Belcore (L’elisir d’amore)

“Yiannoudes' deep baritone leaves no doubt this man was born to sing, with dynamic stage presence and mastery of the role of Sergeant Belcore in voice and gesture.”

−North County News (New York), October 29-November 4, 2003

“The comic kingpin arrives in the form of baritone Constantinos Yiannoudes, who makes his entrance…with a hilarious choreography of struts, swaggers and poses - and a rather perverse fondness for his helmet. The largest voice on stage belongs to Yiannoudes, a booming instrument well-suited to the cocksure Belcore.”

−Metro (San José, CA), November 16, 2000

“From the moment he walked onto the stage, Constantinos Yiannoudes, as bombastic Sergeant Belcore, stole the show. Not only does he possess a big baritone voice and a commanding presence, he knows how to milk a situation and a gesture.”

−Oakland Tribune (Oakland, CA), November 14, 2000

Count Almaviva (Le nozze di Figaro)

“Also making a strong impact was Constantinos Yiannoudes as the Count. The Cyprian baritone was an inspired presence. His dark, ample baritone is well-suited to the role of the hypocritical Count, and Yiannoudes delivered a superbly robust Act 3 aria, as well as bringing understated comic flair to the Count's mounting frustration and confusion.”  

−Sun-Sentinel (Florida), March 4, 2006

“Constantinos Yiannoudes' wily, willful, handsome Count unfurled a strong, rich and vibrant baritone that seemed at ease throughout his range.”

−The Observer (Florida), June LeBell-WQXR, February 16, 2006

“Constantinos Yiannoudes creates a handsome Count Almaviva filled with arrogance, vanity, and an exceptional voice.”

−Sarasota Herald Tribune (Florida), February 14, 2006

“Constantinos Yiannoudes’ Count is powerfully sung.”

−St. Petersburg Times (Florida), February 14, 2006

 “The aristocracy was the Count’s ticket to paradise. Money, power and a lively libido-he had it all- Yiannoudes is a polished and poised artist, eminently suited to the role.”

−North County News, May 30-June 5, 2001

Don Giovanni (Don Giovanni)

“Yiannoudes is a fascinating combination of charm and menace, just as he should be."

“The handsome nobleman…[was] dashingly played by baritone Constantinos Yiannoudes.”

−Courier Times ( Pennsylvania), April 2005

“Baritone Constantinos Yiannoudes sang the role fluently and expressively. ”

−The Washington Post, March 19, 2002

Drosselmeir (The Tale of the Nutcracker)

“He sang with consistently burnished, rich tone.”

−Opera News, April 2000

Enrico (Lucia di Lammermoor)

“Yiannoudes is a baritone that is so rich, it transfixes the audience with its power.”      

−North County News (New York), November 15, 2000

“His wonderful voice won him the day.”

−The Times Herald-Record (San José, CA), October 20, 2000

Escamillo (Carmen)

“As Escamillo, the toreador who draws Carmen’s eye, baritone Constantinos Yiannoudes sang stylishly and, in his triumphant entrance, commanded the stage like a celebrity.”

−Express News (San Antonio), June 20, 2004

“Judging by the bravos, baritone Constantinos Yiannoudes as Escamillo was the hit of the performance. His deep, rich, powerful voice matches his portrayal of the toreador who jumps around like a bull displaying his strength and virility.”

−Oakland Tribune, February 14, 2000

Figaro (Il barbiere di Siviglia)

“In his second appearance with Eugene Opera, Constantinos Yiannoudes acted and sang the part perfectly. His face gave away Figaro's love of money, control and high jinks. Yiannoudes as Figaro brought a stentorian baritone voice and solid acting skills.”

−The Register Guard, January 2006

“The cast was headed by a fiery Constantinos Yiannoudes, who linked a Dustin Hoffman-like set of marvelous facial expressions with his rich baritone voice. Letting the patter songs ripple over the tongue with agility was just one of the skills he brought to the title role.” 

−Milpitas Post, September 16, 1999

Ford (Falstaff)

“The ear-opener of the evening was the splendid singing of Constantinos Yiannoudes as Ford. He is a fine baritone and a joy to hear.”

−San Francisco Classical Voice, September 8, 2001

Germont (La traviata)

“Constantinos Yiannoudes sang well, portraying Germont senior with paternal dignity.”

−The New York Times, July 19, 2008

“Baritone Constantinos Yiannoudes was outstanding as the father scandalized by his son’s liaison with a courtesan…Yiannoudes’ superb singing in concert with Manzi gave credence to the difficult dramatic dilemma…”

−The Register Guard, January 3, 2002

“The father was Constantinos Yiannoudes whose rich, velvety baritone heightened the dramatic tension…”

−Milpitas Post, May 11, 2000

Marcello (La bohème)

“Constantinos Yiannoudes, making his company debut, was a strong Marcello.”

−The New York Times, July 5, 2003

Rigoletto (Rigoletto)

“Baritone Constantinos Yiannoudes was exceptionally rich vocally as Rigoletto.”

−The Oneida Daily Dispatch, November 1, 2007

Scarpia (Tosca)

“New York-based baritone Constantinos Yiannoudes didn’t allow his character to devolve into a caricature of unadulterated evil. Vocally, he held his own, expounding on his wicked scheme in a riveting Act 1 aria, even as extras flooded the stage and conductor Joseph Mechavich’s orchestra played full blast.”

−The Forum (North Dakota), October 31, 2006

Sharpless (Madama Butterfly)

“Baritone Constantinos Yiannoudes has a tremendous voice, consummate grasp of portrayal, and striking resemblance to actor Dustin Hoffman, giving him immense cachet . Ears are attuned to catch every syllable and hearts beat faster when he’s on stage.”

−North County News (New York), March 14-March 20, 2001

Soloist (Eugene Concert Choir)

“Yiannoudes has a creamy, noble sound, which he used well.”

−The Register-Guard (Oregon), May 1, 2007