Major Domo: Ariadne auf Naxos / Opera North 2023
“Versatile bass-baritone John Savournin was the commanding figure of the Major-domo in the Prologue, his stentorian voice delivering the instructions sometimes as direct speech, sometimes as recitative.”
Bachtrack
“John Savournin made a delightful Major Domo, relishing the words in the right way…”
Opera Today
“The ensemble bustle of the Prologue zips along nicely, with John Savournin channelling John Cleese as the Major Domo.”
The Spectator
“Leaving strong impressions are (i.a.) John Savournin’s impossibly haughty Major Domo.”
The Stage
“The commissioner’s wishes are relayed by the Major Domo John Savournin, the one person on stage whose impeccable diction does not need the loudspeaker he’s offered.”
The Telegraph
“John Savournin, one of opera’s few born comedians, is delightful in two roles, the rich backer’s voice on earth and the clown Truffaldino.”
The Times
Major Domo & Truffaldino: Ariadne auf Naxos / Opera North 2023
“Versatile bass-baritone John Savournin was the commanding figure of the Major Domo in the Prologue, his stentorian voice delivering the instructions sometimes as dierect speech, sometimes as recitative.”
Bachtrack
“John Savournin made a delightful Major Domo…”
Opera Today
“…the one performer on stage whose impeccable diction does not need the loudspeaker he is offered.”
The Telegraph
“…the comically gifted John Savournin leads a team of great performers who make the Opera North philosophy of an ‘ensemble’ company come wonderfully into its own.”
TheatreReviewsNorth
Gaffer Gubbins – Dragon: The Dragon of Wantley / Resonus Classics 2022
“John Savournin, doubling as Gubbins and the Dragon, is ideally firm of voice.”
Gramophone
“John Savournin ripely doubles Gubbins, a sly parody of one of those solemnly Handelian bass patricians, with the short but sweet role of the titular monster itself.”
Opera
Reginald Bunthorne: Patience / Charles Court Opera at Wilton’s Music Hall 2022
“Oozing on with kohl-rimmed eyes and projecting invertebrate languor Savournin didn’t even need to open his mouth to make us laugh.”
The Arts Desk
“Evoking the sly charm of Richard E Grant, with incisive vocal inflections and acting that never veered OTT, John Savournin precisely captured the flourish and cunning and indeed vulnerability of the Bunthorne. Another example of superlative multi-tasking from this hugely talented performer, director, and writer.”
Plays To See
“John Savournin is smashing as Bunthorne himself, the crux of the story and embodiment of the Aesthetic movement.
The Reviews Hub
Captain Corcoran: HMS Pinafore / Opera Holland Park 2022
“John Savournin’s dead-straight presence and unforced singing as Captain Corcoran was a delight…”
Opera
“John Savournin delivered another star turn as Captain Corcoran: he can create an entire comic persona with the lift of an eyebrow, but Pinafore shows his handsome mahogany bass-baritone to fine effect too.”
The Spectator
“He plays the role of Captain Corcoran with perfect acumen and physical dexterity, as well as keen vocal address.”
The Stage
Sir Richard Cholmondeley: The Yeomen of the Guard / The Grange Festival 2022
“The high calibre cast certainly delivers the goods as John Savournin, with his sure command of the Gilbert and Sullivan style, gets the character of Sir Richard Cholmondeley down to a tee so that his excellent bass-baritone almost feels like a bonus.”
Music OMH
“…a Sir Richard Cholmondely who knew what to do with every word and note.”
Opera
“The cast and company are excellent: John Savournin as Sir Richard Cholmondeley, in G&S terms, not so much luxury casting as platinum-plated.”
The Spectator
“John Savournin is an authoritative Lieutenant.”
The Telegraph
Luka: The Bear / Opera Holland Park Film 2021
“…the versatile bass-baritone John Savournin is invariably a vocal as well as dramatic asset to any show in which he appears.”
Opera
Captain Corcoran: HMS Pinafore / English National Opera 2021
“Ever-brilliant John Savournin we know as a consummate performer…”
The Arts Desk
“John Savournin, one of the funniest men around. The talented director of Charles Court Opera, who also do brilliant G&S, he is a magnificent bass-baritone to boot. As Captain Corcoran, in command of the titular Pinafore, he struts and worries, proud of his eager crew, anxious for his on-board daughter.”
