“Smigelski’s lyric bass baritone maintains its rich and attractive tone throughout the registers. Smigelski sings with considerable dramatic involvement, always evidencing a keen and specific identification with the text.”
— Fanfare Magazine
“Smigelski’s wine-dark bass [complimented his] body language for Henry’s self-absorption [in the world premiere of Aylward’s Switch], gamely channeling his impulsive, awkward attempts at connection.”
— Boston Globe
“Mikhail Smigelski was a striking Alidoro, tall and regal with a rotund Slavic bass. The depth and resonance of his sonority and smooth, even cantabile line shone impressively in his scene.”
— SOUTH FLORIDA CLASSICAL REVIEW
“As the skulking, spying CEO Alfonso, [Smigelski] cuts an elegant and dark figure, wonderful on his own or when lending a sonorous depth to intimate duets and trios.”
— Austin Chronicle
“Mikhail Smigelski had the regal bearing and low bass notes for the lieutenant Zuniga.”
— South Florida Classical Review
““Deep-toned bass Mikhail Smigeliski was a smoothly flowing Zbigniew.””
— Cleveland Classical
“Smigelski is a phenomenal singer, with a robust, melodious bass-baritone with serious power.”
