Spanish National Orchestra Madrid - The Flying Dutchman


Askonas Holt News, January 16, 2016


Vienna State Opera - The Flying Dutchman

"Peter Rose ist ein hervorragender Daland voll Geldgier und Skrupellosigkeit, der Senta bedenkenlos verschachert, ... (Peter Rose is an excellent Daland full of greed and ruthlessness, who sells off Senta unscrupulously, ...)"

Kronen Zeitung, September 5, 2014


"Als machtvoller Daland ist Peter Rose eine Klasse für sich; ... (As a powerful Daland Peter Rose is in a class of his own; ...)"

Kurier, September 5, 2014
Peter Jarolin


"Und ja, Sänger mit englischer Muttersprache leisten im Wagner-Fach wirklich Grosses: Peter Rose auch als wirklich gierigen Kapitän Daland, der seine Tochter ohne mit der Wimper zu zucken an den erstbesten Schurken, der vorbeisegelt, verscherbelt, hatte schon Besonderheitswert. (And yes, singers with english as their mother tongue achieve real greatness in the wagner-fach: Peter Rose as a really greedy captain daland, who sells off his daughter without batting an eyelid, to the first villain who sails past, had special value indeed.)"

Wiener Zeitung, September 5, 2014
Daniel Wagner 


Seattle Opera - Speight Jenkins Celebration Concert

"...Peter Rose was an affecting Boris Godunov."

The Seattle Times, August 10, 2014
Melinda Bargreen


Southbank Centre OAE - Haydn's The Creation

"The bass has the most fun, and here Peter Rose relished his every turn, especially the low notes for the lowly earthworm."

The Guardian, May 7, 2014
Erica Jeal


"... Peter Rose’s chief archangel Raphael, a portrayal that sailed over the footlights to fold us mere mortals into God’s heavenly plan.

... he pointed the text effectively, evoked the teeming menagerie of lions, tigers and sinuous worms with endearing accuracy, and nailed the wonder of Adam’s first dawn with singing of great refinement."

Classical Source, May 6, 2014
Peter Reed


English National Opera - Rigoletto

"Peter Rose gave a deliciously villainous performance as the assassin Sparafucile..."

Express, February 14, 2014
William Hartston


Metropolitan Opera - Der Rosenkavalier

"Peter Rose, singing with a ringing bass and convincing Viennese-inflected German, brought out both the menacing and the laughable aspects of Ochs."

The New York Times, November 27, 2013
Corinna de Fonsecca-Wollheim


Royal Opera House - Capriccio

"... director La Roche’s baby-egotistical plea to write him an opera that touches the soul. Strauss sets it in a cruelly high register for his bass-buffo, and at a couple of points you could sense the strain for (Peter) Rose after so much authoritative delivery, but there’s still no other bass around who could handle the wittily-despatched German setting so crisply or meaningfully."

The Arts Desk, July 20, 2013
David Nice


Royal Opera House - Eugene Onegin

"Peter Rose unsettles us with the mixture of barely-restrained violence towards the wanderer and tenderness to his wife: the great aria brings the most magisterial singing of the evening, absolutely regal with inspired phrasing of the “ray of sunshine” that Tatyana has brought to Gremin’s life."

The Arts Desk, February 5, 2013
David Nice


Seattle Opera - Turandot

"Peter Rose sang Timur with beautiful, rock-solid tone, while depicting the frailty of age with almost painful intensity."

The Seattle Times, August 6, 2012
Bernard Jacobson


Avery Fisher Hall New York - Messiah

"...the bass Peter Rose, was uniformly superb."

The New York Times, December 14, 2011
Steve Smith


The Metropolitan Opera - Capriccio

"La Roche, the theater director, was sung by bass Peter Rose. Rose balanced his music between ambition and foolishness with perfect agility. His nine-minute exclamation comprising the "Director's Monologue," at the close of scene nine was engaging at a stage in this opera without intermission that can easily seem too long if not performed with such skill. Rose asked us to sympathize with him, and we did. His powerful lines created a gateway toward a new ending for the opera.", April 24, 2011
Jeffrey Johnson


"Last, but not least, bass Peter Rose was a powerful voice of reason in the form of the theater director who would rather diligently work on putting on his show than indulge in rhetorical aesthetic reflections.", April 20, 2011


"Basso Peter Rose sings the pivotal role of La Roche, the director. As the fellow who puts the page to the stage, he adds the practical side to the music/words controversy.", April 1, 2011
Jerome R. Sehulster


"The impresario La Roche (the resonant British bass Peter Rose) points out that neither words nor music are worth squat without his sense of stagecraft."

The Gazette, April 1, 2011
Arthur Kaptainis 


"The most crucial character is La Roche, a theater director, here the powerful bass Peter Rose."

New York Times, March 29, 2011
Anthony Tommasini


"As the producer La Roche, bass Peter Rose sang and acted with gusto..."

