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Die Zauberflote, Opera Theatre Company 2011
"Tenor Adrian Dwyer portrayed his character Tamino incredibly. His warm and rich vocals setting the perfect atmosphere for many of his scenes." Guide to Dublin (N. O'Halloran)
"Her Tamino, Adrian Dwyer, had the ringingly ardent tenor the part needs,
and avoided the kind of soppiness it can easily descend to" Irish Theatre Magazine (T. Blain)
La Wally, Opera Holland Park 2011
“Adrian Dwyer tackled the
stratospheric tenor role – a veritable Matterhorn
in itself – with heroic stamina” The
Times (R. Morrison)
“As her love-object, Hagenbach is
more complex – taking the idea of hurting those we love the most to extremes.
Adrian Dwyer conveyed conflicted cruelty with considerable panache, and his
lyrical tenor made its mark in the role’s high tessitura.” Classical Source (P. Reed)
"Tenor Adrian Dwyer's Hagenbach was focussed and powerful" OperaNews (G. Hall)
"Adrian Dwyer is excellent as Hagenbach" Sunday Express (C. Colvin)
“Adrian Dwyer convinces as the
feckless Hagenbach” The Telegraph (R. Christiansen)
“Adrian Dwyer is a redoubtable
Hagenbach” The Stage (G. Hall)
“There’s great support too from Adrian
as the swaggering huntsman tenor”
Bloomberg.com (W. Thompson)
“I thought Adrian Dwyer might be too light of voice for this
role… however, he gave a decent account… rising to the ardour of the final
scene well, his tenor ringing through the mountains” Opera-Britannia.com (M. Pullinger)
"Hagenbach looked charming and was well sung by Adrian Dwyer"
WordPress (M. Ronan)
"Adrian Dwyer's charismatic Hagenbach is nicely contrasted with Stephen Gadd's lethal Gellner"
The Guardian (T. Ashley)
“Tenor Adrian Dwyer is pleasant as the caddish Hagenbach” Whatsonstage.com (S. Thomas)
“There’s fine support from tenor
Adrian Dwyer (Hagenbach)” Metro (W.
Thompson)
“Adrian Dwyer’s Hagenbach
commanded all the arrogant swagger the character demands” MusicOMH
Promised End, Linbury Theatre, Royal Opera House 2010
"Adrian Dwyer sang a lyrical and honey-toned Edgar" www.repeatperformances.org (J. Robles)
"with the best singing coming from Adrian Dwyer as
Edgar" Daily Telegraph (R. Christiansen)
"The performances themselves are all first class, both dramatically and
vocally... I
would particularly single out Adrian Dwyer as Edgar" wheresrunnicles.com (F. Pollard)
"movingly portrayed by Adrian Dwyer, especially in his feigned madness, his youthful tenor well contrasted with that of Gloucester" Opera Britannia (M. Pullinger)
"Adrian Dwyer is convincing and impressive" operatoday.com (C. Seymour)
"Adrian Dwyer portrayed with touching acuity the transformation
of Edgar into Poor Tom"
Boulezian (M. Berry)
"Adrian Dwyer is an Edgar who matures from trust into acceptance and understanding"
whatsonstage.com (A. Morley-Priestman)
"Dwyer was the
most incisive in getting the words over"
dilettantemusic.com (R. Hugill)
"Edgar and Edmund were contrasted nicely: as the former, Adrian Dwyer
had a bright, easy tenor sound that spoke of his essential goodness" musicalcriticism.com (M. Reynolds)
"Edgar and Gloucester (Adrian Dwyer and Nigel Robson)
trace a simple and genuinely touching path through" London Evening Standard (K. Quirke)
Street Scene, Opera de Toulon 2010
"le nocturne poétique de Sam (le ténor Adrian Dwyer), bruissant des sons de la nuit, chant de détresse et de solitude, est miraculeux d’harmonies suspendues délicatement"
ClassiqueNews.com (B. Pelegrin)
"On saluera dans sa globalité une distribution soigneusement
choisie et sainement dévouée à la défense
de l'ouvrage... Sam au timbre clair favorisé par
une projection très directionnelle d'Adrian Dwyer" www.anaclase.com (B. Bolognesi)
"his ardent Lonely House commanded respect"
OperaNews (W. Madison)
La Traviata, Opera Queensland 2009
"Dwyer pushed the frame of Alfredo, portraying an intense, wilful hot-head whose extreme feelings eclipse his judgment" The Australian (G. Wills)
"Alfredo was expertly performed by Adrian Dwyer, his profound
voice a perfect match to Elvira's spectacular vocals" Sunshine Coast Daily (N. Cooper)
"This production is also lucky to have accomplished Victorian tenor
Adrian Dwyer, who makes his debut as Alfredo but is a charismatic match" Australian Stage Online (J. Whitaker)
"any tenor is going to have to have his work cut out to compete, but Melbourne-born Adrian Dwyer, who sang Alfredo, did so. His is the strongest tenor voice I’ve heard in a long time" elizabethlewis.com.au (E. Scott)
"Unlike many productions, this one
emphasises Alfredo's youth and naivety in trying to break into the
corrupt and exploitative Parisian social scene with an offer of genuine
love. Verdi has provided many challenges for the tenor, and Dwyer rises
to the occasion" StageDiary.com
"Adrian Dwyer was a perfect foil as Alfredo Germont, and the
chemistry between the two of them was unmistakable." Scene Magazine (J. Shriver)
Classical Spectacular, Liverpool Arena 2009
"Tenor Adrian Dwyer deserved the rousing cheer for his Nessun dorma" Liverpool Echo (C. Jones)
Skin Deep, Opera North 2009
"...in a performance packed with principals, Janis Kelly as Lania,
Heather Shipp as Donna, Amy Freston as Elsa, Adrian Dwyer as Robert,
Mark Stone as Pollock and Gwendoline Christie as Susannah Dangerfield
