Khovanschchina, Welsh National Opera 2017

"Australian tenor Adrian Dwyer also gives a career-defining performance as his venal son Andrei, singing with real blade and incisiveness, and as repellent in his early mistreatment of the two women in his life as he is sympathetic in his final agonising journey to the place of execution.”
Bachtrack (K. Cooper)

"Adrian Dwyer provided a lyrical and tireless account of Prince Andrei, the arrogant playboy prince brought down by his own weaknesses, desires and family affiliations"
Classical Source (A. Campbell)

“the young Prince Andrei is given a wellspring of sympathy by tenor Adrian Dwyer as he cleaves to the light and shares his doom with Sara Fulgoni's Marfa."
Whats Onstage (M. Valencia)

“As his son, Prince Andrei, Adrian Dwyer was convincing as a self-serving, spoiled young man, quite without scruples. "
Seen and Heard International (G. Pursglove)

"The cast, too, sing wonderfully. For the Khovanskys (a superbly afflicted Robert Hayward and brutish Adrian Dwyer), ecstasy and perversion elide as their plot against the Tsar unravels."
The Stage (S. Power)

"excellent singing from the huge cast led by Robert Hayward as Prince Ivan Khovansky head of the Streltsy Militia, with Adrian Dwyer as his son Andrei portraying a thoroughly nasty personality”
Mark Ronan

"Adrian Dwyer as Prince Andrei and Sara Fulgoni as Marfa sang sweetly”
British Theatre Guide (C. Davison)

"The cast is well-balanced and secure in their roles with a powerful Robert Hayward and Adrian Dwyer singing Khovansky father and son prince Andrei”
Arts Scene in Wales

Fidelio, Longborough Festival 2017

"Adrian Dwyer sang 'Gott! welch' Dunkel hier!' impressively and, in another hit of heightened realism, in near-total darkness, rose impressively to Florestan's high music without forcing the music's anguish" OPERA Magazine (P. Reed)

"As Florestan, Adrian Dwyer is persuasive from his first note, and his performances of ‘Gott! Welch Dunkel hier!’ and ‘In des Lebens Frühlingstagen’ are notable for the strength of both his expression and technique”
Musicomh (S. Smith)

"Adrian Dwyer has a unique timbre of his own but a beautifully tuned instrument and his singing and acting as Florestan was exemplary and moving"
(M. Cooper) playtsosee

"Adrian Dwyer brought bright-toned anguish to Florestan’s soliloquy and formed a convincing partnership with Atherton in the breathtaking speed of ‘O namenlose Freude'"
(D. Truslove) Backtrack

"Adrian Dwyer comes off well in the punishing demands of Florestan’s soliloquy"
(P Reed) Classical Source

“...and Adrian Dwyer’s pleasing tenor acquitting himself well as Florestan"
(D. Lister) The Independent

Powder Her Face, NI Opera 2017

"In any case, my anxieties have been eradicated, at least temporarily, by Northern Ireland Opera's production, which is quite breathtakingly good in every respect... Daire Halpin and Adrian Dwyer are both pitch-perfect in their incarnations of representatives of the lower orders"
The Daily Telegraph (R. Christiansen)

"It was those voices, however - and the characterisations attached - that really gave the show is zing. Mary Plazas was the most compelling Duchess I've seen, sexually needy and repulsively self-centred yet also conveying a hollow loneliness. Around her, Adrian Dwyer, Stephen Richardson and Daire Halpin were superb." 
The Times (R. Morrison)

"It's amazing in fact just how much can be conveyed by the brief scenes of no great expositional nature when you have a small cast that are capable of imbuing them with verve, personality and an essential degree of unselfconsciousness. Adrian Dwyer, Stephen Richardson and Daire Halpin throw themselves into the roles, always judging the tone perfectly... forming a terrific double act with Adrian Dwyer who is equally as impressive as the Waiter in a number of guises."
OperaJournal (K. Nine)

"20 years on, Antony McDonald's pacy, cleverly designed Irish premiere feels fresh and cool. The whole thing reeks of sex, from the naughty antics of Daire Halpin's hysterical maid and Adrian Dwyer's swaggering electrician" 
The Stage (J. Coyle)

"The small cast have clearly mastered a lot of choreography on top of the difficult score and the more intimate setting brings the acting more to the fore than than some of the other larger scale NI Opera productions I’ve reviewed. With its intimate theme, each cast member shows a lot more leg – and the case of Adrian Dwyer, buttocks – than normal as they expose the Duchess’ unravelling lifestyle and behaviour that is at the heart of her explosive divorce." 
Alan in Belfast

Carmen, London 2016

"Dwyer charts his madness all-too believably, so that the final crime of passion is out of sheer desperation than malice. It was electrifying"
Classical Source (N. Breckenfield)

