Der Tanzmeister in “Ariadne auf Naxos,” Wolf Trap Opera, 2019

"Joshua Conyers, with his strong baritone, and Ian McEuen, with a wiry tenor, made fine foils as a kindly, pragmatic music master and a hustling dancing master in Act I."

- Anne Midgette, The Washington Post

"In the supporting cast, noteworthy contributions came from . . . the physical humor of Bethesda-born character tenor Ian McEuen as the Dancing Master. . . "

- Charles T. Downey, Washington Classical Review

"Ian McEuen did an excellent job of shining brightly in the smaller role of the Dancing Master: working within the large cast and appearing within the ensemble, McEuen frequently became the focal point of attention with his sharp physicality and expressive stage skills."

- Mark Rudio, A Beast in a Jungle

Remendado in “Carmen,” Annapolis Opera, 2019

"Meroë Khalia Adeeb as Fraquita, Kate Jackman as Mercédès, Joshua Jeremiah as Dancaïro, and Ian McEuen as Remandado with Velasco [Cassandra Zoe Velasco, as Carmen] performed the Act II quintet with so much joy. It was truly a delight to watch these five singers work together in a musically intricate moment. It was a true highlight of the evening and the characters that these singers created were so charmingly funny."

- Elle Marie Sullivan, MD Theater Guide

Lt. Torasso in “passion,” Signature Theatre, 2018

"Two vignette players bear mentioning: Gregory Maheu's Ludovic, the con artist who loads on the charm, is amusing, and the operatic solo by Ian McEuen as Lieutenant Torasso is a vocal highlight."

- Susan Davidson, CurtainUp

"The 12-member cast does full vocal justice to Sondheim's challenging score.The entire company is marvelous. Standouts among the ensemble include Ian McEuen, whose operatic stylings create momentary comic relief, but are beautifully sung nonetheless. . . ."

- JK, JK's Theatre Scene

Redwood son (et al) in World Premiere of "Florida", UrbanArias, 2018

"Ian McEuen offered a firm, darkening tenor and a range of brief, vivid characterizations in several smaller roles, from the Redwood son to a cop.”

-Anne Midgette, The Washington Post

"Several vocal standouts included bass-baritone Ethan Greene as Redwood Male and tenor Ian McEuen as Redwood Son, both of whom I should like to hear more from in future Urban Arias productions."

-Erin Ridge, MD Theatre Guide

“[...] the wry facial expressions of McEuen and Riddle, while overhearing their own insignificance delightfully added to more than a few scenes [...] the agility of company members McEuen and Riddle are again wonderfully on display, they shift from biased Cops to Technicians performing invasive autopsies to Attorney and Press, further surrounding Florida.”

-Em Skow, DC Metro Theater Arts

Soloist in "Little Match Girl Passion", Resonance Works, 2018

"A stunning site-specific experience born of a well-conceived partnership with Homewood Cemetery....
Ian McEuen’s sweet tenor frequently soared."

Yvonne Hudson, Pittsburgh in the Round

“Little match girl passion' was the unquestionable highlight of the evening....Choir and soloists attended
to the shivering, almost primal chant-like text-settings with reverence, conjuring a sense of bleakness
and slowly transforming their sound into one of tenderness and warmth."

Jeremy Reynolds, Pittsburgh Post-Gazette

Goro in "Madame Butterfly", Washington National Opera 2017

"The whole cast handled the theatrical aspects deftly, providing lots of telling details....Ian McEuen
(Goro) did vibrant work...."

-Tim Smith, Opera News

"A bright and moving 'Butterfly'....very well sung and lovely to look upon...Ian McEuen is a credible Goro."

-Anne Midgette, The Washington Post

"Every tenor who sings Goro faces a bevy of decisions to be made about his interpretation of the part....In this performance, tenor Ian McEuen gave the character a sardonic edge but stopped
short of outright villainy.....McEuen’s recital of the virtues of the arrangements Goro has made for
Pinkerton was brightly voiced....McEuen’s confident vocalism lent ‘Ecco! Son giunte al sommo del
pendìo’ particular allure. The heartless laughter with which Goro mocks Cio-Cio-San’s innocent
querying of Sharpless in Act Two about robins returning to roost was in McEuen’s performance
like a thunderbolt..... Possessing absolute security throughout the range of Goro’s music, McEuen
had no need to resort to silly vocal effects or exaggerated enunciation, and he continues to refine
his surprisingly subtle, intelligent interpretation of this often-loathsome character."

-Joseph Newsome, Voix des Arts

"A bold, modern Madame Butterfly. Ian McEuen returns to the WNO stage as Goro and fares well in this stylized version of Madame Butterfly, scooting around the stage, rapping open a fan loudly, and in other ways manipulating his every deal with crisp visual clarity."

-Susan Galbraith, DC Theatre Scene

"Another standout is Ian McEuen as the marriage broker Goro. His tenor is attractively piquant and he
blends the right mix of self-interest and veiled sympathy....Catch this Butterfly if you can."

-Kate Wingfield, Metro Weekly

"Great singers and performers....Bethesda tenor Ian McEuen as the fixer-arranger-pimp, busy as a

-Gary Tischler, The Georgetowner

Tenor Soloist "The messiah," Handel Choir of Baltimore 2015

"Among the soloists, tenor Ian McEuen stood for the sweetness of his voice and his technical refinement; during the 'Comfort ye' recitative, he included an impressive single-note crescendo that grew from a most delicate pianissimo."

