NEW YORK TIMES:

--The chorus, prepared by Alexander Rom, did outstanding work. Steve Smith on MOBY-DICK (2010)

OPERANEWS:

--The Dallas Opera Chorus sounded strong and rich, its tones filling the glorious new house. Willard Spiegelman on OTELLO (2010)

--Alexander Rom’s chorus sang with passion and precision, especially in the somber “O jour de deuil, o jour de larmes” with its slowly mounting funeral tones. Willard Spiegelman on ROMEO ET JULIETTE (2011)

--Alexander Rom’s handling of the sailor chorus was exceptionally fine. Willard Spiegelman on MOBY-DICK (2010)

--Alexander Rom’s chorus sang well and with surprisingly good French diction. Willard Spiegelman on CARMEN (2014)

--Under the supervision of Alexander Rom, the Dallas chorus sang wonderfully. Willard Spiegelman on ROBERTO DEVEREUX (2009)

--Va, pensiero… The Dallas opera chorus under the direction of Alexander Rom, acquitted itself admirably, with deliberate and stately slowness in the famous chorus and elsewhere. Willard Spiegelman on NABUCCO (2007)

--The Dallas Opera Chorus, under Alexander Rom’s direction, sang with depth, resonance and clarity. Willard Spiegelman on MARIA STUARDA (2007)

OPERA TODAY:

--For his preparation for the many and massive chorus scenes Alexander Rom would win acclaim at the Bolshoi. BORIS GODUNOV (2011)

TEXAS CLASSICAL REVIEW:

--The Dallas Opera Chorus, prepared by Alexander Rom, was magnificent with a lovely rendering of the “Humming Chorus.” J. Robin Coffelt (2017)

WASHINGTON POST:

…the chorus was also very strong. MOBY-DICK (2010)

THE DALLAS MORNING NEWS:

--The Dallas Opera chorus filled the Winspear Opera House Friday night - and the gloomy Scottish provinces of Donizetti's Lucia di Lammermoor - with glorious sounds, full, rich, yet expressively flexible. Chorus Master Alexander Rom had done his work very well indeed. Scott Cantrell on LUCIA DI LAMMERMOOR (2011)

--Tragic “Godunov” is a triumph… the chorus prepared by Alexander Rom sings powerfully and well. Scott Cantrell on BORIS GODUNOV (2011)

--The big chorus, prepared by Alexander Rom, sang rousingly and well, Scott Cantrell on LA BOHEME (2009)

--There is no shortage of good and powerful voices, and chorus master Alexander Rom has molded them into imposing ensemble. Scott Cantrell on PORGY AND BESS (2008)

--The Chorus, prepared by Alexander Rom, sounds fabulous and does some pretty nimble footwork on its own. Scott Cantrell on MERRY WIDOW (2007)

-- The offstage chorus, prepared by Alexander Rom, supplies atmospheric oohs and ahs. Scott Cantrell on ASPERN PAPERS (2013)

--Prepared by Alexander Rom, the chorus sounded fresh and alert. Scott Cantrell on FLEDERMAUS (2008)

WALL STREET JOURNAL:

... and the all-male chorus brought a robust heartiness to the Pequod's crew. Heidi Waleson on MOBY-DICK (2010)

OPERA CANADA:

--The company’s chorus sang gloriously, having been prepared by the company’s Russian chorusmaster Alexander Rom, Ursula Weiss on QUEEN OF SPADES (2004)

FORT-WORTH STAR-TELEGRAM:

--The chorus of sailors prepared by Alexander Rom sang with finesse and gusto. MOBY-DICK (2010)

--Sounds produced by clearly well-rehearsed chorus and orchestra were impressive. -Oct. 26, 2011. Lucia di Lammermoor.

--But the unsung heroes of the evening… chorus master Alexander Rom, who prepared the choristers to near perfection. NABUCCO (2009)

--...most credit goes to…chorus master Alexander Rom, who elicited finely textured music-making from the chorus.” – Matt Erikson on LOHENGRIN (2007)

--the opera’s singular highlight was Mary’s Act III prayer, which Cullagh and chorus poignantly sung moments before her beheading. MARIA STUARDA (2007)

--Sunday afternoon's performance displayed…excellent singing and playing by the chorus and orchestra, appropriately gloomy sets contrasted with bright period costumes, and understated stage direction (in Lucia's most famous scene, she was mad but not rug-chewing mad). In short, this Lucia was firing on all cylinders.” – Olin Chism on LUCIA DI LAMMERMOOR (2011)

--This was one Aida that was firing on all cylinders. Conductor Graeme Jenkins deserves great credit for a superb orchestral performance and a magnificent choral one -- Alexander Rom is the chorus's maestro.” – Olin Chism on AIDA (2012)

EVERYDAY OPERA:

--In Traviata, Verdi not only gave us memorable arias for the stars, he also gave us great chorus moments, and the Dallas Opera Chorus led by Alexander Rom was quite stellar. In fact, the chorus within the masquerade ball scene in Act II was one of the more memorable moments of the production. – David Weuste, LA TRAVIATA (2012)

--This is one of those moments the many children in attendance will remember for a very long time, and will make a bigger long-term impact than just about any school-visit outreach would be capable of making. So before we even start talking about the opera itself, a firm ‘Bravi!’ to all at The Dallas Opera and Cowboys stadium for making it happen…The Final chorus was a powerful way to bring about a close to a wild opera in a somewhat ‘wild’ setting. Seeing a standing ovation in the full Winspear Opera House echoed by a standing ovation by the fifteen-thousand-plus in Cowboys Stadium was a “victory” for opera and the arts in Dallas-Fort Worth.” – David Weuste, THE MAGIC FLUTE (2012)

THE COLUMN (ONLINE):

--The chorus is guided by the master Alexander Rom. I have poured accolades on this chorus master in the past, and just when I think he can’t top himself, he does it again. LUCIA DI LAMMERMOOR (2011)

D-MAGAZINE:

--The chorus trained by longtime Dallas Opera chorus master Alexander Rom and here more significant than in any other opera in the repertoire, was at its best. BORIS GODUNOV (2011)

--The all-male chorus, trained by Alexander Rom, splendidly fulfilled its role as the central musical aspect of this opera. MOBY-DICK (2010)

DALLAS OBSERVER:

“The chorus, prepared by Alexander Rom is out of sight but not out of mind. While they are offstage for the entire production, their atmospheric sounds are a gorgeous accompaniment to the singers on stage, acting almost like an orchestral instrument.” – Katie Womack on THE ASPERN PAPERS (2013)

EXAMINER.COM

--The choir directed by Chorus Master Alexander Rom also deserves applause for their brilliant performance. TURANDOT (2013)

--The orchestra and chorus are exquisite along with the lush set and costumes. This production is one of the best in years” – Marilee Vergati on LA TRAVIATA (2012)