Culture Whisper
“On the plus side, the cast is led by John Savournin as Captain Corcoran, commander of the Pinafore. Having himself frequently directed G&S operettas as well as being a fine bass-baritone singer of more serious opera and a surprisingly good dancer, the experience and expertise he brings to the role is perfect.”
The Daily Express
“As Captain Corcoran, the excellent John Savournin gives us an object lesson in how do Gilbert and Sullivan, with phrases nicely shaped and words finely pointed.”
The Guardian
John Savournin “the most natural comedian on the stage’s Captain Corcoran (is) blissfully good.”
iNews
As Captain Corcoran, Savournin is an absolute delight. A talented and instantly appealing comic actor with a warm bass-baritone, he’s hugely sympathetic as the decent chap who’s somehow always a fraction behind the eight ball. Operetta deserves more like him.”
Limelight
“In this fare you need one performer whose presence zaps up the energy; who can sing, and articulate beautifully, and who has that rare comic timing that makes a mere twitch of an eyebrow funny. Here, that person is the bass-baritone John Savournin (Captain Corcoran).”
The Observer
“Best of all…John Savournin’s irresistible Captain Corcoran…”
Opera
“…John Savournin’s pitch-perfect, nice-but-dim” Captain Corcoran…”
Opera Now
“…arguably the best all-round performance comes from John Savournin whose detailed portrayal of Captain Corcoran is micro-managed right up until the moment when he instantly switches accent as soon as he is demoted.”
Opera Online
“John Savournin is a stylish Captain, ramrod straight of stance, lyrical of voice, tongue-in-cheek of manner. He judges the piquancy and playfulness of proceedings perfectly. Indeed, it’s hard to imagine the G&S idiom being better discerned and delivered.”
Opera Today
“John Savournin, as Captain Corcoran, wears his bass-baritone as stylishly as his uniform, and his rapport with Hilary Summers’s Buttercup gives the evening its heart.”
The Spectator
“John Savournin is excellent with words, notes and movement.”
The Stage
“Savournin, a G & S specialist, delivers the patter with a swagger…”
The Standard
“…the most experienced Savoyard on stage, John Savournin is in his element as the “right good” Captain…”
The Sunday Times
“John Savournin’s Captain Corcoran, resonant, witty and absolutely clear…”
The Telegraph
“…multi-talented principals such as John Savournin (a brilliant John Cleese-like turn as Captain Corcoran)…”
The Times
Feigin: Two Songs from Twelfth Night / Toccata Classics
“The opulent voice of John Savournin seems particularly well suited to these gorgeous songs…”
Fanfare
“Savournin himself was thoroughly at home as the Pirate King, his bass depths shivering timbers, his posh accent confirming him as a nobleman gone wrong.”
Opera
“…an effortlessly physical performer who carries himself as gracefully, and as engagingly, as he sings.”
The Spectator
“…a suave Pirate King…”
The Stage
Priest & Badger: The Cunning Little Vixen, Opera Holland Park 2021
“John Savournin as the Greek-quoting Priest manages to move us with little introduction as he reflects on his way home from the pub.”
The Arts Desk
“John Savournin, managing a nifty change from Badger to Priest, was particularly effective in the latter role where he continued to badger his flock with moralising homilies.”
The Standard
Fotis: The Greek Passion / Opera North
“John Savournin in commanding from as the refugees’ priest, Fotis, touchingly acted.”
Bachtrack
“John Savournin as Fotis was almost mystical in his intensity and with a powerful feeling of working to his own time. A moving portrayal…”
Planet Hugill
“Chorus and soloists, especially John Savournin, excelled.”
The Observer
“…with a special mention for John Savournin (Priest Fotis).”
Opera Online
“John Savournin commands our sympathy as the refugees’ spiritual guide…”
Opera Today
Leporello: Don Giovanni / Opera Holland Park
“John Savournin was the perfect foil as Leporello, a bluff cove who presents his Catalogue Aria winningly in a warm bass-baritone.”
