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"There's hugely impressive casting with [the] classically comic anti-hero in tenor Alex McKissick as Von Eisenstein" - The Irish Independent
"The cast must fire on all cylinders for any of this to come off. They do, and not only vocally. In this, they are led by the tenor Alex McKissick, as Eisenstein, Falke's deserving victim, whose silliness is hilariously at odds with his matinee-idol looks and obvious accomplishment as a dancer." - The Irish Times
"Nicola D’Inverno [was] explosively sung with a striking voice by Alex McKissick." - OperaNow by Gramophone UK
"Tenor Alex McKissick was memorable as Sargent’s spurned model and lover, Nicola d’Inverno, his substantial, full-throated singing conveying power, menace, and regret." - Opera Today
"From his first utterance as Narraboth at the opera’s start, Alex McKissick set the bar very high indeed. He not only cut a handsome figure, but announced a secure, meaty, well-trained tenor of some stentorian aspirations." - Opera Today
"Lovestruck army man, Narraboth, whose paeans to the beauty of his princess begin the drama has a stronger than usual sound from Alex McKissick, but this is another tenor role superbly sung." - The Arts Desk
"The most impressive singer was tenor Alex McKissick. His tone was even from top to bottom. He has taken the time and put in the effort to create depth in his singing and his two arias were spectacular testaments to his vocal abilities." - San Diego Reader
"In his company debut, tenor Alex McKissick impressed with his note-perfect rendering of 'Il mio tesoro.'" - San Diego Union-Tribune
"Soprano Tasha Koontz and tenor Alex McKissick gave the opera’s nobility, Donna Anna and Don Ottavio, the stature and ample vocal prowess appropriate to their social station. From their Act I duet, “Fuggi, crudele,” they commanded their roles with eloquent phrasing and bravura flights through the composer’s demanding fioriture... McKissick communicated a fortitude in Don Ottavio that is too rarely encountered in interpretations of this role, especially through his masterful “Il mio tesoro.” - San Diego Story
"In some productions of Don Giovanni, Donna Anna’s fiancé Don Ottavio lacks dramatic purpose, a flaw for which da Ponte’s libretto bears some culpability. Mozart allotted fine music to the part, however, and North Carolina Opera engaged a singer for the role who proved to be capable of dauntlessly meeting every challenge of Mozart’s writing. Possessing a voice with a more robust timbre than is sometimes heard in Ottavio’s music, tenor Alex McKissick animated each of the part’s lines with appealing tone and unerring theatrical instincts. Comforting Donna Anna after her discovery of her slain father’s corpse, he delivered ‘Senti, cor mio, deh senti’ with a musical caress. The vocal power at his disposal engendered an unusually rousing ‘Che giuramento, o Dei!’ and cogent singing in the quartet.
The company electing to perform Don Giovanni in the form in which it was first heard in Prague, Ottavio’s aria ‘Dalla sua pace la mia dipende,’ composed for the opera’s 1788 Vienna première and often included regardless of the edition being performed, was not sung. A firebrand in the Act One finale, McKissick voiced Ottavio’s words in the sublime masquers’ trio enthrallingly. No less engaging in Act Two, he sang vividly in the sestetto. Shaped by assured handling of the fiorature, his traversal of ‘Il mio tesoro intanto’ recalled the singing of Anton Dermota. Unlike some depictions, McKissick’s Ottavio conveyed not annoyance but loving acceptance of Anna’s postponement of their marriage, ending the opera with handsomely-voiced gentleness and gentility." Voix des Artes
"Tenor Alex McKissick’s soaring voice brought the evening to a sweeping conclusion in the program’s last two pieces, selections from Prestini’s opera Edward Tulane. In “Open Your Heart,” the richness of McKissick’s sound pared well with the song’s sense of longing. As a wand of purple light was cast over the audience, it was as if we too were being asked to open our hearts to the evening’s experience. With the impressive talent that filled the stage, it would have been impossible not to." Opera News
"By far, the best thing about this Songfest is tenor Alexander McKissick’s snappy, characterful take on Gregory Corso’s Zizi’s Lament." The Arts Fuse
"Alexander McKissick revealed a suavely seductive tenor as the enabling boyfriend." Opera News
"As opera star-turned-conscript Nikolaus Sprink, tenor Alexander McKissick produced a melting tone and poignant phrasing in the opera's most poetic passages." - Opera News
"As the conscripted German opera star, Nikolaus Sprink, whose daring action in No Man's Land starts the truce, Alexander McKissick was at his most impressive at low volume, offering some of the tenderest sounds and most eloquent phrasing of the evening." Opera Magazine
"The tenor offered a credible portrayal that underlined the love-struck character’s most passionate moments with sturdy, glint-flecked top notes. When McKissick reined in his voice and applied gentle dynamic shading, the results were endearing." Opera News
"Alexander McKissick as Roméo accessed that adolescent angst with ease and put the audience under a spell... McKissick matched Leonard’s star turn with a full throated, masculine tenor, and boyish charm. His aria, “Ah! lêve-toi, soleil!” left the audience breathless and his soaring declamations hinted at the Verdi and Puccini heroes that surely await him." Schmopera