Paolino, Il matrimonio segreto
Il Festival della Valle d’Itria
“..The latter character is superbly sung by the Australian tenor Alasdair Kent, who exercises a suave, lirico-leggero tone, but with remarkable power and projection, having no trouble to pass the ramp of the vast courtyard of the Palazzo Ducale.”
"Kent’s tenor is lyrical, underlined with velvet, and his phrasing is spiced with subtle nuances.”
“I most enjoyed the lightness and freshness of Alasdair Kent’s tenor, which rang most sweetly in his high notes: his Paolino was disarmingly charming.”
“It serves to underline the vocal elegance, the phrasing and the beauty of the timbre of Alasdair Kent in the role of Paolino, accompanied equally by his physical attractiveness that rightly justified his appearing dressed only in underwear in the first scene of the opera: a harmony of physical form that appropriately enhances the harmony of sounds and love that binds the two protagonists. The perfect vocal control of this artist allowed him to exhibit a diminuendo of rare difficulty and ecstatic pleasure.”
“..Paolino found the ideal interpreter in the Australian tenor Alasdair Kent thanks to the perfect scenic-vocal identification with his character: it’s impossible to know whether to admire more the bel canto merit of his enchanting timbre or his flexible scenic aptitude, enhanced by the direction that at the beginning of the work made him appear in boxers, highlighting a physicality both statuesque and ephebic.”
Il tacco d’Italia
“The young Australian tenor Alasdair Kent has a beautiful timbre, both clear and agile, as well as a well-controlled sense line: he sings his extremely beautiful aria with transport and is appreciated also for his scenic prowess..”
“The Paolino of Alasdair Kent seems fresh from an English university, both tender and confident, as well as being sung with beautiful musicality.”
La Salon Musical
“The Paolino of Alasdair Kent is a leggero tenor, but with a readily audible lustre.”
Prince Frederic, The Thirteenth Child - Poul Ruders
Bridge Records, CD
“First heard in the music accompanying Hjarne’s funeral in the second scene of Act One, the voice of tenor Alasdair Kent is extraordinarily beautiful. In both the music for Frederic, Prince of Hauven, and the few words sung by Toke, Prince of Frohagord, Kent sings gloriously, his golden tones drawing their patina from his sparkling diction. When Frederic returns in the third scene of Act Two, the tenor persuasively expresses the prince’s yearning in his account of ‘For seven years I searched in vain.’ Later, entreating the duplicitous Drokan to watch over the mute Lyra, Kent’s Frederic sings ‘Keep my beloved safe’ with tenderness and integrity that only the basest villain could betray. The brief, soaring phrases with the liberated Lyra in the opera’s final scene are projected with fearlessness and intonational accuracy. In longevity, Kent’s parts in The Thirteenth Child are not extensive, but his ringing, regal vocalism gives this performance its romantic hero.”
Voix des Arts
“As the love interest, Prince Frederic, lyric tenor Alasdair Kent has a gleaming romantic tone perfectly suited to some of Ruders’s most romantic melodies. “
Ferrando, Così Fan Tutte
Lyric Opera of Kansas City
“Alasdair sang his “Un’aura amorosa,” with natural, sweet dexterity: He has about as lovely a Mozart tenor as we have heard..”
“Kent set himself apart with his lyrical “Un’aura amorosa,” in Act One: a sweet, light voice, growing into its maturity.”
Ferrando, Così fan tutte
La Rete Lirica delle Marche
“Alasdair Kent’s Ferrando was concentrated upon a character full of ingenuity: a stunningly beautiful tenor voice, Mozartian, with squillo, harmonics and volume all in the right places for an interpretation that was, speaking vocally, like liquid honey.”
“Alasdair Kent (Ferrando) made an excellent harmony..with his clear colours; his vocal registers afire, the awaited aria “Un’aura amorosa,” was met with tones of great passion and tenderness. It should be noted that both protagonists, Margheri and Kent, have athletic physiques, they do push-ups, push-ups, they jump here and there, they climb on rocks and balustrades, they lie on the ground and run without the voices ever being affected.”
“a voice of fascinating smoothness, capable of entering into the depths of your heart..”
“The entire cast is an extremely high level, appreciated in particular for the timbres of the four lovers… The only non-Italian of the cast, Alasdair Kent boasts not only excellent diction but also an extremely Italianate way of phrasing, with naturalness and good sense of the words…the great success of, “Un’aura amorosa,” is due in part to these qualities. He is accurate in detail, furthermore, in the always thorny coloratura of the Act One finale.”
Don Ramiro, La Cenerentola
"Kent's performance in particular stood out for the quality of his voice. The tenor has both a power and clarity that feel effortless, and sometimes endless, on long notes."
"Alasdair Kent’s Don Ramiro married striking good looks with delicious sound. Even on the highest notes, there was never a hint of shouting, just a reedy tone with warm sweetness and impressive agility."