-Tim Smith, The Baltimore Sun

Pong in "Turandot", Nashville Opera 2015

"For instance, the masked ensemble, Ping (baritone Wes Mason), Pang (tenor Jonathan Blalock), and Pong (tenor Ian McEuen) brought the voices and physical humor required to make their character's politically incorrect humor ridiculously funny."

-Joseph E. Morgan, Nashville Arts Magazine


Goro in "Madame Butterfly", North Carolina Opera 2015

"[...] it is astonishing to note how significantly a good Goro can heighten the impact of a performance of the opera, and North Carolina Opera had in tenor Ian McEuen a singer who upheld the seldom-equaled standard of Piero de Palma.[...] his portrayal of Goro was distinguished by a refusal to sacrifice musicality in pursuit of cheap humor and an attractive, well-integrated instrument that required no faking of notes at the range extremes."

-Voix des Arts

"Ian McEuen delightfully mined all the humor in the part."

-Roy C. Dicks, The News & Observer

Ferrando in “Così fan Tutte”, DC Public Opera 2015

“Tenor Ian McEuen as Ferrando throws himself into every moment and is particularly effective in his second act aria ['Tradito, Schernito'] where he lets the heartbreak break through all the previous pranks. (I saw this tenor sing the role of Goro in Madame Butterfly, and I can tell you this young singer-actor can hold his own on the largest of stages with the strongest singers in the opera biz.)"

-Susan Galbraith, DC Theatre Scene

Goro in “Madame Butterfly”, Glimmerglass Festival 2014

“Ian McEuen, a notable Goro”

-Heidi Waleson, Wall Street Journal

“Talented performers from the Glimmerglass Young Artists Program who enrich the cast are Ian McEuen as Goro, the marriage broker; Chris Carr, Adam Cioffari, Thomas Richards and Sean Michael Plumb.

-Linda Loomis, Syracuse Post-Standard


“Ian McEuen as Goro, the Marriage Broker, achieved much variety in his playing, sometimes comically almost bouncing through scenes and at other times slightly greasy and sinister."

-Susan Galbraith, DC Theatre Scene


"Ian McEuen in particular deserves praise for his Goro."



"Glimmerglass Young Artist Ian McEuen injected a much-needed dose of comedic relief as the obsequious marriage broker Goro, using his comedic flair and body movement to good effect as he slinked across the stage selling his services to the American lieutenant."

-David Abrams, CNY Café Momus


“Three other players win their own ovations: Thomas Richards as the voice-of-doom Bonze;Ian McEuan as Goro, the cultural sellout marriage broker in a straw boater; and, most astoundingly, pre-schooler Louis McKinny as Pinkerton and Butterfly’s child Sorrow.”

-James MacKillop, Syracuse New Times


Padre Antonio in “With Blood, With Ink”, Fort Worth Opera 2014

"Among the other singers, Audrey Babcock stood out as the imperious Countess, as did Ian McEuen, one of the Fort Worth Opera Studio artists, as the self-lacerating Padre Antonio. "

- Willard Spiegelman, Opera News


"tenor Ian McEuen brought the role of Juana Inés's masochistic nemesis, Padre Antonio Nuñez, to life memorably."

- Wayne Lee Gay, American Record Guide


"McEuen was riveting as he nailed the angular melodic lines and volcanic anger of the padre during his highly-charged flogging scene."

-Laurie Lynn Lindemeier, The Column


"Gazing lustfully at his charges, flagellating himself dramatically, extolling his own piety, and manipulating everyone, Padre Antonio, played masterfully by tenor Ian McEuen, conspires with Archbishop Aguiar Y Seijas (baritone Jesse Enderle) to force Sor Juana to sign a contract, written in her own blood, denouncing her work."

-Edward Brown, Fort Worth Weekly


"Special mention must be made of tenor Ian McEuen’s portrayal of the priest, mentally crippled by sexual agonies, who causes Sor Juana so much trouble. Although we learn earlier that it is his proclivity, the scene where he brutally whips his own back, in a futile attempt to expel impure thoughts, is sickenly realistic."

-Gregory Sullivan Isaacs,


World premiere of “The Lion, the Unicorn, and Me” with Washington National Opera, 2013

"But the WNO didn’t stick only to its young artists for casting. Several other young singers made company debuts Saturday: Ian McEuen, showing a promising tenor as the Holy Man and Dog, in particular..."

-Anne Midgette, The Washington Post


"...A ponderously slouchy hippo wears a hoodie and baseball hat....Ian McEuen’s lyric tenor and Wei Wu’s incisive bass complemented their engaging performances in supporting roles."

-Greg Marzullo, the Washington Blade


"Ian McEuen is entertaining as the Hippo, but even more entertaining in his puppetry work as the Dog. (Its tongue wags on high notes!)"

-Rebecca Evans, DC Theatre Scene

Tanzmeister in “Ariadne auf Naxos,” Fort Worth Opera 2013

"Rounding out the first act performers is Ian McEuen in the role of the dancing master. McEuen's voice is completely suited for the role, but what stands out are his stage affections and body language. Graceful and lively, he garners laughs just for walking across the stage."

-John Norine Jr., TheaterJones


"Ian McEuen is an aptly fey Dancing Master"

-Scott Cantrell, The Dallas Morning News