"The three singers carry the evening with extreme presence... Adrian Dwyer, whose beautiful tenor could embody the greatest lovers of operatic history, but with Davies however represents longing for a missed love." NMZ.de
"Added to this is the musical side, especially of the three formidable male soloists. Adrian Dwyer has a sleek cantabile tenor... They sing and play the roles of the officers investigating the incident and the three missing lighthouse keepers, and do not allow themselves to be overtaken by Maxwell Davies' highly complex score" Oper (G. Krawinkel)
"Adrian Dwyer with a lyrical and youthfully delicate tenor (one of those voices that makes you think of Benjamin Britten)" Frankfurter Rundschau (J. von Sternburg)
"Adrian Dwyer dreams as Sandy, with a lyrical tenor, of a never achieved love affair" Online Music Magazin (T. Molke)
"The always clear Oratorio singer's declamation of tenor Adrian Dwyer (Sandy), also Roman Hoza (Blazes), who in falsetto and other uncommon singing techniques showed an impressive baritone, as well as the wonderfully deep Basso Profundo on Sami Luttinen (Arthur) were vocally convincing across the board." Klassik.com (H. Hein)
"Adrian Dwyer, Roman Hoza and Sami Luttinen slip into the roles of the guards and the ship's Officers with oppressive intensity, both in the singing and acting." NRZ Duisburg (P. Obiera)
"In the midst of it all, we see the poor swan, in the guise of the Australian tenor, Adrian Dwyer, stuck on the roasting spit, screaming, musically, to the heavens for release, as the chorus looks on hungrily. Adrian Dwyer was a new voice to me, and although only having one solo, he portrayed the roasting swan to perfection, coping with the horrendously high notes easily but also conveying the awful nature of the experience convincingly." Edinburgh Music Review (B. Bannatyne-Scott)
"Orff does not make things easy for his soloists; Adrian Dwyer’s characterful tenor as the blackened roasted swan was a torturous delight." Bachtrack (D. Smythe)
"the cumulative effect was helped by having three top notch soloists. Adrian Dwyer squawked his way effectively through the music of the roasted swan" The Arts Desk (S. Thompson)
"Among the soloists, baritone Ben McAteer (hilariously gross as the beer-swilling abbot) and tenor Adrian Dwyer (sense the comical pain of his Roasting Swan) were truly characterful" Vox Carnyx (K. Walton)
"Adrian Dwyer's movements, gestures and comic timing make him an extremely accomplished Mime. He applies just enough "pinch" to his tone to capture the dwarf's scheming and malevolent nature, but overall lets his light but warm tenor shine through, which helps him to come across as less of a caricature than is commonly seen." MusicOMH (S. Smith)
"Dwyer's lyrical tenor, largely bypassing a deliberately grotesque manner often required for this role, was nicely shaped, the wide-ranging vocal part handled with ease. It was difficult not to feel some sympathy towards Mime, whose care of the orphaned Siegfried is so brutally spurned" OperaToday (D. Truslove)
"Adrian Dwyer’s Mime was nicely balanced — comic without lapsing into caricature" Classical Voice America (J. L. Paulk)
"Adrian Dwyer made a splendid Mime" The Article (M. Ronan)
"Adrian Dwyer drew on his talent for sly comedy as Mime." British Theatre Guide (C. Davison)
"Siegfried has good reason for his contempt, since Mime (wittily portrayed by Adrian Dwyer) plans to take advantage of the youth's purity" The Stage (I. Kjemtrup)
"Tenor Adrian Dwyer überzeugt mit unglaublich hohem hellem und sehr klarem Tenor ebenso wie durchseine lebendige, facettenreiche Spielweise, die keine Zweifel an seinem Stolz auf seine Schöpfung den Hahn, seinem Begehren von Zarin Schemacha oder der Wut über Schwurbrecher Dodon lässt." Operngestalten (B. Kleinfeld)
"schießlich Adrian Dwyer als Astrologe, der die fast schmerzhaft hohe Tenorpartie ohne jedes Knirschen abliefert, der Figur das in der Komposition angelegte Geheimnis bewahrt und mit fast tänzerischer Beweglichkeit agiert." die Deutsche Bühne (A. Falentin)
"Der Astrologe, gesungen von Adrian Dwyer, ist in diesem Stück mit einem extrem hohen Tenor besetzt. Diese Stimmlage bezeichnete Rimski-Korsakow als “Tenore altino,” Dwyer macht trotz dieser Anforderungen seine Sache außerordentlich gut." Aspekt Magazin
'Adrian Dwyer drives Act I like a human dynamo as Mime, capturing perfectly the agitated frustration of a schemer who is ultimately powerless." The Times (R. Morrison)
"The opening act is completely engaging thanks to the non-stop energy pack of gesture and action from a rather likeable Mime sung with crystal clarity rather than vocal malice by Adrian Dwyer." Opera Scene (M. Smith)
