TENOR

Mozart DIE ZAUBERFLÖTE – Garsington Opera

“His loathsome servant Monostatos, the mesmerising Adrian Thompson, powders his nose and applies lipstick, only slightly more of a molester than the touchy-feely Sorastro himself.”
Fiona Maddocks, The Observer (June 2018)

“Adrian Thompson’s psychotic, cross-dressing Monostatos could have come straight from one of Hitchcock’s creepier thrillers.”
Richard Morrison, The Times (June 2018)

Wagner DAS RHEINGOLD – London Philharmonic Orchestra

“Were the singers audible? Yes. Did they jangle the nerve-ends? Sadly not. Only tenor Adrian Thompson, who was outstanding in Mime’s one brief appearance, managed to create the illusion of immediacy; everyone else needed to be brought forward.”
Mark Valencia, Bachtrack, (January 2018)

 “Adrian Thompson made a suitably funny, obsequious Mime”
Tim Ashley, The Guardian, (January 2018)

“So would Adrian Thompson, who temporarily stole the show as a very put-upon but nasty-in-the-making Mime.”
David Nice, The Arts Desk (January 2018)

Mussorgsky KHOVANSHCHINA – Welsh National Opera

“In the role of the hapless scribe – somehwat put upon by Mussorgsky as well as by his empolyers – the tenor Adrian Thompson was indefatigable”
Rian Evans, Opera Magazine (December 2017)

Wagner DIE MEISTERSINGER VON NÜRNBERG – Glyndebourne Festival

“The Masters were cast from strength and lovingly characterized, with Colin Judson’s fussy Vogelgesang [and] Adrian Thompson’s delightfully dotty Eisslinger …outstanding – their singing was definitely master quality.”
Melanie Ezkenazi, Music OMH (May 2016)

R. Strauss DER ROSENKAVALIER – English National Opera

“Adrian Thompson and Madeleine Shaw made an exceptionally slimy pair of intriguers”
Russ McDonald, Opera Magazine (April 2012)

“Adrian Thompson (Valzacchi) and Madeleine Shaw (Annina) are superb, vocally and dramatically, individually as well as in their double act.”
Musical Criticism, Agnes Kory (January 2012)

Tchaikovsky EUGENE ONEGIN – English National Opera

“There was also an exceptional Monsieur Triquet from Adrian Thompson.  Often parodied in a camp cameo, the role of the Frenchman was presented with a dignity and a surpassingly beautiful mezza voce in the second verse of his couplets
Opera News, George Hall (February 2012)

Wagner DAS RHEINGOLD – Nederlandse Reisopera, Enschede

“Adrian Thompson’s first assumption of the role [Mime] – why so late, one has to ask? – is perhaps the production’s most compelling characterisation to date.  It is a tragicomic masterpiece of malevolence, yet one that is strangely sympathetic thanks to his treatment by Mati Turi’s burly, bully-boy hero”
Hugh Canning, Opera Magazine (March 2012)