Review: Virginia Opera's terrific 'Turandot' heads to Richmond - Communities Digital News
"A big hat tip as well to the company's fine chorus, clearly coached to near-perfection by chorus master Aaron Breid. The choral singing-very important in this opera-was tight, clean, well enunciated and dramatically quite effective."

Voices carried soaring, emotional 'Turandot' - The Virginia Gazette
"'Turandot' also allows its large chorus (including children's chorus) ample showcase opportunities, all of which were smashingly well handled. The solid, well-rounded efforts notably added to the vocal excitement and musical might of this 'Turandot.'"

Review: Freischütz American Style - Virginia Opera's Praiseworthy "Magic Marksman" - Opera Warhorses
"The Virginia Opera Chorus has a dominant presence in the opera, memorable in the opening number in which it jeers the hapless Max and in the rousing Hunters' chorus of the final act. Aaron Breid is Virginia Opera's chorus master."

Virginia Opera hits the target with a winning "Freischütz" - Washington Classical Review
"The chorus, prepared by assistant conductor Aaron Breid, was a vital presence, especially in the unsettling bridal scene in Act III."

Amid its flaws, new Virginia Opera production has much to offer - The Virginian Pilot
"The chorus is simply splendid - they sing, they move effectively, and they sound just wonderful."

"Review: 'The Ballad of Baby Doe' opens Central City Opera season" - Boulder Daily Camera
"Much of the opera's lifeblood lies in its chorus, masterfully prepared by Aaron Breid, and that includes the prominent quartets of Tabor's cronies and Augusta's friends."

"Evergreen Baby in Colorado" - Opera Today
"The large cast of featured roles was so uniformly excellent...Chorus Master Aaron Breid has molded these talented artists into a precise and finely-honed ensemble"

"Lean and Mean Tosca in Colorado" - Opera Today
"Aaron Breid's chorus was well-schooled and full throated."

"Virginia Opera appoints new Chorus Master/Assistant Conductor" - Fairfax Times
"Aaron Breid represents the next generation of those young artists on track to sustain the opera legacy and its relevance for the 21st century."

"'Suor Angelica' and 'Gianni Schicchi'" - Santa Barbara Independent
"The double feature of Suor Angelica and Gianni Schicchi succeeded in conveying two crucial features of the operatic form—the lightheartedness of make-believe and the soul-searing intensity of a grand passion."

"Review: Merolini acquit themselves with verve and fervor in the 2015 Grand Finale" - San Jose Mercury News
"Comedy was well-represented in several scenes -- Ashley Dixon, Alasdair Kent, and Aaron Breid [continuo] came together hilariously in 'Contro un cor' from 'The Barber of Seville'"

"Minnesota Opera's 'Carmen' heats up the Ordway" - Twin Cities Daily Planet
"The orchestra...was tightly led by Aaron Breid, who injected an extra bounce into several scenes to propel the dancing along."

"Presenting the Merola Artists for 2015"

Opera News: In Review - Die Zauberflöte
"Presiding in the pit, Aaron Breid drew rich singing from the chorus and favored quick tempos that heightened the music's comic sense yet never slighted the ritual elements."

"Best of 2014: The year in classical music" - Minnesota Opera's "The Magic Flute"
"...conductor Aaron Breid created delicate orchestra textures that were the embodiment of classical clarity."

Minnesota Opera's 'Magic Flute' goes Hollywood - Star Tribune
"Also reminding listeners of the marvels of Mozart was the Minnesota Opera Orchestra under Aaron Breid.  It says something about the musicianship involved that the composer was never upstaged, even in a production as driven by visuals as this."

Review: Surprise, surrealism, silliness abound in Minnesota Opera's 'Magic Flute' - Pioneer Press
"Conductor Aaron Breid met two challenges brilliantly: to lead his orchestra through the score and meet the timing demands of the animation."

You've never seen anything like "The Magic Flute" now at the Ordway - MinnPost