Reviews
Beethoven Symphony No. 9 at Cincinnati Chamber Orchestra (August 2024)
“A fine team of soloists stood center-stage […] bass-baritone Musa Ngqungwana, a native of South Africa […] communicated with a warm but powerful bass-baritone in his solo, “O Freunde” (“Oh friends”).”
—Janelle Gelfand, Cincinnati Business Courier
Beethoven Symphony No. 9 at New World Symphony (January 2024)
“South African bass Musa Ngqungwana’s warm, mellow bass and subtle phrasing introduced the call to universal joy and brotherhood.”
—Lawrence Budmen, South Florida Classical Review
The Barber of Seville at Pittsburgh Opera (October 2023)
"Another baritone who gave a highly commendable performance, and, if memory serves, in his third appearance on the Pittsburgh Opera stage, was the versatile Musa Ngqungwana, who sings the role of Doctor Bartolo. His warmly burnished tones and naturally appealing stage presence make him a pleasure in any role he takes, be it tragedy or comedy. His extended range makes possible funny falsetto mockery in his Bartolo."
—George B. Parous, onStage Pittsburgh
Aida at Royal Danish Opera (March 2023)
"As far as the main actors… To complement the quivering erotic triangle, there are many fine people, with Musa Ngqungwana (the Ethiopian king Amonasro, Aida's father) being the very finest. He elegantly redeems the fine mixture of masculinity and sensitivity the lyrics and music suggest”
—Søren Kassebeer, Berlingske
"Likewise, there is strength and commitment in Aida's father, sung by Musa Ngqungwana with a playful exuberance that characterizes the defeated king who still has hope."
—Ulla Strömberg, Kulturkupeen
“Musa Ngqungwana sang Amonasro with a regal line… he really understands how this music should go, paying full attention to those particularly Italianate double consonants, and he has an impeccable legato. There was never any sense of Ngqungwana sacrificing beauty of tone, no barking or hectoring, just an admirable line that made his Amonasro very much a king.”
Amahl and the Night Visotors at On Site Opera (December 2022)
“A battered turban, along with the masses of colorful beads that hung around his neck, adorned Musa Ngqungwana’s distant, almost menacing Balthazar. These Three Kings were majestic in both appearance and voice.”
—Rick Perdian, New York Classical Review
Rusalka at Edinburgh International Festival (August 2022)
“Musa Ngqungwana was a dominating Vodnik with his great bass baritone voice.”
—Hugh Kerr, Edinburgh Music Review
“Musa Ngqungwana’s wonderfully powerful Vodnik or water goblin”
—Christopher Lambton, The Arts Desk
“Rusalka’s father, the water goblin Vodník, cuts a grand and solemn figure, his advisements and fateful prognostications intoned with Musa Ngqungwana’s rolling, resounding bass.”
—Evan Beswick, The Quinntessential Review
“This is a particularly memorable performance from Musa Ngqungwana”
—Evan Beswick, Fest
“the water goblin Vodnik, powerfully sung by Musa Ngqungwana”
—Catriona Graham, The Opera Critic
Rusalka at Garsington Opera (June 2022)
“For me, however, the standout performer is the South African bass-baritone Musa Ngqungwana, making something noble, anguished and memorable out of the woebegone water spirit Vodnik.”
—Richard Morris, The Times
“The water spirit Vodník, Rusalka's father, is potently sung and poignantly portrayed by Musa Mgqungwana”
—John Allison, The Telegraph
“played with anguished magnificence by the bass-baritone Musa Ngqungwana”
—Fiona Maddocks, The Guardian
“Ngqungwana makes a sorrowful, lyrical Vodník, less malign than many.”
—Tim Ashley, The Guardian
“...while Musa Ngqungwana supplies total vocal and physical dignity as the Water Sprite.”
—George Hall, The Stage
The Elixir of Love at Palm Beach Opera (February 2022)
“...the South African bass-baritone Musa Ngqungwana clearly relished his role. Eyebrows raised in mock wonder, his voice booming through the hall [...] A towering figure with a black walking stick, checked vest and gold watch-chain, he embodied the hustler who will always be with us, triumphing in the end from the apparent success of a love potion that was actually cheap Bordeaux.”
—David Fleshler, South Florida Classical Review
“Musa Ngqungwana as the “doctor” Dulcamara was a strong vocal presence with an ingeniously varied performance that communicated each dramatic moment. A tacet assistant provided much of the comedic counterpoint, and Ngqungwana found several opportunities to “break the fourth wall” rather than engage in constant inward reflection.”
—Sarah Hutchings, Palm Beach Daily News
Satyagraha at English National Opera (October 2021)
“Ross Ramgoblin (baritone) and Musa Ngqungwana (bass-baritone) as Prince Arjuna and Lord Krishna are a pairing made in Hindu heaven.”
