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Avodath HaKodesh, Ernest Bloch, Masterworks Chorale

"His interactions with the luminous, dramatic, and pleading cantorial outpourings of baritone Ian Pomerantz lifted us to transcendant bliss. Pomerantz sang and cantillated with such free rubato and idiosyncratic melismas, while Wood, who could not see the soloist or the singers, amazed us by lining up with him to perfection most of the time. Both artists worked at the highest level, especially in the very difficult to bring off annotated Sprechstimme benediction."


Acis and Galatea, Handel, Harvard Early Music

"Ian Pomerantz, wearing what’s meant to suggest an animal skin, is an unusually handsome Polyphemus, and he has a sweet way with his “soft enchanting accents,” though his mean streak surfaces when he starts throwing Galatea around."


Alcina, Francesca Caccini, Boston Early Music Festival

"Ian Pomerantz’s plush bass-baritone is used to best advantage however, making him all the more of a standout in his too small role. We look forward to hearing more from him and hope BEMF has more to offer him in the future!"


Ester, Stradella, Salon and Sanctuary Concerts

"But most wonderful was Ian Pomerantz's delivery of an uber villain. His Aman was filled with sneering pride. He also underwent a learning experience that his treachery when exposed made him the ultimate example of fickle fortune and misery. The bad guy here, unlike in the Bible, is the most compelling character."


Roméo et Juliette, Berlioz, Shakespeare Opera Theater

"With that bass-baritone voice, Pomerantz takes this production to its transcendent heights. Pomerantz's Friar then descends to lead the company in the Oath of Reconciliation. At one point, Pomerantz's Friar Laurence comes forward and sings directly to the audience, encouraging us in our lives to follow the path of reconciliation, too.  As the symphony concludes, I am about to catapult out of my seat for a standing ovation!"


Boismortier, Automne, Les Enfants d'Orphée

"For 'Autumn' the theatrical and confident bass-baritone Ian Pomerantz raised his dulcet tones, glasses and bottles in praise of wine. Sporting a wreath of ivy, he gestured broadly, colored vividly and ornamented with taste. As the possessor of an instrument that has been home in many genres, he found a zone in this performance that radiated investment and artistic attitude."


Sacred Service, Yehudi Wyner, Cantata Singers

"Pomerantz proved an especially brilliant choice. Filled with passion and strong conviction, he sang with a gritty tone of tenacity and defiance that perfectly fit the nature of the music and the composer's intention at that dark time; yet he also moved effortlessly to an inspired sweetness filled with intimacy.  This required a surprisingly wide vocal range which he traversed so subtly that we could hardly remember that we were listening to a remarkable performance."


Magnificat, Biber, Canto Armonico

"Of the various solo quartets heard during the evening, the strongest was that in Biber’s Magnificant, in which I was particularly struck by Ian Pomerantz’s emphatic bass."

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