Serafino: The Intelligence Park / Royal Opera, London
“Special plaudits to Michel de Souza (Paradies), Stephen Richardson (Sir Joshua Cramer), and Patrick Terry (Serafino).”
The Independent
“The London Sinfonietta’s virtuosity, and the cast’s miraculous achievements – led by Michel de Souza with Adrian Dwyer, Stephen Richardson, Rhian Lois, Stephanie Marshall, Patrick Terry and (recorded solo treble) Rafael Flutter – were, without exaggeration, phenomenal.”
The Observer
The Boy: Written On Skin / Melos Sinfonia
“…a sensuous portrayal that combined subtlety and urgency, matched by singing of gorgeous potency – the quality of his top voice is very impressive.“
Classical Source
“Patrick Terry, in the less flesh-and-blood role of the Boy, floated seductively ethereal lines…”
Opera
“Patrick Terry’s plangently sung Boy..”
The Times
The Refugee: Flight / Royal Academy Opera
”In the casting of countertenor and stratospheric soprano, Dove nods at Oberon and Tytania in Britten’s Dream, another relationship in crisis. In a superb all-round cast, Patrick Terry‘s Refugee and Ilona Revolskaya‘s Controller still stood out – possibly down to the high-wire acrobatics of the vocal writing. Terry’s countertenor is smooth and tender, especially when he learns that his brother has died – “a frozen man falling like a frozen star” – in his attempt for freedom.“
Bachtrack
“Patrick Terry sang with innocent sweetness and simplicyt….”
Opera
“…the countertenor Patrick Terry excelled…”
The Times
Orfeo: Orfeo ed Euridice / Jette Parker Young Artists Summer Performance 2019
“Patrick Terry sang a stylish Orfeo…”
Bachtrack
“Physically and vocally Jacquelyn Stucker and Patrick Terry were incredibly assured.”
Classical Source
“The best singing of the night, for this listener at least, came earlier in the evening the first JPYA countertenor Patrick Terry and American soprano Jacquelyn Stucker performed Orfeo’s tragic submission to Euridice’s desperate pleas, as depicted by Gluck in Act 3 of Orfeo ed Euridice.”
Opera Today
Ruggiero: Alcina / La Nuova Musica
“Patrick Terry brought ardour and expressiveness to Ruggiero. Alcina’s latest prey without sounding cloying or self-satisfied – indeed his legato was as clearly-focussed in the ravishing “Verdi prati” as it was controlled but heroic in the triumphant “Stal nell’Ircana.”
Classical Source
“As Ruggiero, Patrick Terry’s countertenor was sublime, with the consistency it showed in feeling truly dreamy from start to finish being remarkable. As a result, his sound seemed to flow naturally through even the most technically demanding parts of his arias.”
Music OMH
“Patrick Terry’s exquisite assumption of Ruggiero…“
Opera
“Particularly impressive was countertenor Patrick Terry who conveyed both Ruggierio’s initial boyish need for reasurance and affection, and his subsequent self-knowledge when he comes to appreciate the emptiness of his earlier happiness…I admired Terry’s singing when I first heard him perform in the Kathleen Ferrier Awards Final in 2017 (when he won the Song Prize), and the fullness of his tone and smoothness of line that I noted on that occasion have grown even more beguiling. ‘Verdi prati’ was the emotional heart of this performance, in which Ruggiero’s regret was enhanced by leader Anaïs Chen’s exquisite violin solo, but Terry was just as stirring in ‘Sta nell’Ircana’ – to which the natural horns of Anneke Scott and Joseph walters offered a vibrant, colourful complement – phrasing the exuberant runs stylishily and powering sonorously to the final cadence.”
Opera Today
“Patrick Terry as Ruggiero is at his exquisite best in the lilting Verdi prati.”
The Stage
“…Patrick Terry’s heart-stopping accounts of the sublime love songs for Alcina’s besotted swain, Ruggiero…”
The Sunday Times
“…his excellent technique saw him sail through the virtuosic Sta nell’Ircana and his sensitive artistry was evident in the lyrical Verdi prati. Remember his name.”
The Telegraph
“…the stars aligned when the stunnng young counter Patrick Terry dispatched Ruggiero’s sublime numbers, Mi lusinga il dolce affetto and Verdi prati, where time seemed to stop as the herby strings supported Terry’s cream and gold tones. In two words? Absolutely fabulous.”
