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  29 Jan 20 WAGNER Parsifal
  Toulouse

  “La basse britannique Peter Rose se montre décidément aussi excellent dans le répertoire comique (on pense à son Baron Ochs entendu dernièrement à la Staatsoper de Vienne…) que le répertoire dramatique, et les fameux monologues de Gurnemanz sont ici phrasés avec une ampleur veloutée qui ne manquent pas d’impressionner. Par ailleurs, la diction, incroyablement nette, donne à ces longs moments d’introspection narrative une emphase qui ne vire jamais à la grandiloquence.”

  Emmanuel Andrieu, Opera Online, 5 February 2020

  “Que de belle humanité et de profonde musicalité la voix souple, large et remarquablement homogène de Peter Rose apporte-t-elle à Gurnemanz, face au mémorable et bouleversant Amfortas de Matthias Goerne, hissé sur des cimes proprement métaphysiques. ”

  Alain Cochard, Concert Classic, 29 January 2020

  “Peter Rose déploie une voix de basse imposante à la façon d’un orgue dans le rôle de Gurnemanz. De l’aigu au grave profond, l’interprète lisse un legato onirique, une musicalité qui rend ses récits pourtant longs toujours excitants à entendre.”

  José Pons, Olyrix, 29 January 2020

  “Pour compléter avantageusement ce quatuor vocal d’exception, Peter Rose, qui fait ses débuts au Capitole, compose un Gurnemanz remarquable, merveilleusement humain – quelle superbe voix, riche et pleine, d’une épaisseur harmonique rare !”

  Catherine Jordy, Forum Opera, 26 January 2020

   

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  03 Oct 19 BRITTEN A Midsummer Night's Dream
  Wiener Staatsoper

  “The best developed character of all six Mechanics was definitely The Bottom, here sung by British bass Peter Rose. His handsome, warm bass sound was clearly felt in “My Chief humour is for a tyrant,” and he was set to play the role of Pyramus in the play. Rose offered some top-notch comic acting in the scene with Tytania, playing a perfectly delusional ass, and offered his beautiful bass in “When my cue comes.”

  Dejan Vukosavljevic, Opera Wire, 8 October 2019

  “Spaß macht vor allem der britische Bass Peter Rose als Bottom – stimmlich ebenso souverän wie das gesamte Ensemble.”

  Bernhard Neuhof, BR-online, 3 October 2019
  

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  07 Jun 19 DEBUSSY Pelléas et Mélisande
  Dutch National Opera

  “Another great asset in the cast was bass Peter Rose as King Arkel. His singing was as steady as a rock and his half-blind monarch exuded great dignity and profound loneliness.”

  Jenny Camilleri, Bachtrack, 6 June 2019

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  22 Feb 19 WAGNER Parsifal
  Victorian Opera

  “The vocal “Wow!” factor began with renowned bass, Peter Rose. As a kindly yet stately Gurnemanz, his opening wake-up call to the young squires rang with a weighted authority and richness that has made him much sought after by the world’s major opera houses.”

  Heather Leviston, Classic Melbourne, 22 February  2019

  “Peter Rose, in the ostensibly supportive role of Gurnemanz, is magnificent; stately and wearied, he manages to turn large swathes of exposition into glorious music.”

  Tim Byrn, Timeout, 22 February 2019

  “British bass Peter Rose brings a warm stage presence to veteran knight Gurnemanz, singing the role with unflagging smoothness of tone.”

  Simon Parris, Simon Parris : Man in Chair, 21 February 2019

  “Peter Rose’s sonorous bass evoked a friendly, compassionate Gurnemanz, bold and confident, his voice beautifully rich, warm and welcoming, a joy to experience.”

  Brian Angus, Bachtrack, 21 February 2019

  “As the knight Gurnemanz, English bass-baritone Peter Rose sets the bar high in Act I and is equally superb hours later in the final act.”

  Bridget Davies, Brisbane Times, 21 February 2019

  “… British bass Peter Rose is exceptional as elder knight Gurnemanz, providing gravitas and pathos in equal measure and dispatching his vocal line with power, clarity and nuance.”

