British-Australian tenor Adrian Dwyer has sung in many of the world's greatest opera Houses and concert halls, gaining recognition for his extraordinarily wide-ranging vocal ability and vivid theatrical presence in works from the classical era to the present day.
This season’s highlights include his return to Welsh National Opera as Anatole in David Pountney’s new production of Prokofiev’s War and Peace, following what critics called a “career-defining” house debut with the company last season as Andrei in Mussorgsky’s Khovanshchina. He also makes main stage debuts at Israeli Opera and the Royal Opera House, Covent Garden. Following a return to Opera Queensland as the Prince in John Adams’ A Flowering Tree, he makes his role debut as Mime in Longborough Festival Opera’s much-anticipated new Ring Cycle. In concert he appears with the Royal Scottish National Orchestra and the Scottish Concert Orchestra.
Recent engagements include his house debut at Teatro Real Madrid as Sam Kaplan Street Scene, Electrician in Thomas Adès’ Powder Her Face in the inaugural production of the new Irish National Opera (a role he had already sung for Northern Ireland Opera and which he subsequently reprised for the Nevill Holt Festival) and Salome for Opera North.
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Puccini: Messa di Gloria
York Minster (June 2019)
Adrian Dwyer’s fluid tenor injected a prayerful tone at Gratias Agimus … The two soloists combined smoothly in the curiously curt Agnus Dei.
Martin Dreyer, The York Press
Wagner: Das Rheingold (Mime)
Longborough Festival Opera (June 2019)
His brother, Mime, was sung by a clarion-voiced Adrian Dwyer who brought considerable energy to his ensemble scenes.
D. Truslove, Opera Today
Adrian Dwyer is an unexpectedly sympathetic Mime, enhanced by his lyrical tenor.
Peter Reed, Classical Source
We have some particularly likeable baddies with Mark Stone’s mesmerising Alberich and a nimbly crafted Mime from Adrian Dwyer.
Mike Smith, Art Scene in Wales
Adrian Dwyer was an agile, martyred Mime.
Yehuda Shaprio, Opera Magazine
Adrian Dwyer also puts in a highly notable performance in the small role of Mime.
Sam Smith, Music OMH
Adrian Dwyer’s Mime sounded as if he was auditioning for a more significant Wagner role.
Jim Pritchard, Seen and Heard International
Adams: A Flowering Tree (Prince)
Opera Queensland (April 2019)
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.
Luisa Ryan, Scenestr
Adrian Dryer’s Prince had shades of vocal colour, especially when wandering lost after he renounced his wealth.
Peter Pinne, Stage Whispers
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.
Nicholas Routley, Australian Stage
The trio were all superb.
Paul Ballam-Cross, Limelight Magazine
As the Prince who learns to love more profoundly, Adrian Dwyer's tenor offered both fluid flexibility and solid top notes.
T. Passmore, QNews
Orff: Carmina Burana
Royal National Scottish Orchestra, Glasgow Royal Concert Hall (March 2019)
Adrian Dwyer, the tenor, revelled in the grotesquerie of the barbecued swan.
Simon Thompson, The Times
Tenor Adrian Dwyer’s roasting swan was exhilaratingly surreal.
Kenneth Walton, The Scotsman
Prokofiev: War and Peace (Anatole)
Welsh National Opera (Sep 2018)
Jurgita Adamonytè is excellent as the needling Hélène, as is Adrian Dwyer as the amorous wrong'un Anatole.
Mark Valencia, WhatsOnStage ****
Adrian Dwyer sang a deliciously caddish Anatole.
Mike Smith, South Wales Argus
Among the leads, Le Brocq, Dwyer and the Natasha, the fresh-voiced American soprano Lauren Michelle, are outstanding.
Stephen Walsh, Arts Desk ****
Characterisation of the other key roles was uncommonly rich in detail, thanks largely to the very high standards of acting on display and good deal of laugh-out-loud humour. Both Hélène (Jurgita Adamonytė) and Anatole (Adrian Dwyer) were portrayed in high spirits, but both also sang with complete assurance.
