Peixin Chen from China was the other singer making a COC debut. Chen possesses the gift of an impossibly deep and stentorian bass, which was perfectly suited to the role of Sparafucile, the menacing assassin. The COC hit the jackpot with Chen …the company should keep (him) on its regular roster.
La Scena Musicale, Denise Lai

The audience was particularly and rightly taken with Peixin Chen’s Sparafucile, whose dark, resonant bass lent real menace to the assassin.
Ludwig Van Toronto, Ludwig Van

Peixin Chen lavished a rich, polished bass on the role of Sparafucile, twice landing on low notes that flowed effortlessly as he tempted Rigoletto into hiring him to assassinate the Duke. He managed to convey the blade-for-hire’s matter-of-fact danger without overdoing it.
Seen & Heard International, Harvey Steiman

Even more impressive was the other SFO debut, bass Peixin Chen as Sparafucile. With a deep, booming voice, he transformed into an absolutely terrifying assassin, infusing the role with a sense of calm and danger. Chen showcased extended, resonant low notes in his duet with Maddalena…Chen will return as Supreme Lord Laozi in The Monkey King, and I hope SFO will bring him back with more substantial roles in the future!.
Parterre.com, Michael Anthonio

Company newcomer Peixin Chen used his skin-crawling bass and louche demeanor to craft a sinister Sparafucile, the story’s paid assassin.
San Francisco Chronicle, Steven Winn

I said everyone in the cast was superb, and I did not lie…Peixin Chen, at the other end of the vocal range, brought his gloriously cavernous bass to the role of the hired assassin Sparafucile.
On A Pacific Aisle, Joshua Kosman

The comic element of this opera centers on the Dr. Dulcamara, whose elaborate entrance number, “Udite, udite, o rustici,” is one of the greatest of all basso buffo arias…Peixin Chen took focus with a commanding bass sound, and the ability to really sing all the notes of his fast patter on pitch and with clear projection of the words.
Palm Beach ArtsPaper, Robert Croan

Equally memorable is Peixin Chen as the General, who applies his booming bass with remarkable variety of tone as his character’s confidence takes a nosedive…I must also praise the quality of the cast’s Russian delivery: in international productions, I am acutely conscious of singers who are Russian speakers and those who are not, but this time I found that I could relax. The language coaching must have been truly remarkable, since Prokofiev’s treatment of the text is as subtle and realist as Mussorgsky’s, which puts non-native singers at a huge disadvantage. But in this case, the whole cast was entirely convincing in Prokofiev’s arioso-speech melodies.
Gramophone, Marina Frolova-Walker

Ihren Neffen, einen falschen General, gibt Peixin Chen. Sein Bass ist dunkel grandios, seine Komik überwältigend.
Süddeutsche Zeitung, Reinhard J. Brembeck

Peixin Chen als General besitzt nicht nur eine flexible Bassstimme, auch die ganze Jämmerlichkeit, als dem General die erhoffte Erbschaft flöten gehen sieht, ist in der schulterhängenden Kraftlosigkeit, die Peixin Chen der Figur mitgibt, eindrucksvoll entworfen.
Augsburger Allgemeine

Peixin Chen is youthful and hale, with a voice to match, which made for a robust, regal Timur.
New York Classical Review, Rick Perdian

The real colpo di cannone came from Peixin Chen as Bartolo. Introduced to Cincinnati audiences as the King in last year’s Aida, he brought a powerful voice to the role, more dangerous than the usual comic bass, something like the Grand Inquisitor adept at patter.
Opera News, Joe Law

Chen was excellent as the pompous Bartolo, whose intentions to marry Rosina himself are thwarted at every turn. His bass was big and imposing…
Cincinnati Business Courier, Janelle Gelfand

Perhaps the most exciting debutante (save one) was Peixin Chen as the King. An absolutely booming bass voice that was tremendously impressive in the theater. He sang his brief lines with such confidence you immediately wished his role were larger.
Parterre Box, Patrick Mack

Peixin Chen’s dramatically persuasive opening recitative (of Beethoven’s Ninth Symphony) revealed a bass voice of unusually plush resonance. Houston Grand Opera is fortunate to have him on their roster.
San Diego Story, Ken Herman

Peixin Chen’s Sarastro had the gravitas demanded by the character, combined with an elegant control of phrasing that made his presence a dominating one.’s warm vibrato sounded attractive and compelling in Sarastro’s music.
Palm Beach Daily News, Márcio Bezerra

Bass Peixin Chen’s warm vibrato sounded attractive and compelling in Sarastro’s music.
Opera News, David Shengold

Peixin Chen’s phenomenally invigorating bass instrument opens the show with an authoritative rendition of “All’erta! All’erta” and “Di due figli vivea padre beato.” He masterfully captures the attention of the audience and draws us into the intrigue and mystery of the production.
BroadwayWorld, David Clarke

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Presto Classical