Norma, English National Opera 2016

"Adrian Dwyer made much of Flavio’s music with his spicy tenor and was dramatically very impressive throughout "
"also comes off second best in dialogue with Adrian Dwyer’s bright, ringing Flavio"  
Critics Circle (A. Coghlan)
"Adrian Dwyer as Flavio sang his duet with Auty's Pollione with fine style" 
Opera Today (R.Hugill)
"High marks to Valerie Reid and Adrian Dwyer for their vivid subsidiary contributions as Clotilde and Flavio" 
Telegraph (R. Christiansen)
"...and Adrian Dwyer respectively both made their mark vocally" 
Classical Source (P. Reed)
"...and Adrian Dwyer were strong in smaller roles."
The Guardian (F. Maddocks)
"Adrian Dwyer and Valerie Reid supply sensitivity and skill where needed"
CultureVulture (M. Nguyen)
"the smaller roles of Clotilde and Flavio were confidently portrayed by Valerie Reid and Adrian Dwyer." Seen and Heard (J.Pritchard)

Louise, Buxton Festival 2015

"Adrian Dwyer as her bohemian lover Julien, has a youthful freshness that’s perfect for this role, but it can also open out, on the heights, into a great glowing arc of sound."
The Arts Desk (R. Bratby)
"Julian was sung by tenor Adrian Dwyer, who navigated an especially difficult tessitura that was forever pushing the vocal line up. To sing as he did, maintaining consistent projection and diction, without suffering vocal fatigue, must have been extraordinarily taxing." 
Bachtrack (A. King)
"Conductor Stephen Barlow had the right singers... Adrian Dwyer (a recent Opera North find) is a very good French romantic tenor indeed."
Manchester Evening News (R. Beale)
"Adrian Dwyer had a rather high-tension edge to his voice, but he delivered in spades production a steady even and tireless stream of lyrical power. "
PlanetHugill (R. Hugill)

Cities of Salt, Royal Opera House 2015

"Adrian Dwyer as the powerful Emir had an enchanting quality to his voice and gestures"
A Younger Theatre (M. Munoz)

Swanhunter, Royal Opera House/Opera North 2015

"The most prominent role is that of Lemminkaïnen himself: Adrian Dwyer brought a fresh and clear tenor voice to the role, not afraid to open up on the high notes to bring the devil-may-care feel to proceedings."
Bachtrack (D. Karlin)
"Adrian Dwyer as the adventure-seeking and philandering young Lemminkäinen has a sturdy presence and a clarion edge to his bright tenor"
Opera Britannia (G. Mogridge)
"Adrian Dwyer has a powerful and dramatic tenor voice that succeeded in maintaining command even when set against the choral textures" (D. Gann)
"Adrian Dwyer, as the hero, gets nimbly round some richly ornamented vocal lines for high tenor" The Independent (M. Church)
"The singers, though, are adept at their multifunctional roles, especially Adrian Dwyer's sterling Lemminkainen" Financial Times (R. Fairman)
"Adrian Dwyer does sterling work in the title role" WhatsOnStage (M. Valencia)
"Adrian Dwyer’s Lemminkäinen enchants his encounters with his voice and engages us on his journey."
ayoungertheatre (C. Gurtler)
"Adrian Dwyer was believably intrepid and full of youthful spring in the hands and voice" 
Seen and Heard (C. Clarke) 
"Adrian Dwyer makes a bold Lemminkäinen"
The Guardian (G. Hall)

Oberon, Cadogan Hall/New Sussex Opera 2014

"That sterling tenor Adrian Dwyer is bright of tone and firm of pitch as Huon" 
The Telegraph (R. Christiansen)
"Adrian Dwyer showed no signs of tiring from the difficult demands of the tenor hero, Sir Huon, offering creditable nobility of tone throughout"
Seen and Heard International/Boulezian (M. Berry)
"Silver and Dwyer, meanwhile, take two of the most preposterously difficult roles in the repertoire with great aplomb and flair" 
The Guardian (T. Ashley)
"Dwyer made a very personable Huon, believably understated and bewildered by the events going on around him. He coped admirably with Huon's vocal line, producing cascades of nicely even passagework" 
PlanetHugill (R. Hugill)

BBC Proms 2014

"Adrian Dwyer was wonderful. What he lacked in legato he made up for with his steely, ringing tenor - each note sounded as effortless as the last" Bachtrack (L. White)

Der Vampyr, Cork Midsummer Festival 2014

"Dwyer was uniformly magnificent as the nominal hero of the piece, Aubrey. His quest to save his true love Malwina from the clutches of old friend Ruthven was a masterclass in emotional conflict, the portrayal of a tortured soul and the transformation of a man from weak bystander to tragic hero. His scenes with Sæmundsson were electric and the pair’s chemistry on stage was plain to see" 
InsertTitle (C. Bennett)
"There is sumptuous singing from Kim Sheehan as Malwina and Adrian Dwyer as Edgar, their performances radiant with musical intelligence. Like the other leads their work is perceptive and exciting"
Irish Times (M. Leland)

