Reviews
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Platée | Pinchgut Opera
“ …. the imperturbable gravitas of baritone Peter Coleman-Wright as Jupiter. There is understated humor in the way even Coleman-Wright’s eyes betray skepticism at this charade and the, er, “Delightful object of my most worthy passions” whom Mercury and Cithéron have set him up with (the translation printed in the program booklet is by Natalie Shea).”
Gordon Williams
Opera Wire
December, 2021
“Australian opera royalty Coleman-Wright and Barker brought much gravitastot the enterprise.”
Deborah Jones
Limelight
December 2, 2021
La Clemenza di Tito | National Opera
“The performance was an undoubted success and satisfying at many levels. Great credit is due to Coleman-Wright for negotiating the difficult road from inception to first performance.”
Janet Wilson
OPERA (International) Mazazine
June, 2021
“…. directed by Peter Coleman-Wright ……. Saturday evening’s première was a rousing affair, both musically and dramatically.”
Malcolm Gillies
Australian Book Review
April 14, 2021
“… the overall quality heralds a confident rebirth for opera in the city, in no small measure thanks to Artistic Director and director of the production, Peter Coleman-Wright, who has assembled a fine team of artists.”
“Coleman-Wright’s production relates the story with clarity in a pared back context that flirts with Ancient Rome yet, neither being contemporary nor futuristic, creates its own artistic sense of time.”
Paul Selar
Limelight Magazine
April 12, 2021
“National Opera, under the Artistic Directorship of Peter Coleman-Wright AO, staked its claim for national attention with the premiere of its inaugural production, Mozart’s La Clemenza di Tito.”
“…it is the music that is the prime focus of Coleman-Wright’s impressive production.”
“Coleman-Wright’s master stroke has been to persuade some of the country’s most accomplished singers, some of whom commenced their operatic careers in Canberra, to return home from overseas to undertake roles in this production”
“An Internationally acclaimed singer himself, Coleman-Wright knows a thing or two about staging opera. He clearly appreciates the importance of stillness, with direction that is uncluttered and tightly focussed. He carefully avoids gimmicks or any unnecessary distractions from the music.”
Bill Stephens OAM
Australian Arts Review
April 12, 2021
“A canny choice by Coleman-Wright, who also directed the production ….. it is the music that is the prime focus of Coleman-Wright’s impressive production. An Internationally acclaimed singer himself, Coleman-Wright knows a thing or two about staging opera. He clearly appreciates the importance of stillness, with direction that is uncluttered and tightly focussed. He carefully avoids gimmicks or any unnecessary distractions from the music. His priority has rightly been on displaying the talents of each of his exceptional cast to their best advantage, resulting in an evening of exquisite singing. With this fine production, National Opera has made an auspicious start and set itself a high bar for future productions.”
Bill Stephens OAM
Australian Arts Review
April 12, 2021
Jekyll and Hyde 25th Anniversary Concert | Concert Works
“… renowned baritone Peter Coleman-Wright, still in excellent voice, gives Sir Danvers Carew the requisite air of austerity.”
Simon Paris
Man in Chair
October 26, 2019
“Opera baritone Peter Coleman-Wright is exceptional as the patrician Sir Danvers, conveying just the right level of gravitas, authority and concern for his daughter – musical theatre should snap him up.”
Jo Litson
Limelight Magazine
October 25, 2019
The Last Days of Socrates | Sydney Symphony Orchestra
“Baritone Peter Coleman-Wright, who sung the role of Socrates in the work’s Australian premiere, gave us a dignified Socrates – he found clarity and dark gravitas in his vocal lines …”
Angus McPherson
Limelight
October 13, 2018
Weill, Eisler, Korngold & Schönberg | Nexas Quartet
"Coleman-Wright, whose dark tone matched the sound of the saxophones almost too well, gave the more serious songs drama and gravitas, but he also showed a lighter side, demonstrating incredible diction in Weill’s patter song Tschaikowsky, from the 1941 Broadway musical Lady in the Dark, which he dispatched with crisp precision and resonant flair."
Angus McPherson
Limelight Magazine
May 29, 2017
Nixon in China | Los Angeles Philharmonic Orchestra
"Henry Kissinger, who accompanied the Nixons on their historic visit, is a smaller role but Peter Coleman-Wright leaves a mighty impression."