Rohan Shotton, Bachtrack *****
notable cameos from … Adrian Dwyer as Kuragin
Rupert Christiansen, The Telegraph ****
Adès: Powder Her Face (Electrician)
Nevill Holt Opera (June 2018)
The other three members of the cast, all playing multiple roles, are also exceptional... Daire Halpin and Adrian Dwyer create a sexy gallery of all those catering for [the Duchess's] needs.
Andrew Clements, The Guardian ****
The innumerable other characters who encounter her on her up-and-down trajectory – brilliantly played here by Irish soprano Daire Halpin, British/Australian tenor Adrian Dwyer and bass-baritone Stephen Richardson – may mock and excoriate her as she crashes to earth in the most undignified manner possible, but in the end one feels for the Duchess.
George Hall, The Stage ****
Adès: Powder Her Face (Electrician)
Irish National Opera (February 2018)
"a riotous medley entrusted to just three singers, soprano Daire Halpin, tenor Adrian Dwyer and bass Stephen Richardson, range from hotel staff and media to her husband and the judge. Their energy and adaptability, and the riot of colour exploding from the INO Orchestra under Timothy Redmond, are unflagging"
Michael Dervan, Irish Times
Mussorgsky: Khovanshchina (Andrei)
Welsh National Opera (September 2017)
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.
Katherine Cooper, Bachtrack *****
The cast, too, sing wonderfully. For the Khovanskys (a superbly afflicted Robert Hayward and brutish Adrian Dwyer), ecstasy and perversion elide as their plot against the Tsar unravels.
Steph Power, The Stage *****
Robert Hayward and Adrian Dwyer play the appalling Khovansky father and son; … All of them offer strongly characterised and vocally vivid portrayals that inhabit a bold and vigorous staging evoking the tragic period in early Soviet history during which the brief liberations of Leninism rotted into the repressions of Stalinism.
Rupert Christiansen, The Telegraph *****
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 On Stage ****
And there is a series of fine supporting vignettes: ... Adrian Dwyer as the viciously libidinous Andrei Khovansky
Stephen Walsh, The Arts Desk ****
As his son, Prince Andrei, Adrian Dwyer was convincing as a self-serving, spoiled young man, quite without scruples.
Glyn Pursglove, Seen and Heard International
Adrian Dwyer as Prince Andrei and Sara Fulgoni as Marfa sang sweetly.
Colin Davison, British Theatre Guide
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
Beethoven: Fidelio (Florestan)
Longborough Festival Opera (June 2017)
Adrian Dwyer sang ‘Gott! welch’ Dunkel hier!’ excellently and, in another hit of heightened realism, in near-total darkness, rose impressively to Florestan’s high music without forcing the music’s anguish.
Peter Reed, Opera Magazine
Vocally, this Fidelio has a strong team of singers, gratifyingly uniform in the delivery of solo and ensemble numbers. ... 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”.
David Truslove, Bachtrack
Adrian Dwyer, by contrast, has the right Florestan sound.
Stephen Walsh, The Arts Desk
Adrian Dwyer’s Florestan ... is dramatically compelling as a prisoner whose deprivation has not robbed him of his benevolence.
Edward Bhesania, The Stage
[Leonore's] final reunion with Florestan (Adrian Dwyer), which the pair act out with raw and wholly convincing emotion.
Richard Bratby, The Spectator
... a fine performance from both orchestra and singers, with Elizabeth Atherton a compelling Leonore and Adrian Dwyer’s pleasing tenor acquitting himself well as Florestan.
David Lister, The Independent
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
Sam Smith, musicOMH
All the principal singers have fine voices and are well cast. ... 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.
Mel Cooper, Plays To See
Adrian Dwyer comes off well in the punishing demands of Florestan’s soliloquy.
Peter Reed, Classical Source
Adès: Powder Her Face (Electrician)
Northern Ireland Opera (January 2017)
Around her, Adrian Dwyer, Stephen Richardson and Daire Halpin were superb.