San Francisco Chronicle, March 29, 2011
Mike Silverman


"Bass Peter Rose, as the theater director La Roche, a character apparently modeled on the great Max Reinhardt, has his own idea of what takes priority: putting on a good production, a subject he expounds on eloquently in a scene in which Rose's robust bass is heard to fine effect.", March 29, 2011
George Loomis


Vienna State Opera - Billy Budd

"And with every entrance, the deep bass timbre of Peter Rose as John Claggart brought a shiver of evil, but never reduced this malevolent man to a caricature."

The Vienna Review, March 29, 2011
Cynthia Peck


"Grandios aber auch Peter Rose als Billys Gegenspieler Claggart, der zum Kraftzentrum dieser Produktion mutiert. Eine auch stimmlich wohl singuläre Darbietung. (Peter Rose is terrific as Billys opponent Claggart, who mutates into the powerhouse of this production. Also one unique vocal performance indeed.)"

Kurier, February 7, 2011
Peter Jarolin 


"Fast nachvollziehbar wird da der Neid und die Zerstörungslust des Waffenmeisters Claggart: Der erbarmungslos tönende Peter Rose ist eine glaubwürdige Verkörperung der Grundübel der Menschheit.(The greed and destructiveness of the master-at-arms Claggart becomes almost understandable: Peter Rose, sounding merciless, is a believable incarnation of the basic evil of humanity.)"

Wiener Zeitung, February 7, 2011
Daniel Wagner


"Peter Rose als Claggart wirkt gerade dadurch so bedrohlich, dass sein schwarzer Bass auch nobel tönen kann und nicht durch ein Brunnenvergifter-Timbre gleichsam bereits alles verrät: die eindringliche Charakterstudie eines ähnlich Unfreien, Getriebenen. (Peter Rose as Claggart seems just so threatening because his black bass can sound also noble and not, so to speak, giving everything away by means of a poisoned timbre: the haunting character study of a similar prisoner, a wretch.)"

Die Presse, February 6, 2011
Walter Weidringer


"Claggart (souverän Peter Rose), verwandelt Zuneigung in Destruktion... [Claggart (sovereign Peter Rose), transforms affection into destruction...]"

Der Standard, February 6, 2011
Ljubiša Tošić


"Der Claggart von Peter Rose überzeugt nicht nur durch brutale Präsenz. Mit seinem schön timbrierten Bass vermag er den Waffenmeister von der archaischen Schablone des Bösen abzulösen und im Charakter tiefer auszudifferenzieren. Das Beziehungsdreieck Shicoff – Rose – Eröd wurde dadurch sehr gut ausbalanciert und fand in der entscheidenden Szene, der Gegenüberstellung von Claggart und Budd in der Kapitänskajüte, einen an Spannung kaum mehr zu überbietenden Höhepunkt. (Claggart, sung by Peter Rose, convinces not only through brutal presence. With his beautiful timbre bass he succeeds to peel off the archaic template of evil from the master-at-arms and give him a more distinguished and deeper character. The relationship triangle Shicoff - Rose - Eröd was thus very well balanced, and found in the climactic scene, the juxtaposition of Claggart and Budd in the captain's cabin, a peak that was hard to surpass in excitement.)", February 5, 2011
Dominik Troger


Hamburg State Opera - Parsifal

"Voller Bewunderung war und bin ich für Peter Rose und seinen fabelhaften Gurnemanz, der wie andere englischsprachige Kollegen auch mit einer glänzenden Diktion und sinnvoller Phrasierung aufwartete, für die man eigentlich nur dankbar sein kann als Besucher. (I was and am full of admiration for Peter Rose and his fabulous Gurnemanz, who like other English speaking colleagues, came up with brilliant diction and idiomatic phrasing, and for that one can only be grateful as a visitor.)", January 26, 2011


Lyric Opera of Chicago - A Midsummer Night's Dream

"Rose, as Bottom, leader of the Artisans and star of their play, has emerged as one of the most consistently effective bassos in both comic and dramatic character roles…"

Opera Warhorses, November 23, 2010
William’s Reviews


"Another captivating quote in the biographies belongs to Peter Rose. He asserts that Bottom’s enthusiasm to interpret every part must not be played for ego, but rather for an excitement for the success of the production. This character choice proves to be prudent as his interpretation of Bottom was one of the standouts in the entire production. Functioning as the alpha-male in the theatre troupe, Rose sang Bottom with ease and a lack of pretense. Never playing the moment solely for the laugh, his choices for the drama-within-the drama let the larger ideas of the opera take form."

Operaticus, November 20, 2010
Robert Drake


"English bass Peter Rose is to Bottom, the hammy weaver, as Zero Mostel was to Tevye -- in performances all over the world the rich-voiced singer knows that his character's over-the-top-ness is tied intimately with his real humanity."

