Please click here to read
an article from the March 2002
issue of Opera Magazine
... or click here to read an
article from February 1999 in
The Sydney Morning Herald
Please click here to read
an article from the March 2002
issue of Opera Magazine
... or click here to read an
article from February 1999 in
The Sydney Morning Herald
Debussy · Pelleas et Mélisande · Golaud · Opera Australia, Sydney
'the star performance comes from the Golaud of Peter Coleman-Wright. There is a touch of iron ringing in his baritone that gives authority to his despair.'
(Sydney Morning Herald)
'The real glory was the towering achievement of Coleman-Wright's Golaud, his vocal power was black and minatory, even under peerless technical command, with an enormous expressive force.'
(Sunday Herald)
Janacek · The Cunning Little Vixen · Forester · English National Opera, London
'the one vintage performance comes from Peter Coleman-Wright, singing every note with wisdom and a new burnished maturity to his sound, articulating every word with exemplary clarity. His valedictory hymn to nature was deeply moving.'
(Opera)
Puccini · Tosca · Scarpia · English National Opera, London
'Coleman-Wright was a superb Scarpia, full-toned, menacing, crystal clear.'
(Opera, January 2003)
'Peter Coleman-Wright's Scarpia is another superb performance from this baritone, suavely sinister in voice and demeanour.'
(Sunday Telegraph)
'Peter Coleman-Wright's agonised Scarpia has a brutal beauty about his carriage and voice.'
(Independent on Sunday)
Sondheim · Sweeney Todd · Sweeney · Opera Australia, Sydney
'Coleman-Wright makes Todd a figure of blazing desperation, dispatching his victims while singing the most lyrical music. He is finding beauty in the terror and it's shocking.'
(The Australian)
Strauss · Die Liebe der Danae · Jupiter · Garsington Opera, England
'Peter Coleman Wright's dashing Jupiter, which marks him as a Wotan in the making.'
(Financial Times)
'Peter Coleman Wright's magisterial sustaining of Jupiter would have delighted the roles creator, Hans Hotter.'
(The Independent)
'Peter Coleman Wright's Jupiter pours forth a stream of beautifully moulded sound with a golden heroic edge to his baritone.'
(The Times)
Strauss · Die Fledermaus · Falke · Metropolitan Opera, New York
'Perhaps the smoothest vocalism of the evening came with the company debut of Peter Coleman-Wright as Falke, leading off the Brüderlein und Schwesterlein ensemble with mellow tone and velvety assurance.'
(Opera News, April 2003)
Verdi · La Traviata · Germont · Opera Australia
'The entire production, with all its colour and action, is outshone - and sometimes outclassed - by the abundant talent of Cheryl Barker and Peter Coleman-Wright. Barker makes a triumphant return to Australia, and to this repertoire. Beautiful, charming and fiercely independent, she is Violetta. She opens her mouth and Verdi's glorious arias come spinning out as effortlessly as if she were making them up on the spot ...'
'Coleman-Wright, as Giorgio Germont, brings a steely strength of character to the role, which comes out most in his Act II duet with Violetta. Two strong characters and two superb voices in stunning form, these performances alone are worth the price of a ticket.'
(Harriet Cunningham, Sydney Morning Herald, January 2004)