In concert with Oper Altenburg:

"This young man's voice has been kissed by God -- twice."- Altenburger Landeszeitung

As Monterone in Rigoletto:

"Bass-baritone John Marcus Bindel was an impressive and strong-voiced Count Monterone, leaving me eager to hear him again in the future."- The Times-Picayune

As Frere Laurent in Romeo Et Juliette:

"Bass-baritone John Marcus Bindel gives the necessary flavor to Friar Laurence with his acting skills and beautiful, full sound."- Star Bulletin

"John Marcus Bindel (Friar Laurence) was excellent." - Honolulu Advertiser

As Fasolt in Das Rheingold:

"John Marcus Bindel as the lovesick Fasolt made for a sonorous and highly sympathetic giant."- Associated Press

"The two giants, Fafner and Fasolt, are this "Rheingold's" most distinguishing feature.  Further, as sung by bass-baritones Jeffrey Wells and John Marcus Bindel, these are giants with attitude. They genuinely steal the show, adding a hefty dose of something new to Wagner -- a Yankee sense of class-bashing humor. Who can remember the last time he or she laughed out loud at the composer's high seriousness? Mr. Wells and Mr. Bindel seemed to inhabit the clumsily majestic music Wagner wrote for these parts. And their insistence on a square deal and some dignity strongly foreshadow the eventual fall of the ruling elites in "Gotterdammerung." - The Washington Times

As Lord Cecil in Maria Stuarda:

"With a sizable bass-baritone capable of considerable color and communicative nuance, John Marcus Bindel excelled as Cecil, the courtier who coldheartedly advises Elisabetta how to solve a problem like Maria."- The Baltimore Sun

As Klingsor in Parsifal:

"John Marcus Bindel took over the role of the evil sorcerer Klingsor. Possessing another fine, deep baritone, Bindel colored his words with skill, tapping into the character's vein of sardonic glee."- The City Paper

As Don Marco in The Saint of Bleecker Street:

"John Bindel, as the priest Don Marco, was excellent and imposing both vocally and in stage presence."- La Gazzetta del Mezzogiorno

"In the vocal cast above all John Marcus Bindel stands out as the priest Don Marco." - Il Manifesto

As Mathieu in Andrea Chenier:

"With a staging, costumes, and direction that cannot garner anything but praise, it was either to follow necessarily or coincidence that the acting was first rate.  John Marcus Bindel offered distinguished singing and gave us even better acting, making the story thus far more compelling than the text alone would merit."- Gramophone

As Friend Ed in Frank Lewin's Burning Bright:

"As Joe Saul's friend Ed, John Marcus Bindel displayed a rich burnished bass, and acted with conviction."- Opera News

"Bass-baritone John Marcus Bindel was splendid as Friend Ed, combining vocal power with the ability to express the solid empathy of a true friend."- The Times

"John Marcus Bindel as Friend Ed was particularly fine with his pinpoint rhythmic declamation and fine diction."- Town Topics

As Ferrando in Il Trovatore:

"Of imposing presence, John Marcus Bindel was given to canocer with a sound and overwhelming Ferrando. Everything went well. Everything sounded well."- Reforma

Highly acclaimed New Year's Eve Gala with the Black Hills Symphony:

"Mr. Bindel delivered an outstanding performance... his deep bass voice was resonant and under control throughout."- The Rapid City Journal

As Monterone in Rigoletto:

"John Marcus Bindel's statuesque Monterone brought true professionalism to the evening."- The Washington Post

"Bass-baritone John Marcus Bindel imbued his small but crucial role as the wronged Count Monterone with a regal and savage dignity."- The Washington Times

As Zuniga in Carmen:

"Zuniga was bass-baritone John Marcus Bindel who made much of the role as a real presence on stage."- The Denver Post

As Abimélech in Samson et Dalila:

"As Abimélech, John Marcus Bindel sang colorfully."- Opera News

"Bass-baritone John Marcus Bindel executed his part convincingly."- Palm Beach Post

As Masetto in Don Giovanni:

"As Masetto, John Marcus Bindel was much more than a country bumpkin angry at Don Giovanni for stealing his Zerlina. He was a commanding presence, whether hurling threats at the Don or brooding over Zerlina's flirtations."- Chicago Sun-Times

{updated 3/18/2008}