Bachtrack
“…with his strong comic timing, John Savournin makes an excellent Leporello.”
The Financial Times
“John Savournin’s dry, sardonic, brilliantly timed Leporello…”
Opera
“John Savournin was equally good as Leporello, delivering the character’s trademark patter with brisk efficiency. His comic timing was impeccable throughout and he displayed an ability to think on his feet as he moved from one crisis to another. The catalogue aria was exceptionally fine…
Seen and Heard International
Leporello: Don Giovanni / Opera North
“…the slick-moving, quick-reacting John Savournin, who also boasted a firm bass-baritone.”
Opera
“…excellent Leporello, John Savournin.”
The Times
Sarastro: The Magic Flute / Opera North
“John Savournin is a smart and elegant Sarastro…”
Bachtrack
Gangster 2: Kiss Me Kate / Opera North
“The other possible show-stealers in any production of this musical play are, of course, the two gangsters, here played by Joseph Shovelton and John Savournin, who do not disappoint: their “Brush Up Your Shakespeare,” delivered with plenty of comic business in front of the curtain, is really hilarious.”
Bachtrack
“…delightful comic turns from Joseph Shovelton and John Savournin.”
The Mail on Sunday
“Joseph Shovelton and John Savournin’s pair of hapless hoodlums are a joy.”
The Guardian
“The showstopper was Bruch Up Your Shakespeare, expertly performed by Joseph Shovelton and John Savournin…”
Opera
Colline: La bohème / Opera Holland Park
“John Savournin’s eloquent Colline was the pick of the men, real warmth to his soft bass.”
Bachtrack
“Two performances stand out, Colline is a secondary character, but John Savournin invests his mock-serious farewell to his coat with immense dignity.
Evening Standard
“John Savournin was first rate in the role of Colline and he gave a dark sonorous account of Vecchia zimarra in Act 1V.”
Seen and Heard International
“…the class act that is John Savournin…”
WhatsOnStage
Alidoro: La cenerentola / Opera North
“As the fixer and straight man, the equivalent of a Fairy Godmother, he has a kind of instant dramatic authority, and his warm tones fit the part.”
Bachtrack
“Alidoro is the tutor / philosopher who supplants the story’s Fairy Godmother and John Savournin distinguished with a voice both powerful and movingly lyrical.”
Seen and Heard International
“John Savournin twinkles as the manipulative Alidoro.”
The Times
“Alidoro, here sung by the vocally stylish and urbanely hilarious bass-baritone John Savournin, who makes light work of his big aria, “Là del ciel.””
WhatsOnStage
Barone di Kelbar: Un giorno di regno / Chelsea Opera Group
“John Savournin, with his easily flowing bass-baritone, made an elegantly obsequious Barone di Kelbar.”
Opera
Count Horn: Un ballo in maschera / Opera Holland Park
“Benjamin Bevan and John Savournin tread a fine line between comedy and darkness as the two would-be assassins.”
Bachtrack
“Benjamin Bevan and John Savournin as Ribbing and Horn were a pair of well-contrasted conspirators…”
Opera
Sante: Il segreto di Susanna / Opera Holland Park
“With John Savournin in fine form as Susanna’s dumb waiter, this was first-class entertainment.”
Daily Mail
“The priceless antics of John Savournin in the mute role of the servant Sante are straight out of the Basil Fawlty school of faux obsequiousness.”
Evening Standard
“The show was very nearly stolen by John Savournin in the silent role of the butler…”
Opera
“John Savournin’s deliciously tongue-in-cheek, long-suffering manservant Sante…”
Opera Today
“John Savournin as the butler Sante can raise a laugh with a flick of the little finger.”
The Spectator
Heart’s Delight / Opera Holland Park in Concert
“…no-one gets laughs more easily and naturally than G & S supremo John Savournin: the Lord Chancellor’s Song from Iolanthe was a model of deft economy in suggestive hand gestures as well as the necessary clarity of diction.”
The Arts Desk
“…a voice that’s so pregnant with comic gravitas.”
The Spectator
