"Montenegro’s Mario sweetly gains confidence, with Neruda’s assistance, as he gains Beatrice’s hand. He plays very effectively Mario’s sadness and bewilderment when Neruda, released from exile and once more globe-trotting to great acclaim, seems to have forgotten him....Montenegro saved Mario’s best vocal moment for last, as he sings the touching letter he has left for Neruda at the opera’s conclusion.
A strong, agile mezzo-soprano, with vocal color to burn, Miller had the greatest opportunity of any of the female principals to create a vivid character. Both comically protective of Beatrice’s virtue and more perceptive of political and social class reality than the opera’s other characters, her Donna Rosa was the most interesting person on stage. She also had the funniest moment of the afternoon, as she and the local priest get into a briefly riotous dance during the wedding scene."
-DC Metro Theater Arts
"Tenor Daniel Montenegro was a perfect Mario, a fact not surprising since in his younger days he worked with Catán to shape this character. In “Postino,” acting is paramount in exposing the deep emotions beneath the gentleness and humor. Montenegro’s Mario glowed with the sweet awareness of the magic of metaphors yet plunged into his Act III sorrows to bring about a chilling impact. His bright tenor was flexible and soared to the heights. . .
Rounding out the female roles was mezzo-soprano Dana Beth Miller as Donna Rosa, Beatrice’s mother. Her delightful acting was matched by her rich, colorful voice and rock solid projection."
-The Virginian-Pilot