Richard Morrison, The Times *****
Three of them skilfully play multiple roles – Daire Halpin and Adrian Dwyer are both pitch-perfect in their incarnations of representatives of the lower orders…
Rupert Christiansen, The Telegraph *****
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. … Daire Halpin makes deceptively light work of the challenging range and variety of Maid characters, forming a terrific double act with Adrian Dwyer who is equally as impressive as the Waiter in a number of guises.
Opera Journal
Cavalli La Calisto (Linfea), English Touring Opera
Hackney Empire (October 2016)
Adrian Dwyer as Linfea (Diana’s warrior nymph) was also pitch perfect in both comedy and singing.
Howard Shepherdson, Limelight Magazine
Flavio (Norma), English National Opera
London Coliseum (February 2016)
Valerie Reid and Adrian Dwyer were strong in smaller roles.
Fiona Maddocks, The Observer
High marks to Valerie Reid and Adrian Dwyer for their vivid subsidiary contributions as Clotilde and Flavio.
Rupert Christiansen, The Telegraph
Adrian Dwyer as Flavio sang hus duet with Peter Auty’s Pollione with fine style.
Robert Hugill, Opera Today
Valerie Reid’s Clotilde and Adrian Dwyer’s Flavio were also commendable.
Matthew Rye, bachtrack.com
…the smaller roles of Clotilde and Flavio were confidently portrayed by Valerie Reid and Adrian Dwyer.
Jim Pritchard, Seen and Heard
Julien (Louise), Buxton Festival Opera
Buxton Opera House (July 2015)
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.
Richard Bratby, The Arts Desk
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.
Andrew King, bachtrack.com
Conductor Stephen Barlow had the right singers... Adrian Dwyer (a recent Opera North find) is a very good French romantic tenor indeed.
Robert Beale, Manchester Evening News
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.
Robert Hugill, Planet Hugill
Lemminkäinen (Swanhunter), Opera North
Linbury Studio, London (April 2015)
Adrian Dwyer makes a bold Lemminkäinen.
George Hall, The Guardian
The singers, though, are adept at their multifunctional roles, especially Adrian Dwyer’s sterling Lemminkäinen.
Richard Fairman, Financial Times
Adrian Dwyer, as the hero, gets nimbly round some richly ornamented vocal lines for high tenor.
Michael Church, The Independent
Striking contributions from Adrian Dwyer’s doughty Lemminkäinen.
George Hall, Opera
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.
David Karlin, bachtrack.com
Adrian Dwyer as the adventure-seeking and philandering young Lemminkäinen has a sturdy presence and a clarion edge to his bright tenor.
Geoffrey Mogridge, Opera Britannia
Adrian Dwyer does sterling work in the title role.
Mark Valencia, whatsonstage.com
Adrian Dwyer was believably intrepid and full of youthful spring in the hands and voice.
Colin Clarke, Seen and Heard
Huon (Oberon), New Sussex Opera
Cadogan Hall (November 2014)
That sterling tenor Adrian Dwyer is bright of tone and firm of pitch as Huon.
Rupert Christiansen, The Telegraph
Silver and Dwyer, meanwhile, tackle two of the most preposterously difficult roles in the repertoire with great aplomb and flair.
Tim Ashley, The Guardian
Adrian Dwyer’s ringing Huon settled into good lyrical form, too.
Robert Thicknesse, Opera Now
Dwyer’s winning characterisation ensured we cared throughout about Sir Huon, his love and his fate.
Charlotte Valori, bachtrack.com
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.
Robert Hugill, planethugill.com
Sir Edgar Aubry (Der Vampyr)
Everyman Palace Cork (June 2014)
Adrian Dwyer was the suitably frustrated bridegroom, Aubry.
Ian Fox, Opera
King Priam (Hermes), English Touring Opera
Linbury Studio, London (February 2014)
An ensemble performance of rare conviction, with Grant Doyle’s Hector, Nicholas Sharratt’s Paris, and Adrian Dwyer’s Hermes all outstanding.