Sun-Times, November 8, 2010
Andrew Patner


"...whose "lamentable comedy" about the hapless lovers Pyramus and Thisbe gives the British bass Peter Rose, today's definitive interpreter of the weaver Bottom, a rich opportunity to steal the show."

Chicago Tribune, November 7, 2010
John von Rhein


"Peter Rose was a hoot as a wonderfully hearty Bottom, leading the band of rude mechanicals, singing with big tone and making every punchline register."

Chicago Classical Review, November 6, 2010
Lawrence A. Johnson


"In terms of funny business, the Lyric was particularly blessed to have British bass Peter Rose as Bottom, the blustery and overconfident weaver who gets “translated” into the donkey that Tytania falls passionately in love with....Rose's Bottom was eminently endearing as he domineered the rest of his fellow mechanicals."

Chicago Daily Herald, November 6, 2010
Scott C. Morgan


Royal Festival Hall - Stabat Mater and Te Deum

"… with only Peter Rose's imposing bass reliably making it over the wall of orchestral sound."

Guardian, October 13, 2010
Erica Jeal


"Peter Rose, the bass soloist, was full-bodied of voice and authoritative.", October 9, 2010
Colin Clarke


"Peter Rose was appropriately stentorian in his 'Fac ut ardeat' solo; Peter Rose was resplendent in 'Tu rex gloriae',…", October 9, 2010
Graham Rogers


Barbican London - Semele

"The bass Peter Rose was rock-solid as Cadmus, King of Thebes, and Somnus, sleep personified, dozing on his chair."

The Times, July 12, 2010
Geoff Brown


"…Peter Rose, excellent in the two bass cameos."

Guardian, July 11, 2010
Erica Jeal


"Peter Rose, meanwhile, was dignity itself as Cadmus, the King of Thebes, before bringing the house down as a slumberous Somnus, the Yawning Man to the life.", July 9, 2010
Mark Valencia


"Rose’s performance was notable for its clarity of diction and the penetrative power of his voice, always commanding and beautifully rendered. There was plenty of acting, too, from Rose as the slumbering Somnus, and this reflected the finesse of William Congreve’s libretto.", July 8, 2010
Kevin Rogers


"Peter Rose sang with something of an old-fashioned Handelian bass style in the dual roles of Cadmus and Somnus, but none the worse for that. His steady tone was most welcome, especially the saturnine-voiced ‘Leave me, loathsome light’ and the humour he brought to the God of Sleep most amusing."

Opera Britannia, July 8, 2010
Mark Pullinger


Theatre des Champs Elysees, Paris - Semele

"Foremost among them was Peter Rose. Though surely among the most versitile of modern basses—in the past two months, he has sung Osmin in München, Ochs in Barcelona, Gurnemanz in Tokyo, and Falstaff in Seattle—Rose is hardly known as a Baroque specialist. Yet his Cadmus/Somnus was stylish and sonorous, underpinned by rock-solid lower register. At the end of Somnus’s “Leave me, loathsome light,” he interpolated down an octave to a long B1 (at Baroque pitch that’s almost a low b-flat). Resounding through the large theater like an organ pedal, it was one of the most astonishing notes I have heard in decades. Such vocal details were consistently accompanied by clear diction, convincing characterization, and sensitive phrasing."

Opera Today, July 11, 2010
Andrew Moravcsik


"… with his sovereign art of nuance, the irresistible bass Peter Rose. (avec son art souverain des nuances, irresistible la basse de Peter Rose.)"

Le Figaro, July 2, 2010
Christian Merlin


"Dual role as well, but no challenge for Peter Rose: his bass of the abyss and sense of humor make up a god of Sleep and cavernous spellbinding, almost fafnerien, as a solid Cadmus and also, very human. (Double role aussi, mais defi releve, pour Peter Rose: sa basse abyssale at son sens de l'humour composent un dieu du Sommeil caverneux et envoutant, quasi fafnerien, autant qu'un Cadmus solide et outre, bien humain.)"

Avant Scene Opera, July 2, 2010
Chantal Cazaux


"Peter Rose's incredibly solid, fabulously old-school interventions as a stentorian Cadmus and comically sleepy Somnus, reminded one how important a good bass is to the working of a Handel opera - and how rarely we hear one of this calibre."

The Arts Desk, July 1, 2010
Alabaro Yanez


"The male distribution, we particularly note the Cadmus / Somnus the wonderful bass Peter Rose. (De la distribution masculine, on retiendra surtout le Cadmus/Somnus de la magnifique basse Peter Rose.)"

Anaclase, June 30, 2010
Monique Parmentier


Seattle Opera - Falstaff

"Peter Rose, in his first-ever appearance as Falstaff, unfurled a voice of dimensions as sumptuous as his girth, and his characterization too was larger than life and supremely human."