—Vera Liber, British Theatre Guide
“Among the standout singers, Musa Ngqungwana making his ENO debut as lordly Krishna”
—Claudia Pritchard, Cultural Whisper
“Hearing the opera in the opera house adds extra levels of emotive depth: the ultra-rapid repetitions of Lord Krishna’s aria in the first act, for example. The Krishna here was Musa Ngqungwana, superb in delivery, strong in stage presence.”
—Colin Clarke, Seen and Heard International
“Musa Ngqungwana's vocally imposing Krishna”
—Neil Fisher, The Times
Intolleranza 1960 at Salzburg Festival (August 2021)
“Musa Ngqungwana gives the tortured man his dignity, with fine lyricism, that is of shocking beauty.”
—Marco Frei, Neue Zürcher Zeitung
“The cast is superb, from Sean Panikkar’s eloquent, impassioned immigrant to Musa Ngqungwana’s harrowing torture victim.”
—Shirley Apthorp, Financial Times
“Antonio Yang (Un Algerino) and Musa Ngqungwana (Un torturato) complement the ensemble brilliantly.”
—Michael Wruss, Nachrichten
“Bass-baritone Musa Ngqungwana creates a tortured person with great clarity.”
—Gabriela Scolik, Orpheus Magazine
I Puritani at Washington Concert Opera (July 2021)
“Mr. Ngqunqwana is an effective storyteller through music as the orchestra and the conductor play string instruments softly and sonorously to match his lyrics and in pleasing contrast to the stirring, dramatic flourishes elsewhere in the score.”
—Mark Dreisonstokon, MD Theatre Guide
Aida at Houston Grand Opera (February 2020)
"...bass Musa Ngqungwara sang Pharaoh with a deep, chisel-etched voice that could cut stone."
—D.L. Groover, Houston Press
Siegfried in concert at North Carolina Opera (November 2019)
"Bass-baritone Musa Ngqungwana exhibited a large, powerful voice as The Wanderer..."
—Classical Voice of North Carolina
"South African bass-baritone Musa Ngqungwana assumed the tormented god’s mien with a powerful voicing of ‘Wache, Wala!’"
—Joseph Newsome, Voix des Arts
Don Giovanni at Pittsburgh Opera (October 2019)
"Musa Ngqungwana, as Leporello, was a vocal and comic delight...His is a bass-baritone of much warmth, and its carrying power seems to come with an ease somewhat uncommon to this voice range. He sang and acted his way through the role in a manner that won him a deserved roar of applause at the final curtain."
—George B. Parous, Pittsburgh in the Round
"...brilliantly comedic..."
—Jeremy Reynolds, Pittsburgh Post-Gazette
Porgy and Bess at Grange Park Opera (June 2019)
"Musa Ngqungwana’s Porgy is the charismatic heart of the work, with a warm, all-embracing voice, striking stage presence and a dignity that never falters... "
—Jessica Duchen, The Arts Desk
"Musa Ngqungwana has the presence and the plangent bass-baritone to bring an essential nobility to Porgy: you are with him all the way."
—Neil Fisher, Times of London
"The emotional heart of the performance is found in the Porgy of Musa Ngqungwana, yet another impressive singer to have come out of Cape Town, and his rich bass-baritone plumbs depths of feeling in a moving portrayal."
—Financial Times
Manon Lescaut at Dallas Opera (March 2019)
"Baritone Musa Ngqungwana gave an outstanding performance as Manon’s despicable brother."
—Gregory Sullivan Isaacs, Theater Jones
"Musa Ngqungwana gives Manon's brother, Lescaut, a lustrous bass-baritone..."
—Scott Cantrell, Dallas News
Amahl and the Night Visitors at On Site Opera (December 2018)
"...bass-baritone Musa Ngqungwana’s majestic legato..."
—James Jorden, New York Observer
"South African bass-baritone Musa Ngqungwana was a creamy-voiced Balthazar, his exchanges with Amahl especially winning."
—Parterre
Sapho at Washington Concert Opera (November 2018)
"Bass Musa Ngqungwana was honey-smooth as Pythéas, easily seduced when Glycère leads him by the nose to betray the assassination plot."
—Charles T. Downey, Washington Classical Review
"Finally, bass-baritone (sic) Musa Ngqungwana added his strong voice and excellent singing to the mix as Pythéas. It was fun to see Mr. Ngqungwana again. I saw him earlier this year in Pittsburgh Opera’s Moby Dick, where he played Queequeg and made an impression as someone (sic) to watch."