Michael Church, The Independent
The young tenor Adrian Dwyer makes a striking Hermes, the divine messenger who flits between the Greek and Trojan camps.
Mark Valencia, whatsonstage.com
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.
Miranda Jackson, Opera Britannia
Adrian Dwyer did an excellent job as Hermes.
Charlotte Valori, bachtrack.com
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.
Robert Hugill, planethugill.com
Perhaps especially notable were Adrian Dwyer’s properly mercurial (sorry!) Hermes.
Mark Berry, Seen and Heard
Fidelio (Jaquino), English National Opera
The Coliseum, London (September 2013)
Soloists including… Adrian Dwyer (Jaquino) made this an evening to remember.
Fiona Maddocks, The Observer
Sarah Tynan and Adrian Dwyer match their climbing skills to their singing as Marzelline and Jaquino.
Richard Fairman, The Financial Times
Adrian Dwyer's lyrical Jaquino scampered around [the set] with apparent ease.
John Allison, Opera
Adrian Dwyer coped well with having to clamber about the labyrinth whilst singing.
Jim Pritchard, seenandheard.com
Adrian Dwyer’s unforced, lyrical tenor made Jaquino’s sidelining more than usually poignant.
Peter Reed, classicalsource.com
Adrian Dwyer sang well and did what he could with Bieito’s conception of Jaquino as a self-pitying psychotic.
Sebastian Petit, opera-britannia.com
Wozzeck (Andres), English National Opera
The Coliseum, London (June 2013)
Adrian Dwyer offered a finely-etched portrayal.
Mark Berry, Seen and Heard
Strong support also comes from Adrian Dwyer as a wheelchair-bound Andres.
A. Coghlan, New Statesman
Excellent cameos from Bryan Register as the Drum Major and Adrian Dwyer as Andres.
S. Taylor, Camden Review
The Flying Dutchman (Steersman), NI Opera
Grand Opera House, Belfast (February 2013)
Adrian Dwyer’s Steersman made a potent contribution.
Hugh Canning, The Sunday Times
The bright machismo of Adrian Dwyer's Steersman deserves to be seen for more than two performances.
Anna Picard, The Independent
Adrian Dwyer (the sleepy young Steersman) brought individuality to his role.
Fiona Maddocks, The Observer
The Makropulos Case (Janek)
Opera North and the Edinburgh International Festival (August 2012)
The 'young' characters - Adrian Dwyer's suitably gauche Jancek Prus and Stephanie Corley's attractive Kristina - came off best.
Andrew Clark, Opera
Brilliantly paced under conductor Richard Farnes, and dynamically sung by Kihlberg, Robson, Corlet, Dwyer and Hayward.
Anna Picard, The Independent
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.
Geoffrey Mogridge, Opera Britannia
Adrian Dwyer's performance as Janek Prus is equally accomplished.
D. Gillan, StageBeauty
Sweeney Todd (Beadle Bamford)
Munchner Rundfunkorchester (March 2012)
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.
J. Rosenblum, OperaNews
Die Zauberflöte (Tamino), Opera Theatre Company
Gaiety Theatre, Dublin (November 2011)
Tenor Adrian Dwyer portrayed his character Tamino incredibly. His warm and rich vocals setting the perfect atmosphere for many of his scenes.
N. O'Halloran, Guide to Dublin
Her Tamino, Adrian Dwyer, had the ringingly ardent tenor the part needs, and avoided the kind of soppiness it can easily descend to.