King Priam, Linbury Theatre, Royal Opera House 2014

"I was particularly impressed by Adrian Dwyer, who has a beautifully flexible lyrical tenor voice. As Hermes, he has the show-stopping moment in the last act where he sings about music's power to "melt our hearts" and "renew our love". It was naughty of me, I know, but I found Mr Dwyer's performance so captivating that I wondered for a moment why he hadn't been cast as Paris, allegedly the most beautiful man in the world."
Opera Britannia (M. Jackson)
"I can report Adrian Dwyer more than entirely admirable in the high tenor part of Hermes, the divine messenger. His solo paen to the power of music in the middle of act three was a notable moment."
PlanetHugill (R. Hugill)
"Adrian Dwyer did an excellent job as Hermes"
Bachtrack (C. Valori)
"especially notable were Adrian Dwyer’s properly mercurial (sorry!) Hermes" 
Seen and Heard (M. Berry)
"The young tenor Adrian Dwyer makes a striking Hermes"
Whats Onstage (M. Valencia)
"Adrian Dwyer’s Hermes possessed a strong tenor voice and made the most of his final ‘aria’" 
LietoFine London
"...and Adrian Dwyer’s Hermes all outstanding" 
The Independent (M. Church)

Fidelio, English National Opera 2013

"Adrian Dwyer's unforced, lyrical tenor made Jacquino's sidelining more than usually poignant"
Classical Source (P. Reed)
"Sarah Tynan and Adrian Dwyer match their climbing skills to their singing as Marzelline and Jacquino"
Financial Times (R. Fairman)
"Adrian Dwyer's Jaquino has a low-life resonance" 
The Independent (M. Church)
"Sarah Tynan proved an uncommonly excellent Marzelline, cleanly sung, vivacious, and equally committed in dramatic terms. Though Jaquino is a smaller role, Adrian Dwyer offered similar virtues when called upon"
Boulezian (M. Berry)
"Sarah Tynan (Marzelline) and Adrian Dwyer (Jaquino) - made this an evening to remember"
The Guardian (F. Maddocks)
"(Adrian Dwyer) displayed a nice flexiblility and his duet with Tynan certainly was full of intense anxiety"
Planet Hugill (R. Hugill)

Wozzeck, English National Opera 2013

"Adrian Dwyer and Clare Presland offered finely-etched portrayals" SeenAndHeard (M. Berry)
"strong support also comes from Adrian Dwyer as a wheelchair-bound Andres" 
New Statesmen (A. Coghlan)
"excellent cameos from Bryan Register as the Drum Major and Adrian Dwyer as Andres"
Camden Review (S. Taylor)

Sweeney Todd, Munchner Rundfunkorchester 2012

"Australian tenor Adrian Dwyer as Beadle Bamford is right on the money in 'Ladies in Their Sensitivities,' with a winning combination of vocal bloom in his very solid top range and obsequiousness in his characterisation" OperaNews (J. Rosenblum)

Makropoulos Case, Opera North/Edinburgh International Festival 2012

"Adrian Dwyer gives a finely judged performance as the tragic Janek Prus (son of Baron Prus) - another bright and clear tenor in this accomplished cast"
Opera Britannia (G. Mogridge)
"The 'young' characters - Adrian Dwyer's suitably gauche Jancek Prus and Stephanie Corley's attractive Kristina - came off best" 
OPERA Magazine (A. Clark)
"Adrian Dwyer's performance as Janek Prus is equally accomplished" 
StageBeauty (D. Gillan)
"Stephanie Corley and Adrian Dwyer were a sympathetic pair of young lovers"
Seen and Heard (S. Thompson)
"Adrian Dwyer made a very promising Janek"

Die Zauberflote, Opera Theatre Company 2012/13

"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)
"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)

La Wally, Opera Holland Park 2012

“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” (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” (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” (S. Thomas)
“Adrian Dwyer’s Hagenbach commanded all the arrogant swagger the character demands”

Promised End, Royal Opera House 2010

"Adrian Dwyer sang a lyrical and honey-toned Edgar" (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" (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" (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" (A. Morley-Priestman)
"Dwyer was the most incisive in getting the words over" (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" (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" (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" (B. Bolognesi)
"his ardent Lonely House commanded respect"
OperaNews (W. Madison)

La Traviata, Opera Queensland

"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" (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"
"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 2009 

"Tenor Adrian Dwyer deserved the rousing cheer for his Nessun dorma" 
Liverpool Echo (C. Jones)

Skin Deep, Opera North 2008

" 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, Young Vic 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" (S. Thomas)
"There were some potentially excellent performances in the show with... Adrian Dwyer giving a powerful turn as Sam Kaplan." (D. McHugh)

Der Fliegende Hollander, Melbourne Symphony 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."
"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" (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."

Don Giovanni, Belle Ile Festival 2007

"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."

Macbeth, Scottish Opera 2005

"Macduff's last act aria was poignant, dramatic, and superbly sung"
Dundee Courier

Barbiere di Siviglia, Bampton Classical Opera 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, Guildhall School of Music 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, Guildhall School of Music 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."