Tosca” in 2006. I liked his interpretations then, and loved him even more as the scheming music teacher now. His full, beautiful, round voice is perfect for the role. His “Calunnia” aria was a jewel of musical plotting.” Link

LEPORELLO Don Giovanni

“Bass-baritone Jamie Offenbach anchored this performance as Leporello, the Don’s knowing but ultimately repelled manservant. Offenbach is young, whip-thin, with a powerful voice and assured acting skills. His Leporello started out as a petulant servant and evolved into a horrified witness to the Don’s appalling downfall.” Margo Kline, Voice

“The men were stolid at times, with the great exception of Jamie Offenbach’s Leporello. Of course, he gets the funny parts and sympathy for being trod down by the Don. But Offenbach has a rich, precise voice, too.” D. J. Palladino, The Independent

“Jamie Offenbach had all kinds of fun with Leporello; he is lively and likable on stage, his agile baritone well suited to this challenging role.” Michael Smith, Santa Barbara News-Press


Bass-baritone Jaime Offenbach, the Mikado, is already tall and thin and was made excessively so with high-heeled boots, a floor-length cape and a tall staff. He embodied a somewhat outre Mikado, strutting around stage with his wild, deep laugh, humorously terrifying everyone.

“Jamie J.Offenbach presented an unusual visual picture as a rail-thin Mikado, but his rich, resonant voice belied the appearance of his frame. Commentators have often pointed out the sadistic nature of many of Gilbert’s jokes, and Offenbach brought out this aspect of the character with relish.” Link

“My third and final star goes to the Mikado. Traditionally the Mikado is ponderous and superior. Surprise! This Mikado was rail-thin, hen-pecked, and amusedly self-aware. From his interactions with his overwhelming daughter-in-law-elect to his ardent desire to comfort those he has just sentenced to being boiled in oil, this Mikado was utterly charming. A Mikado who fully embodied a “fatherly kind of way.” Link


“Jamie J. Offenbach presented a vital, believable Angelotti by way of his resonant, large voice.” Operaclick Olga Hirsh Link

“Jamie Offenbach made a remarkably strong impression in his three very brief scenes as the condemned revolutionary, Angelotti. He also doubled in the tiny role of Sciarrone, where just a few lines once again forced the listener to take note of him.” Jonathan Saville, Opera

FARMER BEAN Fantastic Mr. Fox

“There are also some wastefully good performances, notably from…Jamie Offenbach as Farmer Bean. Apart from anything else, these two are the only members of the cast who get the words across; they are also both lusty singers…” Paul Griffiths, The New York Times

“Jamie Offenbach revels in his villainy and is the only other member of the cast to sing with crystal-clear diction.” Michael Van Duzer, Show Magazine

BARTOLO Le Nozze di Figaro

“With a well-realized comic persona, bass-baritone Jamie Offenbach as Dr. Bartolo was ready to cope with anything.” David Gregson, Opera News

“…Jamie Offenbach as a deliciously supercilious Bartolo, singing his vengeance aria as a riot of rolling R’s,…” Chris Pasles, Los Angeles Times

“Bartolo, sung by baritone Jamie Offenbach, was one of the few roles sung with verve.”Victoria Looseleaf, L.A. Downtown Times

“…bass-baritone Jamie Offenbach, invested his characterization of Dr. Bartolo with skillful comic timing in his ensemble appearances, and impassioned indignation in his aria “La Vendetta.” Carol Byron, Los

“December’s revival of La Bohème was ravishing, and it was at that production that I first developed my crush on the raffish bass-baritone Jamie Offenbach. He was alluring there in Parisian stripes; here, as the supercilious, vengeful Dr. Bartolo, he was sporting long Charles II curls that made me think of him in a whole new light. A sexy Snidely Whiplash, without the green face.” Fred Goss, Advocate


“The duet with the Inquistor, bass Jamie Offenbach, was probably the productions most dramatic moment. Gong’s deep voice and the bleak atmosphere created by Offenbach singing the lower of the lowest pitches were outstanding.” Link




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