The Seattle Times, March 1, 2010
Bernard Jacobson


"On opening night, Sir John Falstaff was sung by English bass Peter Rose, whose rich vocals convey his character’s desire to take in the fullness of life, whether that involves munching on a lamb shank, drinking sack, or shamelessly feeling up a married woman (just to see if he can get away with it)."

Seattle Fine Arts Examiner, March 2, 2010
Audrey Gervasi


"Peter Rose, whose previous appearance at McCaw was as a randy Baron Ochs in Rosenkavalier, triumphs in the title role, a sympathetic character despite his considerable flaws, surely not deserving of "death by a volley of turnips" but saved from drowning by his own swollen belly." /, March 2, 2010
Ronald Holden


"From the instant he sauntered onto the stage, rocked slightly back on his chair, and chomped into a super-duper-sized drum stick, Peter Rose embodied Shakespeare’s fat knight who has fallen on hard times and foolishly thinks that he has the swagger to seduce two young women and get his hands on their money. Rose knew how to make the most of his physical heft and got volumes of laughter from the audience with an array of facial expressions.

Rose’s bass-baritone masterfully combined agility and expressivity. It easily thundered above the orchestra whenever it swelled to a huge crescendo, but it also seamlessly slipped into a light, fluffy falsetto when Falstaff was mocking a woman’s voice. Rose could give his voice a rough, threatening edge whenever he wanted, but it was always gorgeously round in the center, no-matter what."

Oregon Music News, March 2, 2010
James Bash


"In the title role, Peter Rose trod that delicate line between humor and buffoonery, displaying brilliant comic timing and an impressive voice that doesn’t merely bark out Falstaff’s lines, but also displays remarkable strength at both ends of the vocal spectrum. Rose can do more with a brief gesture or a slight pause than most singers can, and the finesse of his Falstaff is memorable on every level."

Classical King FM 98.1, Feb 27, 2010
Melinda Bargreen


Royal Opera House - Der Rosenkavalier

"Fortunately, Peter Rose (who created a pathos-driven Boris Godunov for English National Opera last year) brought bumbling foolery to Ochs in small doses. He ensured that the mayhem resulting from his wounding in the duel with Octavian simmers rather than boils over. His cheer, befuddlement (when he cannot prove his identity to the Police Commissar) and general avuncular nature made Ochs the comic relief he ought to be. Rose's rock-solid bass matched the devilish orchestral details, particularly in Act Two, with aplomb.", December, 2009
Kevin Rogers


"Of the principals, the most successful to me was Peter Rose as Baron Ochs, appropriately dominating the action but also being more than just a boorish lech - in Rose's characterisation one can believe that this is a man who, in spite of his behaviour, considers himself a noble, and the loss of the mostly imaginary dignity that the Marschallin advises him to preserve by leaving the scene in Act III can actually be felt."

Berkshire Review for the Arts, December 22, 2009
Gabriel Kellett


"The main point of interest is the characterisation of Baron Ochs, far more dapper and personable than the usual oafish fool. He is still odious but the dichotomy between elegant exterior and loathsome reality makes him a stronger presence. Peter Rose's eloquent vocalisation is all of a piece."

Evening Standard, December 18, 2009
Barry Millington


"Peter Rose is a fine Baron Ochs."

The Sunday Telegraph, December 13, 2009
John Allison


"Peter Rose, in particular, brings a wonderful comic acting talent to the part of the Baron."

Daily Express, December 11, 2009
William Hartston


"...he cranks up the comedy later and puts bags of personality into his singing."

The Times, December 9, 2009
     Richard Morrison


"Peter Rose gives a classic Baron Ochs..."

The Guardian, December 8, 2009
     Martin Kettle


"Rose made Ochs's discomfiture both hilarious and poignant..."

The Telegraph, December 8, 2009
Rupert Christiansen


"Rose has now sung this enormous role all over the world, accepted even in notoriously hard-to-please Vienna as the real comic article. Not only is his discreet dialect spot on, as an Austrian assured me; he actually sings the part...rather beautifully..."

The Arts Desk, December 8, 2009
David Nice


"... Baron Ochs ... was very well sung by Peter Rose, who gave him just the right nuances, without going over the top.", December 8, 2009
Mark Ronan


Read an interview with Peter Rose on his "Ochs" for "Der Rosenkavalier" at ROH:

Askonas Holt Website, December 2009
Charlotte Gardner


San Francisco Opera - Die Entführung Aus Dem Serail

"With his powerful voice, British Bass Peter Rose brought much resonance to the character of osmin..."

The Epoch Times, October 5, 2009
     Eman Isadiar


"Peter Rose, with his expressive bass voice and splendid gift for comedy, created a blustery but surprisingly lovable Osmin."

