Victor Khodadad


Die Fledermaus, Manhattan Lyric Opera

With his amazingly high range, it was the voice of Victor Khodadad, who played the role of Eisenstein, that probably amazed the audience the most. His melt-on-your-ears tenor voice was the kind you could listen to forever.

— Joleen Jansen, The Elkader Review

Eugene Onegin, Opera Theater of Connecticut

Though Lensky does not survive into the third act, the character was very much alive until then, thanks to the nicely projected tenor voice of Victor Khodadad. His skillful phrasing and modulation of volume showed keen musical sense and helped convey the character’s volatile, poetic nature.

— David J. Baker, The New Haven Register

Eugene Onegin, Opera Theater of Connecticut

...Onegin succeeds. The directors of Opera Theater of Connecticut, the husband and wife team of Kate Ford and Alan Mann, were wise to invest their energies in a solid cast... Lensky is played by Victor Khodadad.

— Matthew Erikson, The Harford Courant

Rigoletto, Commonwealth Opera

Tenor Victor Khodadad (Rodolfo in last season’s Commonwealth La Bohème) offered the predatory Duke of Mantua with lithe elegance and light but sweet and true-pitched vocalism. The fluidity of his line and the direction of his phrases were perfectly suited to Verdi’s vocal genius.

— Clifton J. Noble, Jr., The Republican

Roméo et Juliette, Connecticut Lyric Opera

Tenor Victor Khodadad brought a lyricism well-suited to the French repertoire to the role of Roméo...As they would in the opera’s final pages, when Gounod permits Juliette to awaken in time to sing another duet with an expiring RomÉo, the pair were emotive and sensitive to score and interplay in the tale’s most tragic moments.

The New London Day

Julius Caesar, Opera Theater of Connecticut

Victor Khodadad as Sextus was impressive for his understated, less-flamboyant performance, proving that less often is more.

— Don Bourret, Clinton Review

La bohème, Commonwealth Opera

Her beloved Rodolfo (Victor Khodadad) captivated his listeners as well with ’Che gelida manina’, his plangent, warm and flexible tenor sometimes threatened by denser orchestral passages, but clear, sweet and ringing in the crucial A and B-flat regions that tug at the heart-strings.

— Clifton J. Noble, Jr., The Republican

The Mikado, The Hot Springs Music Festival

Victor Khodadad was a vibrant Nanki-Poo, the Emperor’s son, disguised as a wandering minstrel to capture the love of soprano Daleen Davidson’s excellent Yum-Yum.

— Don Bourret, Clinton Review

Julius Caesar, Opera Theater of Connecticut

Victor Khodadad as Sextus was impressive for his understated, less-flamboyant performance, proving that less often is more.

— Eric E. Harrison, Arkansas Democrat-Gazette

Die Fledermaus, Music By The Lake

All the principals were awesome actors... Victor Khodadad as Alfred was perfect in his role as the egocentric tenor (are there any other kind?).

— Jim Edwards, The Beacon News

Cavalleria Rusticana, Opera Theater of Connecticut

After a 20 minute intermission – still in the grip of Angelica — another powerful one-hour opera comes roaring into the theater – Pietro Mascagni’s Cavalleria Rusticana – a striking ode to jealousy and revenge. The male lead, Turiddu, is played with fitting deception and passion by tenor Victor Khodadad... Telling this tale tests the mettle of all the singers, but they carry it off with verve and spirit and you find yourself rooting for Turiddu, despite his lechery. That is due largely because of the performance of Khodadad, whose voice is rich and full and who seamlessly captures the nuances of his character and takes full advantage of Mascagni’s musical intensity.

— Robert C. Pollack, The Shoreline Times

Cavalleria Rusticana, Opera Theater of Connecticut

After intermission, we heard Cavalleria Rusticana (Rustic Chivalry) by Pietro Mascagni. The vocal performances were impressive. Tenor Victor Khodadad sang Turiddu with effortless charisma. He sang his first aria, Lola, bianca come fior di spino (Lola, fair as a smiling flower), offstage.I would seek your love, he continued, even if it would destroy me.

Sounds like a classic love song. The problem is that Lola is someone else’s wife. And it does destroy him. Khodadad made Turiddu into a likable character despite his abusive and temperamental actions, which is an important part of making this opera seem real.

— Jeffrey Johnson, The Hartford Courant

Così fan tutte, Riverside Theater Works

… the men stole the show. As they slinked on the stage in blue and red soldier outfits with dangling rapiers at their side and pouting puppy-dog lips for their ladies, I couldn’t help but giggle at the quirky characters they embodied. One tall and lanky (Guglielmo), the other short and scrappy (Ferrando), the pair acted their way through costume changes—complete with penciled-on Spanish mustaches and red, flourishing pirate suits—and sneaky plots to comically trick two seemingly impressionable sisters into cheating on their beaus. And oh the operatic voices: … Victor Khodadad’s tenor flowed with ease and precision through the entire range of his voice. I could listen to these men sing for quite some time, so keep the opera coming sirs.

— Erin Huelskamp,