Duncan Rock's charismatic Schaunard goes to pieces as Mimì dies. Tim Ashley, The Guardian, 30 April 2013

Duncan Rock is a strong and assertive Schaunard. Richard Fairman, The Financial Times, 30 April 2012

Duncan Rock rounds out the young artists as a dynamic Schaunard. Alexandra Coghlan,The Arts Desk, 30 April 2013

Duncan Rock once again proves that he is the most exciting young baritone on the company’s roster with his faultless portrayal of Schaunard. Keith McDonnell, What's on Stage, 01 May 2013

Formidable Billy beau gosse de Duncan Rock, bartyon de grande venue. Jean-Charles Hoffelé, Concert Classic, 20 March 2013

...the charisma of Duncan Rock's Donald, whose striking performance looked like an audition for the title role... Hugh Canning, The Sunday Times, 24 June 2012

Duncan Rock's noticable Donald. Rodney Milnes, Opera, August 2012

Some younger singers stood out among a fine supporting cast: Duncan Rock as a virile Donald. Rupert Christiansen, The Telegraph, 19 June 2012

Bright young stars emerge from the ensemble - Duncan Rock’s wonderfully virile and 'present' Donald. Edward Seckerson, The Independent, 19 June 2012

Duncan Rock is a spirited and effective Donald. Sam Smith, Londonist, 20 June 2012

The physically and vocally imposing Duncan Rock as Donald, who gives the most rounded performance of the evening. Here is a singer to watch as not only is he a striking stage presence, but he possesses a wonderfully rich baritone voice, that is plainly destined for greatness. Keith McDonnell, What's On Stage, 19 June 2012

We get an unexpected glimpse of how the role [Billy] should go in terms of singing and acting when the baritone singing Donald – Duncan Rock – launches into the 'We’re off to Samoa' chorus. Suddenly, Billy Budd was there before us to the life, bluff, rich voiced, even and fully rounded, person handsome, imposing and strikingly charismatic, the exact sort of insouciantly alluring character to whom the other sailors and Vere himself would all fall willing victim. Stephen Jay-Taylor, Opera Britannia, 20 July 2012

Duncan Rock is the tall, personable Papageno, a classy singer and a real charmer. Andrew Clark, Financial Times, 16 September 2012

There’s little to fault in the up-and-coming Rock, just announced as the winner of the first Chilcott Award for young singers, and a baritone possessed of much honeyed tone and stage charisma. This is neither the goofiest nor the most tragic Papageno, but it is one of the most honest and amiable, and the Aussie singer does a good impression of a cheeky larrikin, too. Neil Fisher, The Times, 17 September 2012

There’s little to fault in the up-and-coming Rock, just announced as the winner of the first Chilcott Award for young singers, and a baritone possessed of much honeyed tone and stage charisma. This is neither the goofiest nor the most tragic Papageno, but it is one of the most honest and amiable, and the Aussie singer does a good impression of a cheeky larrikin, too. Neil Fisher, The Times, 17 September 2012

Crucial to the success of any Flute is the role librettist Emanuel Schikaneder originally designed to showcase his own talents – that of the bird-catcher, Papageno. Duncan Rock seems a natural for the part, his antipodean ebullience enabling him to connect ever more confidently with the audience throughout the evening. George Hall, The Guardian, 14 September 2012

ENO should congratulate itself on having secured 28-year-old baritone Duncan Rock as Papageno, who this week won the first £10,000 Chilcott award for young British opera singers.  Papageno seemed a bit alarmed when, after asking for a bride to save him from a lonely death, a woman in the second row stalls volunteered her services. It's an idea that might catch on. Fiona Maddocks, The Observer, 16 September 2012

Duncan Rock’s hugely promising Papageno. David Mellor, Daily Mail, 24 September 2012

Duncan Rock’s world-class Papageno...was full of rugged charm and charisma. Jim Pritchard, Scene and Heard, 16 September 2012

The best singing comes from Australians. Duncan Rock showcases his distinctive vocal timbre in a broad treatment that has him referring to Papagena as a ‘sheila’. David Gutman, The Stage, 14 September 2012

Musically, this revival has a good solid cast but for me the two standout performances came from Duncan Rock’s scene-stealing Papageno and Kathryn Lewek’s stratospheric Queen of the Night. Rock is one of the ENO Harewood Artists and winner of the inaugural 2012 Chilcott Award, definitely one to keep an eye on in future. This young Australian baritone boasts a warm and attractive timbre which is beautifully smooth and even across the registers with excellent diction to boot. He has a very natural and easy-going stage presence which makes him instantly likeable, together with a flair for comedy – helped by the added ‘Australianisms’ in his updated spoken dialogue. His 'Ein Mädchen oder Weibchen' was delightful and he even managed to inspire a lady in the stalls to volunteer to marry him during the attempted suicide scene (which certainly wasn’t in the script, but which he handled with aplomb). In some ways he reminded me of a young Keenlyside and I hope I’ll get the chance to hear his Don Giovanni at some point. Faye Courtney, Opera Britannia, 25 September 2012

Duncan Rock’s portrayal of Papageno, including his subtle communication with the audience throughout (as surely envisaged by Schikaneder, the opera’s librettist and first Papageno), was fully credible. So much so, that it was no surprise to witness a lady in the audience offering to come to the rescue when Papageno considers hanging himself. It is a credit to Rock that he handled this incident skilfully (and acknowledged it gracefully at the curtain calls). Rock’s musical interpretation is full of tonal nuances and serves Mozart’s harmonies superbly. Agnes Kory, Musical Criticism, 18 September 2012

Duncan Rock lends refinement as a beautifully-sung Papageno, less knockabout clown than baritone hunk bursting through the feathers, in a performance that suggests future greatness as Mozart’s wicked Don (a role he’s already played to acclaim). Simon Thomas, What's on Stage, 14 December 2012

Rock plays his part to the full, clearly enjoying, and expanding upon, the slapstick and fickle elements to his role. Rachel Phillips, Londonist, 18 September 2012