San Francisco Classical Voice
Lindoro, L'Italiana in Algeri
Opéra de Toulon
"Another voice of sunlight is that of Lindoro, the Italian slave. The role is entrusted to the young tenor Alasdair Kent, looking a fictional sailor boy straight out of a Jean-Paul Gaultier collection to an operatic soundtrack. His easiness of delivery coupled with a vocal and scenic maturity offer a beautiful contrast. In all, an astonishing journey through both stage presence and voice. His charm is truly touching. And his high notes, even to the absolute extreme, are capable of quietness approaching the most silent part of silence."
"Vocally, the largely-Italian cast.. is awarded a very honourable mention. Two particularly beautiful strands of voice stand out from the ensemble, that of Andrea Mastroni's Mustafà and that of Alasdair Kent as Lindoro. Both are comfortable in their roles, each displaying a valour and elegance of high, bel canto quality…"
Mambre, Mosè in Egitto
Teatro San Carlo di Napoli
"Different things can be said of each of the three tenors: In proportion the smaller of the parts, Mambre is highly praised, thanks to the interpretation of Alasdair Kent, for the homogeneity of his voice and his singularly clear timbre.."
Lindoro, L'italiana in Algeri
Hungarian State Opera
"The real direct hit was the performance of Alasdair Kent as Lindoro, a role that requires such an ideal Rossini tenor that it is rarely brought to life well onstage. Kent's voice is so beautiful, light and balanced, it is like listening to sunshine..its natural colours and unblemished heights crowning the production as a whole...It is a great pleasure to hear such a singer."
Lindoro, L'italiana in Algeri
Opéra Orchestre National Montpellier
"But the great revelation of the evening remains the role taken by Alasdair Kent, Lindoro: nobility of line and projection, high notes, a 'Languir per una bella' all immersed with subtleties like lace, as if in a dream.. This is the tenore di grazia that Rossini called for!"
"Hopeful astonishment, on the other hand, when Alasdair Kent sings 'Languir per una bella'- the timbre is captivating, the nuances are all there and the trill is impeccable."
"One enjoys equally the beautiful timbre of tenore di grazia Alasdair Kent as his authentic Rossinian style, all sighs for Isabella."
"..Lindoro has the voice of Alasdair Kent, voluptuous and sweet in the middle and the mixed high notes, elevated and lightened right to the border of head voice... Breath, the embodiment of the character, musicality, he wants for none."
"..he deploys an instrument of great clarity, and of beautiful projection."
Belfiore, Il viaggio a Reims
Rossini Opera Festival
"As the self-obsessed Cavaliere Belfiore, Alasdair Kent makes you sit up and take notice. His theatrical performance ensnared.. his starry tenor scored points, with enormous shine in the high register, so that one can easily understand why Corinna feels rather attracted to the violently flirting Cavaliere Belfiore than to the always melancholy Lord Sidney. The great duet between Tassinari and Kent was a musical highlight of the performance."
Online Musik Magazin
"Alasdair Kent proved a very positive impression... His voice is steadfast, unwavering and sure, but at the same time extraordinarily sweet, and gave hope that the Rossini Opera Festival has found a new… well, better not to say and wait for events to unfold."
Pesaro Urbino 24
"As Belfiore, Alasdair Kent was exactly spot-on, fresh and brilliant.."
Rossini Opera Festival
"..he conquered the audience's sympathy with an intelligent approach and a captivating interpretation... An extremely sweet voice, powerful and sure, that had no difficulty... Kent reminded of Juan Diego Florez' first appearances in Pesaro, at ROF.."
Pesaro Urbino 24
Giocondo, La pietra del paragone
Wolf Trap Opera
Jun & Jul 2017
"The single standout performance comes from Alasdair Kent who.. nails his Act 2 aria Quell'alme pupille with some impressively acrobatic runs."
Washington City Paper
"Alasdair Kent sounded to the bel canto born with his evenly produced tenor, refined technique and intense expressiveness."
"Tenor Alasdair Kent displayed serious bel canto credentials as Giocondo.. with finesse in the melismatic pyrotechnics and a lyrical legato tone up to some very high notes."
Washington Classical Review
"Alasdair Kent delivered the high tenor note of the evening as Giocondo; beautiful, thrilling, and all that you hoped it would be.."
"tenor Alasdair Kent.. offered some remarkable old-style vocal pyrotechnics.. swelling a note from gentle near-silence to full-throated trumpeting."
Ritornello, L'opera seria
Wolf Trap Opera
"Alasdair Kent showed considerable promise as Ritornello.. there was impressive warmth in the tone, a good deal of agility in coloratura flights.."
Don Odoardo, Don Procopio
Lost and Found Opera
"The soloists were each quite remarkable...Tenor Alasdair Kent’s lyrical solo at the beginning of the second act was a moment of extraordinary beauty.."
"the highlight came early in the form of Alasdair Kent’s wonderful Serenade.."
"a tenore di grazia with a Ferrari shift of gears.."
Brooklyn Daily Eagle
“Alasdair Kent sang a perfect “Una furtiva lagrima,”.. in a haunting lyric tenor with diminuendos and swelling of tone that was pure magic.”
Brooklyn Daily Eagle
“Alasdair Kent's Count Almaviva exhibited a sweet, limber tenor and was the picture of dreamy nobility.”