The Times
Ruggiero: Alcina / Royal Academy Opera
“Patrick Terry’s unusually crisp and liquid tone at a high pitch, even for a countertenor, made for an impressive realisation of Ruggiero, in the throes of infatuated pleasure on Alcina’s island. He is surely a singer to watch in other roles written for the great castratos such as Senesino, Carestini and Farinelli.”
Classical Source
“…Patrick Terry, whose consistent beauty of tone and heroic demeanour suggested the heir to David Daniels.”
Opera
Arsace: Berenice / Royal Opera, London
“Patrick Terry’s countertenor is sensational up close and personal in this smaller of the ROH’s two auditoriums.”
Broadway World
“…Terry’s combination of voice and acting an absolute joy.“
Seen and Heard International
“Patrick Terry is a scene stealer as Selene’s admirer Arsace.”
The Stage
“Patrick Terry deploys Chaplinesque acting skills as well as being a countertenor of fine quality.”
The Standard
Joacim: Susanna / Royal Opera, London
“Patrick Terry, who sang Susanna’s loyal though much-absent husband Joacim to the exceptional standard we’ve come to expect from him…”
Bachtrack
“Fast-emerging US counter-tenor Patrick Terry is both a 2019 winner at the festival’s annual Handel Singing Competition and a rising star in the Royal Opera House’s Jette Parker scheme. In a staged version of Handel’s 1749 oratorio Susanna, opening the festival at the Royal Opera House and wearing both his HSC and Jette Parker hats, he once more dazzles an audience in the Linbury Theatre. Terry’s is an outstanding talent, and he is a singer to catch whenever you can. His soaring line, warm tone, artistic phrasing and generosity to fellow singers are equally impressive.”
Culture Whisper
“Patrick Terry is a consistently strong Joacim.”
The Guardian
“…countertenor Patrick Terry incarnates Joacim with a thrilling amalgam of power and sweetness.”
The Independent
“The fast-rising countertenor Patrick Terry sings Susanna’s husband, Joacim, with an easy grace, his mellifluous voice flexible and consistent throughout its range.”
The Observer
“…in many ways at the emotional centre of the work, was the countertenor Patrick Terry’s impersonation of faithful husband Joacim. The voice functions beautifully from top to bottom (with none of that fade in the lower register so often found in countertenors), the coloratura passages seemed effortlessly expressive; most important, though, was the musical intelligence with which he characterised his many arias.”
Opera
“…the American countertenor Patrick Terry is a wonderful singer: his ‘On fair Euphrates’ verdant side’ was a masterclass in Handelian lyricism.”
Seen and Heard International
“…the cultivated counter-tenor tones of Patrick Terry delighted us as Joacim.”
The Telegraph
“…the outstanding countertenor Patrick Terry.”
The Times
Eustazio: Rinaldo / Glyndebourne Festival Opera
“Patrick Terry took his lyrical moment at the start of Act 2 beautifully.”
Opera
“Patrick Terry’s beautifully sung Eustazio…”
The Times
Teseo / London Handel Festival
“Patrick Terry’s Teseo combined both purity and strength of tone without strain…”
Classical Source
“Terry’s countertenor possessed all of the formal attributes required to generate a strong sound, but it went beyond producing merely that to achieve what can only be described as a dreamy perfection.”
Music OMH
Artemis: Phaedra / Royal Opera, London
“Patrick Terry as Artemis negotiated improbable leaps between his baritone speaking voice and his golden countertenor.”
Bachtrack
“…Patrick Terry (Artemis) acrobatic in the role’s vocal extremes…”
The Observer
“Patrick Terry relished the demands of the role of Artemis, which forced his voice and low, down to a speaking baritone. His confident performance skilfully captured Artemis’ complexity.”
Opera Today
“Patrick Terry as an androgynous Artemus rose to the challenge of a part that covers the extremes from low baritone to high soprano.”
Opera
Kathleen Ferrier Awards / Wigmore Hall
“Terry’s performance of L’enamourée by Reynaldo Hahn was one of the highlights of the evening: there was a real sense of rapture as Théodore de Banville’s poetry flowered from sparse gentleness to rich delight. The exquisitely smooth phrases enticed the listener; the lines were nimbly flexible but contoured with total control.”
Opera Today
