World Premiere

• Role: Johan (Cover)

• Conductor: Christopher Rountree

• Director: Thaddeus Strassberger

• National Sawdust

Company Debut

• Role: Belcore

• Conductor: Alexandra Enyart

• Director: Eve Summer

• Opera Grand Rapids

• Role: Forester (cover)

• Conductor: Roberto Kalb

• Director: Yuval Sharon

• Detroit Opera

• Role: John Cree

• Conductor: Kirk Severtson

• Director: Gregory Keller

• Lydia Mendelssohn Theatre

• “Robert Wesley Mason stood out with one of the evening’s
  quieter pieces—Billy’s imprisonment aria from Britten’s Billy Budd.”
  -Wall Street Journal

• Mason’s sound — flint-hard one moment, voluptuous the next — and searing dramatic intensity provided an ideal foil…His bright wit was similarly evident when he took a stage lap on a bicycle and punctuated his Billy Budd with a billy club.”
  -Classical Voice North America

• Role: Baritone

• Director: Yuval Sharon

• Detroit Opera

• Piano Vocal Workshop

• Role: Richard Loving

• Conductor: Adam Turner

• Director: Denyce Graves

• Virginia Opera

• Loving v. Virginia, the opera

• Role: Vocalist

• Conductor: Yaniv Segal

• Director: Bill Barclay

• Renegade Opera

• “Robert Wesley Mason was an articulate, explosive, first-rate Jack, with his dark, robust baritone and assured physicality.” -Opera News

• “For Jack, here strongly sung and acted by baritone Robert Wesley Mason, Moravec provides music that becomes more jagged and discordant over the course of the opera, as Jack’s state of mind goes from hopeful to deranged.” -San Francisco Classical Voice

• “Energetic baritone Robert Wesley Mason portrays Jack, and in addition to his passionate singing, he is tasked with acting a dramatic role that at first is a smiling, loving family man but that descends into rage.  He accomplishes the task.” -Berkshire Fine Arts

• “In the leading roles, baritone Robert Wesley Mason and soprano Kearstin Piper Brown conveyed Jack and Wendy’s deepening plight with strong, shapely vocalism.” -San Francisco Chronicle

• “Baritone Robert Wesley Mason as Jack Torrance has a powerful sound … and had impressive stamina for this marathon of a role; he was onstage for nearly all of the opera.” -The Opera Tattler

• “Jack’s transformation from daddy to baddy was superbly and humanely characterized by Robert Wesley Mason.” -Aisle Seat Review

• Role: Jack Torrance (Company and role debut)

• Conductor: Nicole Paiement

• Director: Brian Staufenbiel

• Opera Paralléle

• Role: Billy Bigelow

• Conductor: Cody Martin

• Director: Greg Ganakas

• Pensacola Opera

• “A University of Michigan student orchestra will perform the original musical pieces interspersed with lines, spoken by the singers, from testimonies and interviews with members of the Auschwitz I men’s orchestra after the war. Silent for more than seventy years, the voices and stirring melodies of those imprisoned at Auschwitz will be brought to life in the Museum’s Edmond J. Safra Hall.”

• Conducted by Oriol Sans

• Museum of Jewish Heritage

• ”Mason brought robustness to moments as the Count that revealed how great a Figaro he would be in a full production.” -VAN Magazine

• Role: Figaro

• Role Debut

• Directed by Yuval Sharon

• Conducted by Christopher Rountree

• Michigan Opera Theater

• This show has been cancelled due to the COVID-19 pandemic.