Inside Bay Area, October 2, 2009
     Cheryl North


"Peter Rose's Osmin is a delight. A real bass and a true musician, he sings the comic role of the harem boss with unusual beauty. His acting is hilarious, but never overdone."

San Francisco Examiner, September 25, 2009
Janos Gereben


Mostly Mozart Festival New York - The Creation

"The excellent bass Peter Rose brought a stentorian voice and complete authority to his singing as Raphael."

The New York Times, August 23, 2009
Anthony Tommasini


Royal Opera House - Lulu

"... approving nods were sent to all of the remaining cast, particularly Peter Rose as The Athlete...", June 14, 2009
Delia Casadei


"During the prologue, for example, while my neighbours were expecting circus animals in cages, one was able to envision these animal metaphors simply from Peter Rose's (Animal Trainer/Athlete) word painting."

Operaticus, June 10, 2009
Elena Garcia


"Peter Rose...terrific in multiple roles."

The Telegraph, June 5, 2009
Rupert Christiansen


"... in the dual roles of the Animal Trainer and Athlete Peter Rose was outstanding."

London Evening Standard, June 5, 2009
Barry Millington


"Royal Opera stalwart Peter Rose ... provided expert cameos in a multitude of roles.", June 2009
Keith McDonnell


Santa Fe Opera - Billy Budd

"...Peter Rose brings a formidable voice and blustery energy to Claggart..."

The New York Times, August 2, 2008
Anthony Tommasini


"...Peter Rose is bone-chilling as the sadistic master-at-arms John Claggart - all the more so, paradoxically, for singing with such focused finesse. Hermann Melville, on whose novella the opera is based, imagined Claggart with a bit of an aristocratic bearing: Mr. Rose realizes it vocally."

The Dallas Morning News, August 2, 2008
Scott Cantrell


"Peter Rose's Stygian but agile bass, his burly figure, and the demonic concentration he could portray in his eyes, perfectly limned Claggart's dark hatred of anything light and bright: he has shut love out wholly from his life, and will destroy anyone who threatens to storm his citadel — in this case, the unsuspecting Billy."

The New Mexican, July 13, 2008
Craig Smith


St David's Hall Cardiff - La Damnation de Faust

"Peter Rose looked and sounded a splendidly insidious Méphistophélès. This was another fine piece of vocal characterisation, communicating not only a superficial sense of mockery, but also the sense both of profound evil and of Méphistophélès’s equally profound awareness of what he, as a fallen angel, has lost. This emotional and (to a degree) moral ambiguity permeated all of Rose’s contributions and gave an impressive subtlety to his performance. This was a Méphistophélès who could be both lyrically persuasive and mockingly maledictory, a figure well calculated to control the dangerously idealistic and already troubled Faust."

Seen and Heard International, April, 2008
Glyn Pursglove


"The one truly dramatic characterisation here was that of Peter Rose as Mephistophélès, suitably diabolic in tone and demeanour..."

The Guardian, April 7, 2008
Rian Evans


Deutsche Oper Berlin - Der Rosenkavalier

"Equally convincing was Peter Rose as Ochs - I seriously doubt if there are any better interpreters of this part today: He has the most wonderful low notes, a steady voice in the entire range, and again, a great talent for comic acting. He is funny, but never exaggerates into the ridiculous, making this Ochs a believable character, and not just a parody."

Mostly Opera, March 16, 2008


Metropolitan Opera - The Barber of Seville

"Peter Rose's richly sonorous bass and polished singing represent luxury casting for the role of Don Basilio."

The Dallas Morning News, January 27, 2008
Scott Cantrell


"Peter Rose, the British bass, has been a memorable Baron Ochs on the Met stage. (I'm speaking of Strauss's opera "Der Rosenkavalier.") On Saturday night, he proved a successful Don Basilio — smooth and stylish."

The New York Sun, January 14, 2008
Jay Nordlinger


"Peter Rose provided a nicely sonorous account of the slanderous Don Basilio."

The New York Post, January 14, 2008
Clive Barnes


Royal Albert Hall - The Apostles (Elgar) at the PROMS

"... Peter Rose was outstanding as Peter."

The Times, August 21, 2007
Hilary Finch


Opera Australia - Die Entführung Aus Dem Serail

"Rose demonstrated complete mastery of the comic role with impeccable pacing and phrasing and a lush bass voice that could be both darkly venomous and gleefully animated."

The Opera Critic, July, 2007
Rosalind Appleby


Vienna State Opera - Parsifal

"Die Entdeckung des Abends war der debutierende Peter Rose als Gurnemanz: Wenn man nicht wüsste, dass er Engländer ist, käme man nicht auf die Idee – sein Deutsch ist lupenrein, verständlicher als das der „echten“ Deutschen. Er verfügt über einen hell gefärbten, wunderschön modulationsfähigen Bass, der für Wagner wie geschaffen ist. (The evening's discovery was the debut of Peter Rose as Gurnemanz: If you did not know he is English, you would never have guessed it. His German, a magnifying glass, was more intelligible than that of a "real" German. His capable, controlled bass, brightly coloured and with beautiful modulation, was created for Wagner.)"

