"The bass baritone Michael Anthony McGee offered a strong portrayal of Francesco del Giocondo, Mona Lisa’s jealous husband, determined to discover the secret behind his somber wife’s enigmatic smile."
"As good as the choirs and orchestras were, the high points were provided by the soloists. Tenor Timothy Robinson and baritone Michael Anthony McGee were late replacements and they carried away the show."
"Baritone Michael Anthony McGee was the stand-out here. His performance had more dynamics, more emotion, than you typically hear in Carmina performances."
"All of the soloists (Christina Siemens, Marcus Shelton, and Michael Anthony McGee) were wonderful, and baritone McGee in particular had a glorious range that soared over the stage."
"Michael Anthony McGee sang surely and dynamically as Moralés."
"In the lead role of Sweeney Todd, baritone Michael Anthony McGee was marvelous as the complex, brooding, working-class anti-hero. From the seats, at least, you could see his troubled face as it mirrored each mood change, each nuance, each grasp for hope, each descent into hell and eventual madness. His voice was sharp and to the point, his diction superb."
"Young American baritone Michael Anthony McGee, doing his first Winston Smith, showed a fine, well-trained voice and promising acting skills."
"Winston Smith, the alienated functionary, is sung by baritone Michael Anthony McGee, with his rich vocal range and capacity to project pathos strapped to a brutish torture machine designed to 'cleanse' his mind, he sings his agonising best."
"Michael Anthony McGee brought a sturdy baritone and terrific swagger to the role of Snug."
"Michael Anthony McGee produced equal portions of baritonal power and graceful subtlety to give Geronio's music great character."
"Speaking of characters, three hat-tips to bass Michael Anthony McGee for his moping, hangdog Geronio. With his slouched, sagging body language radiating permanent defeat, we should dislike this character, perhaps with a knowing sneer for good measure. But physically and vocally, McGee added a kind of well-meaning pathos and gentleness to his character, permitting us to see him less as a gutless wonder and more as a normal guy who simply cannot fathom the unbridled sluttiness of his wife. McGee's voice was strong, but he fuzzes it around the edges to better suit his character. It was a masterful, endearing performance, and added considerable interest to the evening."
"A number of the winning voices were just the right side of competent, and it was hard to hear any real distinction in them. But two, in particular, made a memorable impression. Fifth-place winner Michael Anthony McGee offered an excellent account of Aleko's cavatina."
"Introductions and Goodbyes is a nine-minute opera from 1961 with a libretto by Menotti. It consists of nothing more than cocktail hour greetings and farewells. Baritone Michael McGee and other vocal fellows handled the ingratiating lines with aplomb as the Tanglewood Music Center Orchestra played with equal polish the rather prismatic and pointillist accompaniment, which was regularly interspersed by a ringing doorbell. After acknowledging the audience's applause, conductor Stephen Ashbury introduced an encore performance of the piece. Once was certainly enough, but it was just the kind of stunt that the impish Foss might also have done."
Michael Anthony McGee, dressed as a non-green Shrek, made an amusing if perhaps inevitably hammy presence as the comic gamekeeper Grumlal (called "Mumlal" in Czech), who cluelessly pays suit to Anežka. McGee showed a sizable, firmly focused bass-baritone and very clear diction.
"In this performance, appropriately, gentleness was all. Joyce Guyer phrased the Pie Jesu gracefully, Michael Anthony McGee (a member of Seattle Opera's Young Artists program) was a warmly communicative baritone soloist."