T. Blain, Irish Theatre Magazine
Hagenbach (Catalani’s La Wally), Opera Holland Park,
August 2011
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
Adrian Dwyer convinces as the feckless Hagenbach
The Telegraph, R. Christiansen
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
I thought Adrian Dwyer might be too light of voice for this role… however, he gave a decent account… rising to the ardour of the final scene well, his tenor ringing through the mountains
Opera Britannia.com, M. Pullinger
Tenor Adrian Dwyer is pleasant as the caddish Hagenbach
Whatsonstage.com, S. Thomas
There’s fine support from tenor Adrian Dwyer (Hagenbach)
Metro, W. Thompson
Adrian Dwyer’s Hagenbach commanded all the arrogant swagger the character demands
MusicOMH
Promised End, Linbury Theatre,
Royal Opera House
...with the best singing coming from Adrian Dwyer as Edgar
Daily Telegraph, Rupert Christiansen
His good son Edgar was cleanly sung… and well acted by Adrian Dwyer
Opera, Andrew Porter
Edgar, who was movingly portrayed by Adrian Dwyer, especially in his feigned madness, his youthful tenor well contrasted with that of Gloucester
Opera Britannia, Mark Pullinger
As Edgar, Adrian Dwyer is convincing and impressive
operatoday.com, Claire Seymour
Adrian Dwyer sang a lyrical and honey-toned Edgar
repeatperformances.org, Jaimie Robles
The performances themselves are all first class, both dramatically and vocally – a rare thing indeed in the operatic world... I would particularly single out Adrian Dwyer as Edgar
wheresrunnicles.com, Finn Pollard
Adrian Dwyer portrayed with touching acuity the transformation of Edgar into Poor Tom
Boulezian, Mark Berry
Dwyer was the most incisive in getting the words over
dilettantemusic.com, Robert Hugill
Edgar and Gloucester (Adrian Dwyer and Nigel Robson) trace a simple and genuinely touching path through
London Evening Standard, K. Quirke
Adrian Dwyer had a bright, easy tenor sound that spoke of his essential goodness
MusicalCriticism.com, Mike Reynolds
Adrian Dwyer’s Concert Repertoire
| Bach | St John Passion |
|---|---|
| Beethoven | Symphony No. 9 |
| Britten | Rejoice in the Lamb |
| Bruckner | Te deum |
| Handel | Messiah |
| Haydn | Creation |
| Mahler / Schoenberg | Das Lied von der Erde |
| Mendelssohn | Elijah |
| Mozart | Requiem |
| Orff | Carmina Burana |
| Puccini | Messa di Gloria |
| Rossini | Stabat Mater |
| Schubert | Mass in Ab |
| Vaughan Williams | Serenade to Music |
| Verdi | Requiem |
Adrian Dwyer’s Opera Repertoire
| Auber | Fra Diavolo (Fra Diavolo) |
|---|---|
| Beethoven | Fidelio (Jaquino) |
| Berg | Wozzeck (Andres) |
| Berlioz | Beatrice et Benedict (Benedict) |
| Bernstein | Trouble in Tahiti (Gardiner/Trio) |
| Bizet | Pecheurs du Perles (Nadir) |
| Britten | Death in Venice (Strolling Player) |
| Delius | Koanga (Simon Perez) |
| Donizetti | Maria Stuarda (Leicester) |
| Goehr | Promised End (Edgar) |
| Gounod | Romeo et Juliette (Romeo) |
| Janacek | Excursions of Mr Broucek (Miroslav, Composer, Harpist, Mazal/Petrik) |
| Massenet | Manon (Des Grieux) |
| Mozart | Die Zauberflote (Tamino, 1st Armed Man) |
| Paisiello | Il Barbiere di Siviglia (Almaviva) |
| Puccini | La Boheme (Rodolfo) |
| Rossini | Il Barbiere di Siviglia (Almaviva) |
| Sawer | Skin Deep (Robert) |
| Smetana | The Bartered Bride (Jenik) |
| Strauss | Der Rosenkavalier (Der Sanger) |
| Tchaikowsky | Cherevichki (Vakula) |
| Tippett | King Priam (Hermes) |
| Verdi | La Traviata (Alfredo) |
| Wagner | Der Fliegende Hollander (Steuermann) |
| Weill | Street Scene (Sam Kaplan) |