—OperaGene.com
"Musa Ngqungwana was outstanding in the role of Pythéas, his impressive bass voice and stature lending strength to Pythéas despite his ultimate betrayal."
—Erin Ridge, MD Theatre Guide
Carmen at Opera Philadelphia (May 2018)
"As the leader of the guard, Zuniga (South-African transplant bass-baritone Musa Ngqungwana) cannot be denied as his big, booming voice almost shakes the rafters as he calls out orders to his men and others who crowd the stage."
—Rita Charleston, The Philadelphia Tribune
Moby-Dick at Pittsburgh Opera (March 2018)
"As imposing physically as he was vocally, bass-baritone Musa Ngqungwana captured the enigma that is Queequeg."
—Rick Peridan, Seen and Heard International
"His voice is warm and mellow, and possesses great carrying power that is attained (seemingly) with little effort."
—George B. Parous, Pittsburgh in the Round
Moby-Dick at Utah Opera (January 2018)
"Musa Ngqungwana brought a winning persona and orotund, rolling bass-baritone to the exotic character Queequeg. He not only impressed with his distinctive solo moments, but also made solid contributions in his touching duets with Mr. Dennis’ Greenhorn. Indeed the two created a magical, infectious relationship that was most appealing, and the major subplot in the story."
—James Sohre, Opera Today
"Bass-baritone Musa Ngqungwana brought charisma and resonant vocals to the role of the harpooner Queequeg..."
—Catherine Reese Newton, The Salt Lake Tribune
"...Musa Ngqungwana's gorgeously resonant Queequeg..."
—Clive Paget, Limelight Magazine
Aida at The English National Opera (September 2017)
"There was a solid UK debut for South African bass-baritone Musa Ngqungwana, who displayed firm upper notes in the Nile Scene."
—Mark Pullinger, bachtrack.com
"South African bass-baritone Musa Ngqungwana brings rewarding lyricism to Amonasro."
—George Hall, Financial Times
"...and there’s an impressive Amonasro from the rising South African bass-baritone Musa Ngqungwana"
—Richard Morrison, The Times
"...Musa Ngqungwana an outstanding Amonasro..."
—Mark Valencia, What's on Stage
"There was fine singing too from Musa Ngqungwana as Amonasro and I thought he brought just the right amount of savage fury to his Act III ‘No more my daughter… for you are only a slave of Pharaoh!’ and when he attacks Amneris at the end of that act."
—Jim Pritchard, Seen and Heard International
"Musa Ngqungwana’s powerful bass delivered a looming Amonasro"
—Peter Reed, Classical Source
"Musa Ngqungwana was also very notable as Amonasro, father of Aida. He was commanding on the stage, drawing us into the world of his character. His voice was beautiful to listen to, regal and flexible in its colouring."
—Vivian Darkbloom, Schmopera
"The third act duet between Latonia Moore (Aida) and Musa Ngqungwana (Amonasro) was the highlight of the entire show, the brilliance of their performance adeptly illuminating..."
—Leah Broad, The Oxford Culture Review
Porgy and Bess at The Glimmerglass Festival (July 2017)
"Musa Ngqungwana is such a force of nature as Porgy, with a voice of such jaw-dropping beauty, richness, and power that he just might become a household name. Practice saying Ngqungwana now, because his star is only going to go higher and higher."
—James Sohre, Opera Today
"Mr. Ngqungwana’s Porgy was deep and nuanced...his stage presence was commanding, and his rich delivery excelled throughout."
—Seth Lachterman, New York Arts
"Heading the huge cast is bass baritone Musa Ngqungwana. His Porgy has some well earned grit to his voice but also a warm and appealing vibrato that comes through in early numbers like “I Got Plenty of Nothin’."
—Joseph Dalton, Times Union
"It would be hard to think of a better performance than the one provided by Musa Ngqungwana as Porgy. Between his powerful baritone voice and his convincing limp aided by a crutch, he dominated the stage whenever he appeared."
—David Kent, Cooperstown Crier
"The artists fully conveyed the characters’ vulnerability without making the audience conscious of their solid vocal technique. Mr. Ngqungwana’s ebony voice abounds with sheer power in the lowest ranges yet rises to a clarion top..."
—Richard Carter, Blasting News Opera at Glimmerglass Festival
"South African bass-baritone Musa Ngqungwana portrayed Porgy's heart-wrenching loneliness and repressed anger, his sweetness and longing, with sincerity and depth. His singing was resonant and full and tender and loving. His chemistry with the Bess of Talise Trevigne was a delight."
—David Browning, Taminophile
Tosca at Canadian Opera Company (May 2017)
"The show kicks off well with Musa Ngqungwana's bold and beautiful bass-baritone as Angelotti; he fills the house with a lovely sound that holds all the urgency of a man on the run. His frantic scene sets an honest bar for quality singing, foreshadowing the kind of singing we would get from the title character."