Der Merker, April 6, 2007
Renate Wagner


"Nicht zu vergessen: Peter Rose, dem Gurnemanz wie angegossen in der Kehle liegt. (Not forgetting Peter Rose, whose Gurnemanz vocally fits like a glove.)"

Wiener Zeitung, April 6, 2007
Markus Hennerfeind


Hamburg Opera - Billy Budd

"Peter Rose was perfect as a bullish, clever, angry Claggart, with a smooth surface and tormented depths."

Opera, July, 2007
Shirley Apthorp


"Peter Rose gab seinem John Claggart die genau richtige Mischung aus finsterer Verschlagenheit und Verzweiflung. (Peter Rose gave his John Claggart the exact mixture of dark cunningness and despair.)"

Hamburger Abendblatt, March 27, 2007
Joachim Mischke


"Bassist Peter Rose stellte einen finsteren Claggart auf die Bretter, dessen Tiefe und Kraft seelische Abgründe und unverrückbare Bösartigkeit überzeugend erschuf. Ein Schurke von shakespeareschem Jago-Format. (Bass Peter Rose presented a dark Claggart on stage, whose depth and power convincingly formed mental abyss and unmovable viciousness. A villain of Shakespearean Jago-format.)"

Der Spiegel, March 26, 2007
Werner Theurich


The Barbican London - L'enfance du Christ

"Peter Rose was outstanding as the generous carpenter who takes Mary and Joseph in from their wanderings."

The Times, December 6, 2006
John Allison


Dallas Opera – Nabucco

"Peter Rose brings great dignity to the role of the high priest Zaccaria, and a warm, fluid bass to match."

The Dallas Morning News, November 11, 2006
Scott Cantrell


Opera on CD - Tristan und Isolde

"As to the Marke of Peter Rose, it's exemplary. One of Rose's strengths is his physical presence, in this part so dignified and touching, but on disc he surmounts its absence with a combination of a finely managed legato and declamation of moving simplicity and justness."

Opera, November, 2006
Richard Law


Hamburg State Opera – Parsifal

"...voellig muehelos dagegen, mit oratorischer Linienfuehrung, glaenzender Hohe und einer Diktion, die jedem deutschen Muttersprachler zur Ehre gereicht haette, der Gurnemanz von PETER ROSE. (...completely effortless on the other hand, with line following oratorio, sparkling heights and a diction which would honour every native German speaker, the Gurnemanz of PETER ROSE.)"

Orpheus, September, 2006
Hartmut Kuehnel


Seattle Opera – Der Rosenkavalier

"The farcical engine is driven by Baron Ochs, played by bass Peter Rose with great hormonal energy. Rose's Baron enjoys every half-second of his caddishness, and takes advantage of every comic opportunity. His head-on-a-swivel act, stuck between spy Valzacchi's advisements and spy Annina's cleavage, had me sinking to the floor in laughter."

The Opera Critic, August 30, 2006
Michael J Vaughan


"Peter Rose is already a known and admired quantity in Seattle, where he has previously been seen and heard in Tristan und Isolde and Rusalka. His sonorous bass … and commanding presence made a formidable figure of Baron Ochs, his lecherous cynicism proof against every rebuff until the comprehensive comeuppance he suffers in the last act."

Seen and Heard International Opera Review, August 21, 2006
Bernard Jacobson


"Rose has sung this role many times, and he nails the part with a pitch-perfect performance and a glorious voice."

The Herald, August 11, 2006
Mike Murray


"…fabulous … as Baron Ochs. Rose was hilarious as a lecherous older man."

Seattlest, August 10, 2006


"Baron Ochs is often portrayed as a lovable buffoon, but Peter Rose’s rendition is of an aristocrat who deliberately wields the power of his station in life boorishly and coldly. When he’s appraising Sophie, his bride-to-be, like a horse he’s considering buying, it’s a totally appalling moment. His powerhouse voice ranged easily from inexorable threat to cajoling seduction."

Queen Anne News, August 9, 2006
Maggie Larrick


"Peter Rose, another Brit – from Canterbury – and one of the world’s great basses, has returned in his signature role of Baron Ochs."

Queen Anne News, August 9, 2006
Linda Greenwald


"Mr. Rose was well nigh perfect in the role, possessing among other virtues a great low E, with which Ochs closes Act Two. His voice, which we so enjoyed in Seattle's "Tristan" in 1998, was beautiful and big; and he truly sang the part, while acting his many faults with an effectiveness that was both frightening and humorous."