Tony Frankel
Stage and Cinema
March 6, 2017
“In profile, baritone Peter Coleman-Wright looked uncannily like the real Henry Kissinger, seeming less of a sinister presence than has been the case in previous productions.”
Richard S Ginell
Los Angeles Times
March 4, 2017
Caligula | English National Opera
“Australian baritone Peter Coleman-Wright wowed audiences at the English National Opera with his twisted tour-de-force portrayal..”
Limelight Magazine
July 2012
“Peter Coleman-Wright, though, is electrifying as Caligula. He inhabits the character’s irrational threats and unhinged cruelty to chilling effect, as appalling when kitted out in mucky underwear or full drag as when intimidating his would-be conspirators. He puts Glanert’s demanding score across with unhesitating conviction,”
The Guardian
July 2012
“The cast is consistently superb: Coleman-Wright is outstanding in the gruelling title role”
The Times
“Coleman-Wright’s performance is a tour de force: grotesque and mesmerising”
Musical Pointers
“To describe the title role of Caligula as a tour-de-force is an understatement. The character is seldom absent from the stage and the part requires colossal vocal stamina, as well as a musical and dramatic intelligence to bring out the pure evil of the dictator. Peter Coleman-Wright possessed every one of these skills to an almost disturbing degree. Although I have only heard the excellent Frankfurt recording, I cannot believe Holland surpassed Coleman-Wright’s interpretation, and any subsequent Caligulas face a very tall order indeed. His acting alone was faultless, but this was supported by singing of the highest order, pitch-perfect intonation and clear diction, though he did sound (not inappropriately) weary towards the end. His grotesque portrayal in Act II was especially memorable, spitting out his food at his guests, spilling wine over them, and finally ripping off the tablecloth, sending all the food onto the floor, and fashioning a pseudo Roman toga out of it.”
Opera Britannia
Bliss | Edinburgh Festival
“It provides a wonderful opportunity for the Australian baritone Peter Coleman-Wright, who bestrides the stage in the role.”
Paul Driver
Sunday Times
September 12, 2010
“Coleman-Wright’s genial, weary, innocent Harry… superlative.”
Anna Picard
Independent on Sunday
September 12, 2010
“Peter Coleman-Wright’s lead role is brave, ballsy and convincing.”
Kenneth Walton
Scotsman
September 3, 2010
“Peter Coleman-Wright presents Harry’s erratic spiritual journey with sustained energy.”
George Hall
Guardian UK
September 3, 2010
“Peter Coleman-Wright’s Harry… swept the stage.”
Andrew Clark
Financial Times
September 5, 2010
“Peter Coleman-Wright makes Harry sympathetic without sentimentalising his faults”
Rupert Christiansen
Telegraph
September 6, 2010
“Peter Coleman Wright’s portrayal of the central figure is masterly. He acts and sings with strength and dignity, adding a touch of grandeur to the sufferings of an everyman.”
Simon Thompson
Seen And Heard UK Opera Review
8 September 2010
Marriage of Figaro | Opera Australia
“Peter Coleman-Wright always does a fine line in male arrogance and was vocally aristocratic and dramatically supercilious, creating a distinctly human type of obnoxiousness.”
Peter McCallum
Sydney Morning Herald
July 26, 2010
Bliss | Opera Australia
“The role of Harry Joy was written specifically for baritone Peter Coleman-Wright. It was another triumph for this outstanding artist. Secure and supple across his range, he sang with burnished tonal warmth and resounding power. Coleman-Wright’s energetic characterisation also made Harry into a less pathetic protagonist than he is in the novel and film, while still capturing his eccentricity.”
Murray Black
The Australian
March 15, 2010
“...Australian baritone Peter Coleman-Wright gives a tour de force performance.”
The Sunday Telegraph
March 21, 2010
“Coleman-Wright seldom leaves the stage and is marvellous throughout.”
Elissa Blake
The Sun Herald
March 21, 2010
“Peter Coleman-Wright is the apparently indefatigable star of the show, however, and is rarely absent from the heart of the action. As well as singing the role beautifully, he acts Harry Joy in all his bravado, bewilderment and battiness with both comedy and pathos. It’s a wonderful performance and he deserved his solo standing ovation on opening night – it won’t be the last.”
Diana Simmonds
Stage Noise
March 19, 2010
“... Peter Coleman-Wright, definitive in the central role of Harry Joy...”