—Jenna Douglas, Schmopera
Don Giovanni at Florentine Opera (March 2017)
"Musa Ngqungwana created a thoroughly likable, consistently funny Leporello, coloring the role with a big soaring sound and handling comic whining and big, stand-and-deliver moments with equal ease."
—Elaine Schmidt, Milwaukee Journal-Sentinel
"The vocal and physical counterpoint is his servant, Leporello, played with flailing hysterics and effective bass baritone by Musa Ngqungwana."
—Dominique Paul Noth, Urban Milwaukee
Moby Dick at Dallas Opera (November 2016)
"The South African bass-baritone Musa Ngqungwana warmly inhabits the role of the exotic harpooner Queequeg."
—Scott Cantrel, Dallas News
"Musa Ngqungwana excelled as Queequeg. South Africa’s bass-baritone is resonant, assured, and soothing as he develops a warm friendship with Greenhorn. Indeed, in place of the love duet in a more conventional operatic plot, there is a duet between Greenhorn and Queequeg, sung from the riggings, a beautiful paean to bromance."
—J. Robin Coffelt, Texas Classical Review
"...powerful presence of bass-baritone Musa Ngqungwana as Queequeg."
—Monica Smart, Dallas Observer
The Thieving Magpie at Glimmerglass Opera (July & August 2016)
"As the rapacious mayor who seeks to dishonor Ninetta, bass-baritone Musa Ngqungwana produced imposingly dark sounds."
—Fred Cohn, Opera News
"Musa Ngqungwana, a powerful bass-baritone, who has designs on Ninetta, strutted and loomed like a vulture in a dark red coat."
—Heidi Waleson, The Wall Street Journal
"Impressive in every note is South African-born Musa Ngqungwana as the Mayor. He supplies the required electricity in this peculiar libretto."
—James Mackillop, Syracuse New-Times
"Another standout was Musa Ngqungwana as the mayor, Gottardo...his acting created a loathsome menace that made Scarpia seem benign."
—Ken Keaton, Classical Voice North America
"Another Philadelphia AVA graduate, South African bass-baritone Musa Ngqungwana, was a formidable Podesta (mayor). Ngqungwana’s mayor mixes his private lust with his judicial functions (that include executing servants suspected of stealing spoons). As the opera’s villain, Ngqungwana sang eloquently."
—William Burnett, Opera War Horses
"Musa Ngqungwana gives a vivid portrayal of the predatory mayor."
—Michael Johnson, ConcertoNet
"...Musa Ngqungwana, as the lecherous Mayor – provided robust tones and memorable characterizations."
—Charles Geyer, My Scena
The Elixir of Love at Gulfshore Opera (April 2016)
"...The vocal sparring between her and Musa Ngqungwana on "Lo son ricco e tu sei bella (I am rich and you are beautiful)" is a textbook model on how to sing the village square battle of wits between self-appointed emcee Dulcamara and Adina.... The real glue behind this opera is the wily Dr. Dulcamara, played by Ngqungwana, another veteran to his role. A stage-filling, cheerful opportunist who sees no as a request for more information, Dulcamara is out to sell cheap Bordeaux to everyone as a rat-killer, wrinkle remover and — what Nemorino craves — a love potion. Ngqungwana's rich bass has flexibility as well as power, and he obviously relished his larger-than-life role."
—Harriet Howard Heithaus, Naples Daily News
"It was an amalgam of soap opera, sitcom, love story for the ages, and outstanding operatic performances, all rolled into one.... South African bass-baritone Musa Ngqungwana just about stole the show with his portrayal of the nefarious medicine man, Dulcamara, out to dupe poor Nemorino, selling him his bogus magic potion. “What a simpleton. He hopes to compete with a sergeant,” he snickers. “Tomorrow I shall be far away.” His was mischievousness personified."
—Bill Jones, Sun News Correspondent
Carmen at Palm Beach Opera (January 2016)
"South African bass Musa Ngqungwana also stood out as Zuniga; he has a rich, powerful, creamy voice that one wants to hear in much larger roles. He was restricted here, but I found him believable as a military officer with ethical issues."
—Greg Stepanich, Palm Beach Arts Paper
"Musa Ngqungwana’s deep bass and imposing presence made the Lieutenant Zuniga impressive and a little scary."
—Robert Croan, Palm Beach Daily News
"Musa Ngqungwana sang and acted with self-assurance, appropriate to Don José’s superior, Zuniga, who also succumbs to Carmen’s magnetism."
—David M. Rice, Classical Source