...and what a glorious voice there was in the minor role of the peasant Tontonno. This was Portuguese tenor Luis Gomes, who sang Pinkerton in the Christine Collins Young Artists’ performance of Madama Butterfly on June 14. He will evidently go far, and I look forward to hearing him again.

Mark Ronan in

I have heard Luis Gomes a number of times both at the Guildhall School of Music and Drama and with British Youth Opera. He has always impressed, but this performance was the first time I had heard him in core Italian repertoire (previous operas had been by Britten, Ned Rorem and Smetana). He has a lovely, well produced Italianate voice which he combines expressively with a confident stage manner. His vocal production was gloriously easy throughout the whole range, which is quite something for a young tenor in this style of opera.

In act two, his account of Addio fiorito asil was finely sung, though his voice does not yet quite rise easily over the orchestra. There was a feeling that his voice still has room to grow, and sensibly he did not try to pressure it, this was a finely managed performance as well as vivid one. His interaction with Duprels, OHP's reigning diva for over 10 years, fairly crackled and this did not seem like a one off performance. I do look forward to Gomes future performances with great interest.

Robert Huggill in

Pinkerton also has a thankless task, and the Portuguese tenor Luis Gomes presented him convincingly, revealing a very even, carefully produced voice with welcome touches of astringency – you could imagine him in Janáček’s tenor roles.

Melanie Ezkenazi in


I was familiar with Luis Gomes from the Guildhall School of Music and Drama where his performances in Midsummer Night’s Dream and Our Town impressed. He continued to impress here, as Jenik. He is a natural stage creature and quite compelling to watch, whatever he does. As Jenik he was a strong, rather rebellious character, but with a genuineness and warmth to him which made you forgive his machinations, singing with a nicely full lyric voice which seem to be produced easily and flexibly. He and Crompton made a lovely couple, developing a close, sparky relationship, whatever the production’s drawbacks. They made the performance well worth seeing and transformed our experience.

Robert Hugill in

All the principals are singers one would like to hear again. Particularly outstanding are Katherine Crompton and Luis Gomes in the lead roles of Marenka and Jenik, Matthew Stiff — who delivers the portentous patter of marriage broker Kecal to perfection — and Samuel Furness, whose portrayal of the socially maladjusted Vasek — a stuttering victim of maternal oppression who finds his vocation in a circus bearskin — is a tour de force.,

Barry Millington in The Evening Standard

The over-confident matchmaker, Matthew Stiff, deflated with comeuppance at the end, and Marenka's lover Jenik (pictured with Stiff and the locals) were first class; there seem to be no published press pictures of the lovers together nor of Marenka's intended husband...

Peter Grahame Woolf in Musical Pointers



Alexandra Mercer

APA Artists Management

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