"Adrian Dwyer is simply a superb Mime in every way, vocally and dramatically, virtually a comic mime in his physicality, especially in Act II when acting out what he is really thinking about Siegfried as opposed to what he is saying. He is a tall, good-looking, and lanky man with a lovely voice and yet you believe it when Siegfried refers to him as an ugly dwarf." Playstosee (M. Cooper)
'(a) success that started well thanks to Adrian Dwyer's brilliantly characterized Mime. Reptilian and semi-danced, servile when confronted by the Wanderer (Paul Carey Jones) but baleful when charting his doomed course to power, Dwyer's turn dialled the energy levels up to breathless." Opera Magazine (M. Valencia)
"Adrian Dwyer is a first rate Mime whose actions and reactions are always astutely observed. The part generally requires a tenor to apply something of a pinched tone to his voice in order to capture the dwarf’s malevolent and comical nature. However, Dwyer succeeds in applying just enough of one to convey the requisite character while still producing a highly pleasing sound. This ties in with his overall portrayal of the dwarf, which is nowhere near as caricatured as in many assumptions of the part, and all the more effective for that." MusicOMH (S. Smith)
"Character can trump vocal quality in the role of the obsessive dwarf Mime but not in Adrian Dwyer's performance." The Stage (E. Bhesania)
"Adrian Dwyer’s Mime is a multi-faceted characterisation, at times approaching caricature and almost stealing the show with his blend of campery, menace and skulduggery, drawing our compassion as the underappreciated ‘nanny’ to Siegfried. His ringing tenor never overshadows Daley, and he handles the wide-ranging vocal part with considerable skill." Opera Today (D. Truslove)
"Adrian Dwyer’s Mime is a clever portrait, sung with great character." The Arts Desk (S. Walsh)
"Adrian Dwyer's bright and breezy Mime was refreshingly free from the kind of vocal contortions that dog more caricatured assumptions of the role" Bachtrack (M.Rye)
"Adrian Dwyer's prancing Mime is crisply articulated" The Telegraph (N. Kenyon)
"Adrian Dwyer's Mime is a brilliant example of resourcefulness" Midlands Music Review (C.Morley)
"Adrian Dwyer makes a strikingly sympathetic Mime, in manner and sound a credible stepfather for Bradley Daley's awkward, puzzled young Siegfried." Gramophone Magazine (R. Bratby)
"who informs us of this fact: the charismatic and endlessly entertaining Inspector of Lunatics (Adrian Dwyer) – the villain of the piece, and the representative of all things capitalist and autocratic within the work. His whole part could have been written from libertarian trolls online... Elsewhere is a radical work, and a timely one." Journal of Music (B. Finan)
"The tenor Adrian Dwyer created a marvellous Inspector of Lunatics, who becomes embroiled in the new regime... The overall impact of the 90-minute work was a remarkable portrayal of madness on the loose - or was it sanity in disguise?" Opera Magazine
"Director Tom Creed and designer Katie Davenport infuse every moment with riotous dynamism: red stars, a revolutionary statue, a confetti drop... Tenor Adrian Dwyer has a super showman number as the Inspector of Lunatics." The Independent (K. Hayes)
"It is special to be in a theatre again, especially one as alive with sensation and experiment as this... Gallen allows the singers to use the richness and beauty of their voices to express the characters and the situations. The music shifts in style as the story changes focus, and there are moments of sheer gorgeousness in the sound from both players and singers. The work centres on what it takes to recover what has been lost: voice, energy, will, imagination, justice. The value of art to mental health has never been in doubt, but its need is perhaps felt more than ever now, making this show a rich and prescient feast for eyes and ears... Seeing this work affirms that theatre can still offer something new. Restricted to a limited run, one can only hope that it can return to the stage, and soon. This is a show that needs to be seen and heard – and more than once. It deserves to run and run." Golden Plec (M. Lee)
"Adrian Dwyer gives us excellent diction in a light, clear tenor that pulls off the unlikely trick of making an FSB hard man into a loveable creature - albeit with plenty of reserves of inner strength." Bachtrack (D. Karlin)
"The quality of the singing was excellent, particularly Adrian Dwyer as the eponymous hero" The Article (M. Ronan)
"The music-making itself is top notch, with superb performances all round. Adrian Dwyer singing Sasha had a limpid, light tenor that shone in moments of lyrical breakout, such as the final scene." Operawire (B. Poore)
"He is counterbalanced on stage by Adrian Dwyer’s sardonic D’Esperaudieu, one of the stand-out performances " Arts Scene in Wales (C. Strazzulla)
"Tenor Adrian Dwyer as Paradies' urbane companion D'Esperaudieu [has] the ideal focus vocally and dramatically." The Arts Desk (D. Nice)
