Police Commissar: Der Rosenkavalier / Garsington Opera at Wormsley 2021
“With his dark bass, Julian Close was strong casting as the Police Commissar.”
Opera
Death: Savitri / Leeds Opera Festival 2021
“…the immensely rich bass voice of Julian Close as Death…”
Bachtrack
“…Julian Close’s commanding death, delivered with echoes of the Wagnerian spirit the opera frequently falls back on.”
The Guardian
“Julian Close’s cavernous bass was suitably menacing for Death…”
Opera
Second Armed Man: Die Zauberflöte / The Royal Opera 2019
“Andrés Presno and Julian Close sang sonorously as the two Men in Armour.”
Bachtrack
Don Basilio: The Barber of Seville / Opera Project 2019
“Julian Close’s delicious bass as Basilio was always a pleasure to hear, and his depiction of the self-absorbed, stuffy music teacher always well observed and gravely humorous.”
Bachtrack
Wotan: Das Rheingold / Birmingham Philharmonic Orchestra 2019
“There were some truly outstanding portrayals: Julian Close a sardonic, almost bored Wotan…”
Midlands Music Reviews
Fasolt: Das Rheingold / Opéra de Montréal 2018
“As the two giants, Julian Close and Solomon Howard fulfilled the vocal demands splendidly.”
La Scena Musicale
“Julian Close, making his OdM debut as Fasolt, is fantastic, his voice rich, resonant and deep.”
Ludwig van Montréal
Wotan: Die Walküre / Palace Opera 2018
“Julian Close, a habitual Hagen and Fafner, was making his debut as Wotan, and it was a stunner. His huge, black mable voice ruled the platform and had an edge like a spear. Every word was effortlessly audible. Already this was an assumption with godlike authority. This could be one of the Wotans of tomorrow.”
Harmony
King Mark: Tristan und Isolde / New Palace Opera 2017
“His deep voice was extraordinarily handsome, and the abiding decency of the character he created – and his obvious engagement with the King’s innate decency – elicited sympathy for Marke’s despair.
The tenderness Close brought to describing Isolde as ‘Dies wundervolle Weib’ was heartbreaking and throughout he gave an immensely moving and dignified performance.”
Seen and Heard International
Hagen: Götterdämmerung / Saffron Opera Group 2017
“Julian Close’s burnished, brilliantly executed Hagen touched on the tragic dislocation of this character from the human world he has been forced to inhabit; unlike Siegmund, Hagen is fully aware of his role as a mercenary of Fate, and lives a life of unremitting, calculated cruelty, devoid of love even from the father who engendered him so callously. Close gave us some interesting hints of the pathos of Hagen’s inner desolation, whether bristling with aggression or smiling with dead-eyed determination, his thrillingly expressive bass both rich and clear throughout.”
Bachtrack
Fasolt: Das Rheingold / Washington National Opera 2016
“Another standout is Julian Close as Fasolt…”
Metro Weekly
Banker – Theatre Manager: Lulu / Dutch National Opera 2015
“As the Banker, Julian Close made an unforgettable impression with his sonorous bass.”
Opera Magazine
Banker – Theatre Manager: Lulu / Metropolitan Opera, New York 2015
“In the small roles of the Theatre Manager and Banker, Julian Close made a notable Met debut, showing a strong dark voice.”
The Washington Post
The Athlete: Lulu / Welsh National Opera 2013
“Especially memorable…Julian Close’s Acrobat, a role hard to define but musically rich.”
The Arts Desk
Fafner: Siegfried / Longborough Festival Opera 2011
“…Julian Close, a fearsome Fafner.”
The Guardian
Prince Gremin: Eugene Onegin / Iford Arts 2009
“Julian Close provided rather an amazing Gremin.”
Opera Now
Stravinsky: Les Noces / Michael Clark Dance Company 2008
“…Julian Close tremendous in the closing scene.”
The Financial Times