Seattle Gay News, August 2006
Rod Parke


"Peter Rose gave us the best-sung Ochs imaginable, with considerable vocal strength at both ends of the compass (including a rich store of powerful notes below the staff), and he also proved a magnetic actor who can make you laugh, wince and frown in a single phrase."

The Seattle Times, August 9, 2006
Melinda Bargreen


"Peter Rose sings powerfully as Baron Ochs and manages the comic element perfectly. This barren ox is pompous and vulgar, but a person and never a cartoon."

Seattle Weekly, August 9, 2006
Gavin Borchert


Hambug State Opera – Parsifal

"Der erste Akt geriet am ueberzeugendsten, vor allem dank eines Gurnemanz in der Person des stimmgewaltigen Peter Rose. (The first act came across most convincingly, especially thanks to a Gurnemanz in the person of the mighty-voiced Peter Rose.)"

Hamburger Abendblatt - 4 April 2006


"...und Peter Rose trat mit dem Riesenpart des Erzaehlers Gurnemanz das wehvolle Erbe des großen Kurt Moll an, und die großen Schuhe passten. (...and Peter Rose, with the huge part of the Narrator Gurnemanz, became heir to the great Kurt Moll, and fitted his big shoes perfectly.)"

Die Welt, Hamburg - 4 April 2006


Lyric Opera of Chicago - Midsummer Marriage

"The fine cast included...bass Peter Rose, who brought superb diction and dramatic weight to the role of King Fisher, Jenifer's overbearing plutocratic father. "

Wall Street Journal - November 22, 2005


"Still, the singing is superb, all of it. Peter Rose nails the evil capitalist King Fisher. This is, in fact, the finest performance of the opera I have encountered finer than the performance currently at Covent Garden ..."

LA Times - December 07, 2005 - "A 'Midsummer' at its vocal zenith"


"...and English bass Peter Rose brought a hearty no-nonsense vigor to King Fisher "

Chicago Sun-Times - November 21, 2005
Wynne Delacoma


"As Jenifer's overbearing mogul father, King Fisher, Peter Rose gave a performance perfectly pitched between buffo bluster and admittedly self-serving paternal concern." November 22, 2005
Steve Smith


English National Opera - A Midsummer Night's Dream

"Peter Rose's return as bottom; sounding warm and resonant even when singing through his donkey head (complete with nifty moving jaw), he had more presence than anyone while making the least effort to achieve it."

Opera, September 2004
Erica Jeal


Lyric Opera of Chicago - Pirates of Penzance

"Peter Rose's jovial sergeant of police was a masterpiece of cockney caricature, ..."

Opera, June 2004
William Shackelford


Graz Opera - Parsifal

"With this performance, Peter Rose staked his claim as the most lavish-voiced, lyric, bel canto Gurnemanz since Kurt Moll. A great communicator, the British bass turned his long monologues into riveting storytelling, through perfect diction and sensitive word-coloring "

Opera News: January 2004


"Peter Rose astounded by making Gurnemanz's endless monologues riveting theatre through flawless diction, sensitive word colouring and a lyrical light bass with a lovely bloom."

Financial Times: 06 October 2003
Larry L Lash


Salzburg - Die Entführung Aus Dem Serail

" With the exception of Peter Rose as a bluff Osmin, characterful enough to defy his surroundings, the rest of the cast is well below Salzburg standards."

The Guardian: August 15, 2003
Edward Greenfield


" Peter Rose deserves a bonus not only for singing Osmin so well, but undergoing numerous indignities with such good humour."

Financial Times: August 2, 2003
Richard Fairman


Seattle Opera - Rusalka

"There was an exceptional supporting cast. Best of all was Peter Rose, whose warm and beautifully phrased account of the Water Spirit's Act 2 aria was deeply moving. "

Opera: April 2002



Glyndebourne - A Midsummer Night's Dream

"At their head was Peter Rose as a virtually ideal Bottom. Eschewing the mugging and exaggerations of so many interpreters in the past, he followed the humour of the role from within. A natural comic, he communicated easily with the audience and his fellow groundlings, was a deliciously sensual lover-as-donkey, and led the play preparations and execution with complete ease. To add to one's pleasure, his rounded bass filled the part with warm tone."

Opera Magazine: August 2001


".. A Stentorian performance by Glyndebourne stalwart Peter Rose"

Mail on Sunday: 03 June 2001


" Peter Rose is first class as Bottom"

The Tablet: 02 June 2001


" An excellent cast includes two supreme performers... Peter Rose's Bully Bottom unites naturalness - no coarse exaggeration, romance in the "dream" monologue - to a voice of exceptional beauty and an ideal command of words. His King Mark in Tristan is already famous; what a fine Hans Sachs he should be"

Times Literary Supplement: 01 June 2001


" Peter Rose as Bottom, gave an endearing, slightly underplayed and ripely sung portrayal, making the most of his recital of his dream of love with Tytania"

Sunday Telegraph: 27 May 2001


"There's no overt evidence.. that Peter Rose's Bottom - the star of the show - is as outstandingly well hung as it is well sung (as there was when he appeared in Robert Carsen's more recent production for ENO)"

Sunday Times: 27 May 2001


"...Peter Rose's brilliant Bottom (is) the most complete performance of the evening. His resonant bass is warmly musical, and he saves the theatricals from seeming a long-winded glorification of amateur theatre."