"Adrian Dwyer managed to bring some shine to D’Esperaudieu, the companion’s role. " Opera Now (T. Sutcliffe)
"Appearing as Paradies’s companion D’Esperaudieu, tenor Adrian Dwyer is the perfect foil, his voice light and agile." Seen and Heard International (C. Clarke)
"Adrian Dwyer sang half-a-dozen cameo roles and was excellent as the disreputable Anatole who steals Natasha’s heart and condemns her to social humiliation." Opera Today (C. Seymour)
"Adrian Dwyer’s tenor also seduces me as much as his Anatole seduced Natasha" British Theatre Guide (V. Liber)
"the frivolous, caddish French flirt Anatole, nimbly performed by Adrian Dwyer." London Grip (B. Lewis)
"His brother, Mime, was sung by a clarion-voiced Adrian Dwyer who brought considerable energy to his ensemble scenes." Opera Today (D. Truslove)
"Adrian Dwyer is an unexpectedly sympathetic Mime, enhanced by his lyrical tenor" Classical Source (P. Reed)
"We have some particularly likeable baddies with Mark Stone’s mesmerising Alberich and a nimbly crafted Mime from Adrian Dwyer" ASIW (M. Smith)
"Adrian Dwyer also puts in a highly notable performance in the small role of Mime" MusicOMH (S. Smith)
"As the Prince who learns to love more profoundly, Adrian Dwyer's tenor offered both fluid flexibility and solid top notes" QNews (T. Passmore)
"Adrian Dwyer sang the Prince with beautiful tenor clarity too, carefree in the first act and careworn in the second, but always a lovely sound"
Australian Stage (N. Routledge)
"The performances themselves were very impressive. Adrian Dwyer in particular as the Prince showed a lot of emotion, and really brought his character to life" Scenestr (L. Ryan)
“Worthy of mention is also Adrian Dwyer (taking on, as most of the cast was bound to do, multiple roles) particularly in his performance as Anatole, which was well-sung, witty and engaging, in many ways dominating the first half.” We Reviewed This (C. Strazzulla)
“Pierre’s tirade at Anatole over the failed elopement is as rivetingly staged and sung (Mark Le Brocq and Adrian Dwyer) as it is composed… Among the leads, Le Brocq, Dwyer and the Natasha, the fresh-voiced American soprano Lauren Michelle, are outstanding.” Arts Desk (S. Walsh)
“Adrian Dwyer sang a deliciously caddish Anatole” South Wales Argus (M. Smith)
“One of Adrian Dwyer’s roles is the horrid Anatole, who plots to have Natasha all for himself, when she is really just another conquest for him. Played with an arrogant charm and devilish wit” The Sprout
“Jurgita Adamonytè is excellent as the needling Hélène, as is Adrian Dwyer as the amorous wrong'un Anatole” Whatsonstage M. Valencia
"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 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
"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
"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
"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)
"Adrian Dwyer made much of Flavio’s music with his spicy tenor and was dramatically very impressive throughout " OperaTraveller.com
"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)
"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)
"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" thepublicreviews.com (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)
"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 (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)
"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)
"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)
"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)
"The young tenor Adrian Dwyer makes a striking Hermes"Whats Onstage (M. Valencia)
"Adrian Dwyer's unforced, lyrical tenor made Jacquino's sidelining more than usually poignant"Classical Source (P. Reed)
"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)
"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)
"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)
"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)
“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 is a redoubtable Hagenbach” The Stage (G. Hall)
“There’s great support too from Adrian as the swaggering huntsman tenor”Bloomberg.com (W. Thompson)
"Adrian Dwyer sang a lyrical and honey-toned Edgar"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)
"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" anaclase.com (B. Bolognesi)
"his ardent Lonely House commanded respect"OperaNews (W. Madison)
"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)
"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"Cape Times (D. Irish)
"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."uk.gay.com
"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)
"Adrian Dwyer showed boundless promise as Vaudemont… his top is beautifully liquid and free: a remarkable talent"
Opera Magazine (R. Milnes)