North Shore Times
March 19, 2010
“The first standing ovation was for Peter Coleman-Wright’s warm, wry, beautifully sung performance in the role of Harry Joy...” “Coleman-Wright is rarely off the stage and his portrayal is something of a tour de force...”
Peter McCallum
The Sydney Morning Herald
March 15, 2010
"Standing ovations for Peter Coleman-Wright, as well as conductor Elgar Howath (who first conducted Ligeti’s Le Grand Macabre) and orchestra, were a just reward for stunning achievements...”
Peter Burdon
The Advertiser
March 16, 2010
“In the role of Harry, Peter Coleman-Wright has a complex character and massive vocal demands. He’s also on stage for practically every minute of the lengthy work’s duration. He rises to the challenge with predictable grit and determination.”
Peter Burdon
Adelaide Advertiser
March 17, 2010
“As much an actor as singer… Peter Coleman-Wright excels in Opera Australia’s production of Brett Dean’s challenging Bliss… a central performance from Peter Coleman-Wright where the singing and acting are seamless and there is an absolute sense of conviction through all the loops and lacunae of this difficult story of madness, betrayal and cancer-inducing commerce... It’s Peter Coleman-Wright’s show, however, and his Harry Joy is wonderfully alive as well as beautifully sung. Coleman-Wright is a true singer-actor and he gets the moustached Seventies lair, the quick-mouthed slob, behind the suffering common man, without surrendering either quality. He gives a marvellous operatic performance, sustaining both sympathy and drama... at every point it frames and supports, in a way that is wholly appropriate, the superlativeness of Peter Coleman-Wright’s performance.”
Peter Craven
The Spectator
May 1, 2010
“On stage almost continuously, Peter Coleman-Wright gave a compelling performance as the swaggering, staggering ad man. Tracing Harry’s journey from executive to drop out, the baritone was equally convincing as a stereotypical Aussie bloke and conflicted anti-hero.”
John Allison
Opera
July 2010
Peter Grimes | Opera Australia
“...Peter Coleman-Wright’s Balstrode, commanding and clear of purpose.”
Deborah Jones
Opera
February 2010
“Peter Coleman-Wright...a flinty powerful Balstrode...”
Peter McCallum
The Sydney Morning Herald
October 19, 2009
“...Peter Coleman-Wright provide (sic) superb vocal and dramatic support.”
Melissa Lesnie
Rouse Hill Times
October 21, 2009
“...baritone Peter Coleman-Wright impresses with his richly coloured timbre and splendid articulation.”
Murray Black
The Australian
October 20, 2009
“Peter Coleman-Wright made a fine Balstrode, striving to bring common sense and rationality to the Borough... His strong voice and dramatic presence pervaded the entire opera.”
David M. Rice
Classicalsource.com
October 15, 2009
Götterdämmerung | Royal Opera House, Covent Garden
“Coleman-Wright's strong, firm baritone is the key to his musical and dramatic success in portraying Gunther, a character more in love with PR and image than with personal commitment. Weakness of voice would be inept as a tool of characterisation here. It is the contrast between the definition and public resolve of his voice and the time-serving expediency of his actions that transmits a deeper sense of Gunther's flaws, as he paces like a Regency dandy.”
Covell
Sydney Morning Herald
“Peter Coleman-Wright gives a marvellously creepy interpretation of Gunther as an insecure, spineless, nouveau-riche dandy. And Mihoko Fujimura’s beautifully sung Waltraute is a compelling study of panic verging on hysteria.”
Morrison
Times
“As Gunther and Gutrune, Peter Coleman-Wright and Emily Magee sang firmly and characterised vividly.”
Christiansen
Telegraph
“Peter Coleman-Wright makes the best of a Gunther inexplicably clad like Oscar Wilde and Emily Magee of the largely thankless role of Gutrune.”
Holden
Observer
“Peter Coleman-Wright just about survives Warner’s clichéd portrayal of Gunther as an effete, overdressed ponce incestuously in love with his sister (Emily Magee), thanks to his dark-toned singing.”
Canning
Sunday Times
“… and Peter Coleman-Wright’s preening Gunther is first-rate.”
John Allison
Sunday Telegraph
“Emily Magee and Peter Coleman-Wright made a suitably venal pair of Gibichung siblings, never out of love with one another but doing their royal duty. The high standard of the acting by all the principals is at odds with the general obfuscation around them.”
Pritchard
Seen and Heard