as Don José in Carmen
"David Pomeroy’s voice brought life, depth and breadth to Don José, while his descent into obsession was believable and heartfelt." - Apt613
"...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
"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 Don Jose had a new-car smell: The voice was fresh and unlabored with a particularly gratifying bloom in the upper range."- Philly.com
"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
"...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
"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 Don Jose had a new-car smell: The voice was fresh and unlabored with a particularly gratifying bloom in the upper range."- Philly.com
"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 Radames in Aïda
" 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
" 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
as Calaf in Turandot
"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
"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
as Paul in Die Tote Stadt
"With Ben Heppner now in retirement, Pomeroy is the closest we now have in Canada to a heldentenor, the type of voice needed for this role. This is a role that suits Pomeroy’s voice excellently, with its bright, forward placement of the tone and a clarity that cuts through the heavy orchestration. While his style of singing is fundamentally Germanic, there is a welcome Italianate lyricism present in the sound as well. Managing the high-lying part without evident strain, and singing with the needed strength, Pomeroy made a strong impression, not only in the singing but in the well worked-out dramatic characterization." - Calgary Herald
"Canadian tenor David Pomeroy shines from beginning to end, above and through the orchestra, expressing the passion of the world in its electrifying, heroic and fleshy highs. At the same time, he releases a touching vulnerability, making pianissimi almost falsetto in his duet with the deceased Marie, not to mention its intelligible German diction and an economy in dramatism..." - Ôlyrix
"Canadian tenor David Pomeroy (Paul) and South African soprano Johanni Van Oostrum (Marietta) are sensational, dramatic engagement as well as vocal ease, even in the vocal extremisms required by the intense writing of Korngold... Even the impossible aria in Act III does not pose any difficulty to him. He has something darker and more fatal still, his impulses are inexhaustible, and a very touching melancholy colors with vulnerability all that is inside. He also manages to sing piano the whole end of the book, and we can only surrender to his performance!" - Classique News
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." - Vancouver Classical Music
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 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 Cavaradossi in Tosca
"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
"I was absolutely enraptured by David Pomeroy’s performance.His voice is flawless..." - Vancouver Vantage
"...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
"I was absolutely enraptured by David Pomeroy’s performance.His voice is flawless..." - Vancouver Vantage
"...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 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 Alfred in Die Fledermaus
"David Pomeroy exudes brio as Alfred..." - ConcertoNet.com
as Hoffmann in Les Contes d'Hoffmann
"Pomeroy has a gorgeous, well-dimensioned voice and he plays his role believably..." - Finster Finds
"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
"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
"... 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