"Newbury commands a cast that can only be called brilliant. Displaying a rich baritone, Matthew Worth’s Raymond is wrapped so tight he looks like he might explode."
Michael Anthony, Minneapolis Star-Tribune
"Matthew Worth as assassin Raymond Shaw [is] powerful of voice throughout his expansive range…"
Ron Hubbard, Pioneer Press
"Has there ever been a more sympathetic monster than Sgt Raymond Shaw, son of bitchy Mrs Iselin, programmed to kill whenever he turns up the queen of diamonds in solitaire? With Matthew Worth strong in the role, the Minnesota Opera does well by the piece..."
George Loomis, Financial Times
"The singers are well-cast, from the desperately nostalgic Worth to the stalwart Capalbo.."
Jay Gabler, Classical MPR
"As brainwashed Sergeant Raymond Shaw, baritone Matthew Worth evokes both sympathy and horror."
Pamela Espeland, MinnPost
"Matthew Worth sings Raymond, the time bomb who has been turned into an assassin. Worth’s baritone conveys the tightly wound, damaged mind of the ex-soldier yet was also plaintive and lyrical when recalling his youthful meeting with his bride-to-be Jocelyn."
Richard Boyum, The Classical Review
"Much of the story follows Sgt. Raymond Shaw (Matthew Worth), a POW who finds it impossible to escape the political machinations of his mother Eleanor Iselin. Worth carries a great deal of gravitas through the arc of the opera."
Basil Considine, Twin Cities Daily Planet
"The Minnesota Opera fielded a strong cast... Matthew Worth inspired sympathy as the stiff, unhappy Raymond, coming to life in his fragmented breakdown aria."
Heidi Waleson, Wall Street Journal
"The baritone Matthew Worth looked dashing as Shaw and sang with sensitivity and fine control, managing dynamic subtlety in almost tenorish tessitura."
David Shengold, Opera Magazine
"The sergeant, Raymond Shaw (the vocally muscular and appealing baritone Matthew Worth) stands stiffly onstage, looking weirdly blank, while subdued, sustained tones in the orchestra form hazy, shifting harmonies, until the notes begin to splinter, as if disintegrating."
Anthony Tommasini, The New York Times
"Raymond is a difficult role, because he is shut down for so much of the opera, but Matthew Worth made him register as a living, breathing human being, and he sang beautifully, particularly in the upper reaches of his voice, with perfect diction."
Brian Kellow, Opera News