  Eamonn Kelly, The Australian, 20 February 2019

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  11 Jan 19 WAGNER Der fliegende Holländer
  Marcus Center For The Performing Arts, Milwaukee

  “Peter Rose created a commanding Daland, singing with an enormous, powerful sound, constant focus and tremendous warmth and presence.”
  Elaine Schmidt, Journal Sentinel, 12 January 2019

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  25 Nov 18 RAMEAU Hippolyte et Aricie
  Deutsche Staatsoper Berlin

  “The singing varied from good to superb, the latter in the shape of the low voices: Gyula Orendt as Theseus and Peter Rose as Pluto. Their confrontation in the underworld was riveting: Rose with a huge, stentorian bass…”
  David Karlin, Bach Track, 26 November 2018

  “Peter Rose war ein bassgewaltiger Pluto…”
  Erstellt von Kaspar Sannemann, Oper-Aktuell, 29 November 2018

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  21 May 18 JANACEK From the House of the Dead
  Bayerische Staatsoper

  “In dieser barocken Opulenz gab es freilich weder Platz für eine kluge Personenführung noch Raum zur Entfaltung für die hochkarätigen Solisten, allen voran Bo Skovhus in der Partie des Šiškov, Peter Rose als politischer Häftling Gorjančikov und Evgeniya Sotnikova als Tartar Aljeja, ferner Aleš Briscein in der Rolle des Luka und Charles Workman als Narr Skuratov.”
  Marco Frei, Neue Burcher Beitung, 22 May 2018

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  16 Nov 17 VERDI Requiem
  Atlanta Symphony Hall

  “The superb quartet of soloists seemed well-matched to the occasion and each other, the pairings of male voices and of female voices especially so. Tenor Dimitri Pittas and bass Peter Rose each possessed a good cutting edge when the music called for it, but were able to opt for a more rounded coloring when needed.”
  Mark Gresham, Arts ATL, 17 November 2017

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  02 May 17 DEBUSSY Pelleas et Melisande
  Cleveland Orchestra

  “Peter Rose, as King Arkel, has a voice we could listen to for days.”

  Laura Morris, Clevescene.com, 5 May 2017

  “Bass Peter Rose was the anchor of the story as the old King Arkel. Rose’s singing was magisterial.”

  Von Timothy Rosbon, Bachtrack, 3 May 2017

  “To Peter Rose, meanwhile, the clarion bass who sings King Arkel, one could happily listen for an eternity.”

  Zachary Lewis, Cleveland.com, 3 Mar 2017

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  07 Jan 17 OFFENBACH Les Contes d’Hoffmann
  Dresden Semperoper

  “Peter Rose was absolutely gripping as the villains.  Having heard him sing in impeccable Viennese as Ochs, I was delighted by his outstanding French tonight.  His diction really is absolutely exceptional.  He was a nicely flamboyant presence on stage and sang with rock solid tone throughout.  There’s something most gratifying in his artistry – one can see the years of work that have gone into producing a voice that’s absolutely even from top to bottom.  His ‘scintille, diamant’ showed him at his best – no issues with the tessitura and a very good legato.  With the big, full bottom Rose has the ideal voice for the roles.”
  Opera Traveller, 8 January 2017

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  12 Aug 15 STRAVINSKY The Rake's Progress
  Edinburgh International Festival

  “Peter Rose was a warmly noble Trulove…”
  Kate Molleson, The Guardian, 13 August 2014

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  06 Oct 14 R.STRAUSS Capriccio
  Lyric Opera of Chicago

  “Peter Rose was ideal casting for the cynical yet savvy impresario La Roche…”
  Lawrence A. Johnson, Chicago Classical Review, 7 October 2014

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  07 May 14 HAYDN The Creation
  Sir Simon Rattle; OAE

  “There was an excellent trio of solo singers…The bass has the most fun, and here Peter Rose relished his every turn, especially the low notes for the lowly earthworm”
  Erica Jeal, The Guardian, 7 May 2014

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  01 Apr 11 R.STRAUSS Capriccio
  The Metropolitan Opera

  “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.”

  Arthur Kaptainis, The Gazette, 1 April 2011

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

  Anthony Tommasini, New York Times, 29 March 2011

  “As the producer La Roche, bass Peter Rose sang and acted with gusto…”

  Mike Silverman, San Francisco Chronicle, 29 March 2011

  “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.”

  George Loomis, www.classicalreview.com, 29 March 2011

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  06 Aug 12 PUCCINI Turandot
  Seattle Opera

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

  Bernard Jacobson, The Seattle Times, 6 August 2012

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  19 Dec 11 HANDEL Messiah
  New York Philharmonic Orchestra

  “…the bass Peter Rose…uniformly superb.”

  Steve Smith, New York Times, 14 December 2011

  “…Peter Rose, another superb voice, with his intense nuancing of his recitative.”

  New York Arts, 19 December 2011