• Role: Pleasure

• World Premiere opera by Kate Soper

• Company and role debut

• Directed by Michael Rau

• Wet Ink Ensemble

• Peak Performances

• ”We first see Wotan (the barrel-chested Robert Wesley Mason,
  with a voice to match) …” -The New York Times

• “The entire cast, all of whom play multiple roles, are excellent, with characterizations changing at the drop of a hat….Especially effective [is] Mason as Wotan…” -Epoch Times

• ”Robert Wesley Mason [is a] chameleon.“
  -Woman Around Town

• ”They each bring a great deal of hilarity and good-heartedness to the 4 to 6 characters each of ’em inhabit.” -Manhattan Digest

• ”…marvelous cast, who switch characters on a dime…all brought good voices to the fold…”
  -Broadway World

• Role: Actor #4 (Wotan/Gunther/Hagen)

• Directed by Eric Einhorn and Katherine M. Carter

• Musical direction by Emily Senturia

• Company and role debut

• On Site Opera

• Hannah Before

• Company debut

• Directed by Amy Hutchinson

• Conducted by Cody Martin

• Pensacola Opera

• “As Jan, baritone Robert Wesley Mason gave a gleaming, vocally burly performance that burst with life even as he spent most of the opera confined to a hospital bed.” -The San Francisco Chronicle

• “The opera’s heroine, Bess McNeill, thoroughly embodied in voice and soul by soprano Sara LeMesh, is at once giddy and grateful for bringing Jan Nyman (the compelling baritone [Robert Wesley] Mason) into her life.” -San Francisco Classical Voice

• “Lovingness oozes and tested emotions are firmly rendered in Robert Wesley Mason’s handsomely rugged Jan as life turns upside down, his warm, muscular and resonant baritone a perfect casing and compliment for LeMesh’s Bess.” -The Opera Chaser

• “The rest of the cast supported LeMesh well, nearly all the characters have many different sides and get to portray a range of emotions. From baritone Robert Wesley Mason, whose Jan is heartbreaking…” -The Opera Tattler

• “In a small miracle, the entire cast was up to LeMesh's quality, including baritone Robert Wesley Mason as her Norwegian oil rigger new husband, who made you believe Bess would see their balls-to-the-wall marital sex as a direct pipeline to the sacred. Mason sounded great and was sympathetic in a tricky role where he's paralyzed for most of the second half.” -Civic Center

• Jan Nyman

• Company and role debut

• Directed by Mark Streshinsky

• Conducted by Jonathan Khuner

• West Edge Opera (West Coast Premiere)

• “Aryssa Leigh Burrs, Robert Wesley Mason, and Melissa Wimbish are the triumvirate of artists on stage who weave the song cycle into the stories of the night. They bring operatic voices, graceful physicality, and intensely connected acting and interacting to each of the songs. Mason roars and growls and introspects in bold baritone bravado and tosses out the occasional bit of tenor rock and roll to keep the ghost of Elvis alive.”
  -DC Metro Theater Arts

• “All three singers are game and work the steeplechase of vocal styles that Costello and Co. throw at them. They don’t back off from pushing a punk rock number. Neither are they above a musical belt or a growl.  But the performers can, on a dime go into a bel canto sound when called on. Robert Wesley Mason has a metallic ping in his sound that he uses to great effect straddling vocal styles. Hailing from Norfolk, Virginia, he can pull out a drawl like twang and convince us he might be someone on the circuit playing country rock then turn around and nail it as a ‘serious’ baritone.” -DC Theatre Scene

• “Dashing Robert Wesley Mason has a lot to do, representing every male voice in the song cycle, but adjusts accordingly and with authority.” -Broadway World

• Soloist

• Company and role debut

• Directed by Cara Gabriel

• Conducted by Robert Wood

• Urban Arias

  
  

• Hannah Before

• Directed by Keturah Stickann

• Conducted by Andrew Bisantz

• Eugene Opera

• Company debut

• “Fittingly, the only match for … Carmen is Robert Wesley Mason’s Escamillo, the bullfighter Carmen drops Don Jose for. It’s easy to see why. Mason owns the stage every time he’s on it, charismatic and magnetic and a joy to watch and hear…it’s hard to match Mason’s bravura when given the iconic ‘Toreador Song.’”
  -InForum

• Escamillo

• Directed by Maria Todaro

• Conducted by Eric Weimer

• Fargo-Moorhead Opera