as Calaf, in Turandot
Regarding the singers, the highlight in São Paulo is Calaf by David Pomeroy. Bulky voice, good acting, clean treble, a handsome demeanor amkes him a resolute, strong, determined, passionate prince. - Bastidores
There are few roles more heroic than Calaf, and in David Pomeroy—who seems to go from strength to strength—the part was convincingly sung throughout, including a well-handled Nessun dorma... There were bravos aplenty at the end of his famous aria, but Pomeroy went on to eloquently sing the extended (and demanding) final duet with Capalbo. This is one of the most beautiful moments of the opera and, in this production one of the best of the evening. - Calgary Herald
as Don José, in Carmen
David Pomeroy, as Don José, was magnetic. His dark good looks and impressive acting skills made for a tragic hero. The voice is a beautiful one, with a seamless sound. There is plenty of power when the moment arrives to use that power, and a decided bravura in its use. The final confrontation in Seville belonged entirely to the tenor, who gave full vent to the desperation and rage of the hapless soldier. On the other hand, his use of soft singing was remarkable, displaying amazing tenderness in the duet with Micaëla, ending in a beautifully floated high phrase. - Belgian Operaguide
David Pomeroy’s voice brought life, depth and breadth to Don José, while his descent into obsession was believable and heartfelt. - Apt613 |
David Pomeroy's Don Jose had a new-car smell: The voice was fresh and unlabored with a particularly gratifying bloom in the upper range. - Philly.com |
...glowing renderings of some of Bizet’s most beautiful arias. His 'flower song' in Act II, ...was a lyrical moment...captured magnificently. Then his performance reached greater heights in Act IV with his tortured, and pulsating pleading, a lover driven to his wit’s end by the taunting of Carmen. - Capital Critics' Circle
In La fleur que tu m'avais jetée, he was wonderfully expressive and passionate...He reached the demanding high notes with smooth ease...Totally compelling as a ruined man, Pomeroy's sublime sorrow was palpable. - Winnipeg Free Press
as Peter Grimes
In the title role, tenor David Pomeroy commanded an exceptionally wide expressive range, from the hushed mysticism of 'Now the great Bear and Pleiades' and the broad lyricism of 'What harbour shelters peace' to the searing intensity of his concluding mad scene, 'To hell with all your mercy.' However loud or soft his delivery, Pomeroy's voice was consistently full yet controlled, effortlessly soaring above the orchestra without a hint of strain. |
Dark rumour pursues seafaring Peter Grimes David Pomeroy stars in the Vancouver Symphony Orchestra's concert version of Peter Grimes, an opera with more than a dash of 21st-century relevance. |
as Radamès, in Aïda
David Pomeroy, a Canadian tenor, made his Seattle Opera debut as Radames. His voice had an earnest resplendent quality that actually made my eyes widen as he began his opening aria. It practically shone in the air as he captured the fervor of passionate Radames. - The Daily UW
... Radames, David Pomeroy, proved an excellent singing actor... - The Seattle Times |
All the main singers, not just Pomeroy, are very good... - Oregon Artswatch |
David Pomeroy (Radames) has a ringing and full tone, but is also capable of a soft emission in moments of greater intimacy, especially in the finale. Alter and incisive in the role of commander-in-chief, he makes his thirst for victory palpable, as well as the indissoluble bond with his beloved Aida, with elegant phrasing along the entire vocal range. - Opera Click
as Florestan, in Fidelio
David Pomeroy... impressed as a Florestan... his spinto tenor has splendor and punch. - Online Musik Magazin |
David Pomeroy... as Florestan designed his extensive aria (Act 2), which is filled with loneliness and hunger, with great commitment and impressive liveliness. - Opera Point |
as Tannhäuser
Pomeroy was exemplary... the tenor sounded in full voice throughout and particularly so in this final act. He was simply superb in portraying the pain and torture inside the title character. - Operawire
Above all David Pomeroy as Tannhäuser succeeds astonishingly well in his formidably rehearsed role debut... he finds the balance between power ("Mercy to you!") and filigree voice leading within the killer role. - Die Deutsche Buene |
David Pomeroy (Tannhäuser) is a heroic tenor as he is in the book: his voluminous tenor voice is very clear in the intonation... In the heights he succeeds especially in the aria 'Stets soll nur dir mein lied ertönen,' gracefully let his tenor swell into the forte. - Opera Point
as Pinkerton, in Madama Butterfly
... his depiction of [Pinkerton] was beautifully shaped, both dramatically and especially vocally. Pomeroy is one of the top tenors around, a true singing actor like all the performers onstage tonight, possessing a voice of exquisite beauty and power. - Schmopera
acclaimed Canadian lyric tenor David Pomeroy created a strapping, 19-year old Pinkerton... Pomeroy set sail on his own harrowing narrative arc with port stops along the way, including sweetly tender love duet with this new bride, “Viene la sera,” until becoming unmoored and wracked with remorse during Act III’s “Addio fiorito asil” sung with dramatic intensity. - Opera Today
as Cavaradossi, in Tosca
"I was absolutely enraptured by David Pomeroy’s performance. His voice is flawless... - Vancouver Vantage
Newfoundland’s Pomeroy is also blessed with one of those effortless, ringing tenors that make Giacomo Puccini’s mellifluous music flow like the finest Barolo. His famous final-act goodbye aria, E lucevan le stelle, brought the house down. - Straight.com |
...the tenor David Pomeroy as Mario Cavaradossi brought tears to my eyes.(During) Cavaradossi’s lament in Act III...Pomeroy’s voice almost broke with emotion.That moment was so real, so immediate and deeply felt that I sat up in my chair and was spellbound for the rest of the piece. - Plank Magazine |
as Faust |
...a powerful, agile tenor … heartfelt - The New York Times
as Alfred, in Die Fledermaus
David Pomeroy exudes brio as Alfred... - ConcertoNet.com
as Erik, in Der Fliegende Holländer
David Pomeroy was simply great all night...He simply nails the part of Erik, embodying the role in voice and action. - Calgary Herald
as Hoffmann, in Les Contes d'Hoffmann
Pomeroy has a gorgeous, well-dimensioned voice and he plays his role believably... |
His voice is a husky one that he covers or not at will below the passagio — this is Hoffmann as a bit of a brute. - Opera Today |
as Il Duca, in Rigoletto
Difficile de résister à une voix aussi chaude et musclée que la sienne, doublée d’un grand charisme, surtout quand il entonne La donna è mobile, pièce archi-connue de Rigoletto - EXRue Frontenac
as Alfredo, in La Traviata
...David Pomeroy whose caramel-hued tenor allowed each note to stretch out in a buttery blend of dark and light...Pomeroy also knocked his Act II aria out of the park with a dolce tone and lusty immediacy, charging into an agitated cabaletta - WQXR/Operavore |
... sang splendidly, with emotional nuance and detailed revelation. He has a generous voice with a slight spinto edge, taking on Alfredo's journey from passionate lover, to tamed ardor, rejection and then a final acceptance. Pomeroy handled the complex arc masterfully. - Berkshire Fine Arts |