are all superb." Lancashire Evening Post (M. Morris)
Street Scene, The Opera Group 2008
"Sam Kaplan was sung by Adrian Dwyer, who already has a considerable
repertoire – this was an outstanding performance in a difficult role" Musicweb-international, (M. Eskenazi)
"Adrian Dwyer as Sam hit exactly the right note of thwarted longing." The Guardian, (M. Billington)
"Ruby Hughes sings prettily and Adrian Dwyer lustily as the soppy young
couple and there's some sporadic fine belting" MusicOMH.com (S. Thomas)
"There were some potentially excellent performances in the show with... Adrian Dwyer giving a powerful turn as Sam Kaplan." MusicalCriticism.com (D. McHugh)
Der Fliegende Hollander, Melbourne Symphony Orchestra 2008
"Adrian Dwyer’s earnest interpretation of the Steersman suits his clean, penetrating tone and lyrical phrasing." The Australian
Barbiere di Siviglia, Opera Queensland 2008
"Adrian Dwyer as the love-sick Count Almaviva has a light and
pleasing tenor voice and a fine comedic sense - his characterisation of
Count, disguised lover, drunken soldier and parson are diverse and
effective." Stagediary.com
"I was gifted with a feast of stars in Opera Queensland's
Barber of Seville... the dashing Count Almaviva,
played handsomely by Adrian Dwyer" Scene Magazine (P. Jamieson)
"In
his company debut, Melbourne-born tenor Adrian Dwyer also turns in a
solid performance as the lovestruck Count Almaviva." Time Off (A. Brunes)
"What a glorious night of froth and bubble this turned out to be, with
laughs galore, beautiful characterisations and some wonderful singing
from outstanding artists... Tenor Adrian Dwyer, making his debut with
Opera Queensland. played the Count in all of his disguises and went
with the fun of the piece as a love-lorn royal. He bought the house
down with the constant 'blessing' of Doctor Bartoli" absolutetheatre.com.au (E. Scott)
Barbiere di Siviglia, Scottish Opera 2007
"As Count Almaviva, Adrian Dwyer has by turns to be a nobleman, a man
in love, a drunken soldier and a pious music maestro. He somehow found
the resources for all of these, including the funny voices, while
remaining enough of the romantic tenor to win his beloved."
The Scotsman (S. Campbell)
"To achieve this, Sir Thomas Allen, opera star turned director, had
chosen his singers well; not only were their voices terrific, but they
could all act individually... paired well with the equally clear, unstrained
tenor of Australian Adrian Dwyer, playing her suitor Count Almaviva." www.hi-arts.co.uk
Don Giovanni, Belle Ile Festival 2006
"Adrian Dwyer’s is the winning performance, with a very accomplished
technique and a perfect control of the Mozartian style which enables
him to create a Don Ottavio of a rare elegance and completely deprived
of insipidness" La Scene (V. Deloge)
La Boheme, Cape Town Opera 2006
"She is much helped by having a Rodolfo (Dwyer) who is really a very
fine actor. In the end, their interchanges are credible and his
fickleness more understandable than merely irritating. His voice is of
pleasing timbre and neatly focussed. This was a lovely evening at the
opera"
Cape Times (D. Irish)
La Boheme, Royal Albert Hall 2006
"The cast assembled both looked and sounded incredibly youthful. As
Rodolfo, Adrian Dwyer had the physique du role and an ardent Italianate
timbre to match." www.uk.gay.com
Macbeth, Scottish Opera 2005
"Macduff's last act aria was poignant, dramatic, and superbly sung" Dundee Courier
Barbiere di Siviglia (Paisiello), Buxton Opera Festival 2005
"Adrian Dwyer (as the disguised Almaviva) is a charming and appealing
lyric tenor with a good upper range who - not least in the Count's
early serenade - prised the maximum fun from the furtive wooing scenes" Opera News (R. Dunnett)
"Adrian Dwyer's lightish but characterful tenor and perky personality
made a charming job of Almaviva, from the early serenade to the lovely
Cara sei which sets in train the bustling extended finale" Opera Magazine
Maria Stuarda, Grange Park Opera 2005
"There was marked warmth from Adrian Dwyer's hapless, mellifluous
Leicester, hot-headedly eager to surge into aria, but crushed between
two equally intransigent lovers" The Independent
Cherevichki, Garsington Opera 2004
"Simple good-hearted Vakula was sung, most likeably, by a young Australian tenor, Adrian Dwyer; quite a find" Sunday Telegraph (M. Kennedy)
"Adrian Dwyer sang sweetly and stylishly as the frustrated suitor Vakula" Country Life (A. Payne)
"The young tenor Adrian Dwyer impressed in the demanding role of Vakula, at once pathetic and sympathetic" Evening Standard (F. Maddocks)
Postcard from Morocco, GSMD 2002
"The main role is written as if for a young Lohengrin - a tenor Flying
Dutchman. Adrian Dwyer tackled it clearly, ardently...He knows how
with brains, voice and natural instinct to bring a number, and a
character, to life." Opera Magazine (A. Porter)
Iolanta, GSMD 2001
"Adrian Dwyer showed boundless promise as Vaudemont… his top is beautifully liquid and free: a remarkable talent" Opera Magazine (R. Milnes)
"He combined plenty of passionate phrasing with a stunning top" The Times (R. Thicknesse)
"Adrian Dwyer was even more impressive as her 'rescuer' Vaudemont. His
easy, ardent vocal manner will surely take him far." www.operajaponica.org
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