The Times: 23 May 2001


" Peter Rose's genial Bottom came close to running away with the show. That is the reward for fielding a big, confident bass and bags of personality."

Financial Times: 23 May 2001



The Metropolitan Opera, New York - Der Rosenkavalier

"... the performance was elegantly, even eloquently dominated by the British bass Peter Rose, undertaking his first and only Ochs here. Rose ignored all the awful buffo traditions and played the country baron as a man of authoritative bluster and affecting bonhomie. He really sang the score, from easy top to resonant bottom, without Sprechstimme distortions, and even mustered a good semblance of Viennese dialect."

Financial Times: 19 December 2000



Royal Opera House, Covent Garden - The Tales of Hoffmann

"... and Crespel resounded to Peter Rose's distinctive bass."

Financial Times: 3 October 2000



Telarc recording - Mozart - Die Entfuehrung aus dem Serail

"Only Peter Rose's superbly sung Osmin really stands up to the competition'."

Sunday Times: 6 August 2000



English National Opera - Eugene Onegin

"But an unexpected showstopper also comes from bass Peter Rose as the uxorious Prince Gremin."

Stage Opera Review: 25 May 2000



English National Opera - Ernani 

"Peter Rose creates a far more humane portrait of Silva than the standard Verdi bass."

Financial Times: 9 May 2000


"Peter Rose's Silva is imposingly Stentorian."

The Guardian: 8 May 2000


"Outstanding was the bass Peter Rose as the grandee Silva. He projected superbly, rolling out even, focused tone in smoothly shaped phrases and keeping the ham to a tactful minimum. What a wonderful singer he has become."

Daily Telegraph: 5 May 2000



Minnesota Opera - Der Rosenkavalier

"Peter Rose as Baron Ochs makes another standout performance. His resonant bass voice dominates the action. And while he is deliciously vulgar and boorish, he never loses the aristocratic bearing that made him credible as part of the Marschallin's world'."

St. Paul Pioneer Press: 24 January 2000



Scottish Opera - Der Rosenkavalier

"Peter Rose's Ochs he sang magnificently and gave a role that can grow tiresome, a new dimension."

Sunday Telegraph: 14 February 1999


"Baron Ochs, sung magnificently by Peter Rose."

The Guardian: 9 February 1999


"Peter Rose's Ochs is an outstanding, versatile, comic creation, and Rose sings as though born to the role. In his final humiliation he even becomes moving."

The Scotsman: 8 February 1999


"... in tandem with Peter Rose's magnificently sung performance."

The Times: 8 February 1999

"Peter Rose's Baron Ochs certainly the star of the show, a man of strength, vivid enunciation, and his own sort of dignity, whose downfall seemed more the fault of the effete Vienna than that of his robustly rustic personality."

The Herald: 8 February 1999

"Peter Rose's Ochs was the production's greatest success an outstanding interpretation, the most convincing I have ever seen'."

Daily Telegraph: 8 February 1999



Seattle Opera - Tristan und Isolde

"Peter Rose, widely admired in Europe and UK, reflecting the glory of Seattle's Tristan - most agreed his was the "best sung King Marke, ever!" Rose's voice is a glorious, warm lyric-bass, his artistry impeccable."

Opera Now, November, 1998
J A Van Sant


"...and the most beautiful Mark I have ever heard, Peter Rose (the Welsh National's Mark five years ago), pouring out Plançon-emulant tone in poignant, lyrical lines."

The Times Literary Supplement: 21 August 1998


"Peter Rose's Marke, youthful but dignified and entirely free of mannerism, pours out his lines like a Lieder singer."

Financial Times: 10 August 1998


"Peter Rose's warm bass made King Marke's lament over his betrayal sympathetic instead of tedious."

Chicago Sunday Times: 3 August 1998


"The fine English bass, Peter Rose, was moving as King Marke."

New York Times: 3 August 1998



WNO Cardiff - Die Entfuehrung aus dem Serail

"The strongest member of the cast was the Osmin, Peter Rose, whose noble and capacious bass voice I have been admiring for a couple of years now. He made the character comic and alarming at once, tucked into his arias with healthy appetite, relished the dialogue..."
"But then, i must own that Peter Rose, whose expressively mobile face kept me riveted, has the makings of an Osmin to rank with - yes, Moll and Frick and Weber, and Rose is just starting his career. He is a bass of some such potentiality, if he develops wisely."

Opera, May, 1989
William Mann