Gunther Götterdämmerung / Metropolitan Opera
Dir. Robert Lepage / Cond. Fabio Luisi
“The bass-baritone Iain Paterson, a vocally solid Gunther, conveyed the complexities of this weak-willed but ambitious lord.”
Anthony Tommasini, The New York Times, January 2012
“As Gunther, leader of the Gibichungs, baritone Iain Paterson sang strongly and moved convincingly from bravado to self-loathing.”
Mike Silverman, San Francisco Chronicle, January 2012
“...But it was Gunther, sung by Iain Paterson, who offered the most sharply defined character. Paterson’s Gunther, sung with a sinewy bass – baritone, is a profoundly human ruler wrestling with his own mediocrity. Will he pull himself up to the level of genuine hero or allow Hagen to drag him down to murderous depths? That he ultimately teeters toward the latter seems to be above all a function of his lack of self – belief.”
Corinna da Fonseca- Wollheim, The Classical Review, January 2012
“…Iain Paterson’s brilliant Gunther…”
Jörn Florian Fuchs, wienerzeitnung.at, January 2012
Figaro The Marriage of Figaro / English National Opera / Chorus of English National Opera
Dir. Fiona Shaw / Cond. Paul Daniel
“Iain Paterson’s stylishly sung Figaro.”
Richard Morrison, The Times, October 2011
“Iain Paterson presented a Figaro of irresistible verve and musical elegance, a match for Devon Guthrie’s warm and spunky Susanna.”
Rupert Christansen, The Telegraph, October 2011
“Iain Paterson was a solid and slightly angry Figaro – not always the genial charmer. It was a nice touch to be reminded of his origins as the Barber. Paterson sang well, with character, and with superb diction. Every word of Jeremy Sams’s amusing translation he uttered was audible.”
Alexander Campbell, Classical Source, October 2011
“(…) the rivalries between Figaro and the Count are captured in strongly sung performances from Iain Paterson and Roland Wood.”
John Allison, The Telegraph, October 2011
“The cast, too, is alive with promise, led by Iain Paterson who is an interesting Figaro.”
Fiona Maddocks, The Observer, October 2011
“Iain Paterson’s Figaro is clear-cut and with a sense of style.”
Andrew Clark, Financial Times, October 2011
“Iain Paterson (Figaro) has never been better or subtler.”
Edward Seckerson, The Independent, October 2011
“Iain Paterson grew in stature aided by his impeccably clear enunciation of the English text.”
Intermezzo, Bachtrack, October 2011
Beethoven’s ninth symphony / Prom 61 / Royal Albert Hall / BBC Symphony Chorus / BBC Symphony Orchestra / Cond. David Robertson
“Together with baritone Iain Paterson and tenor Toby Spence they were able to lift the finale within sight of the joy it speaks of.”
Erica Jeal, The Guardian, September 2011
Beethoven’s ninth symphony/ Hollywood Bowl / Los Angeles Philharmonic / Cond. Rafael Frühbeck de Burgos
“Bass baritone Iain Paterson’s clear diction and forceful expression set the vocal tone.”
Mark Swed, Los Angeles Times, August 2011
Mr Redburn / Britten Billy Budd / Glyndebourne Festival Opera (DVD)
Cond. Sir Mark Elder / Dir. Michael Grandage
"Iain Paterson's assertiveness and vocal strength are welcome as Redburn..."
Roger Pines, International Record Review, July/August 2011
Gunther / Wagner Götterdämmerung / Opera National de Paris-Bastille
Cond. Philippe Jordan / Dir. Günter Krämer
“Iain Paterson portrayed a classy Gunther, sure of himself, but friendly, and loved by his subjects, who is transformed by Siegfried's betrayal into the very opposite. His Wagnerian bass-baritone, sonorous, steady and warm, was tinged with darkness in the third act.”
Elisabeth Bouillon, Forum Opera, June 2011
“Gunther is a merciless role. Iain Paterson, also Fasolt in
Rheingold, sang the part of Gunther with a rich tone which he maintained through the frequent high notes, and performed with style and steadiness."
Didier van Moere,
Concerto.net, June 2011
“Iain Paterson was an excellent Gunther.”
Pierre Flinois, Altamusica, June 2011
Jochanaan in Strauss Salomé
Berliner Philharmoniker / cond. Simon Rattle
“Iain Paterson’s Jochanaan was an extremely powerful character.”
NZZ, 19 April 2011
“There was much applause for the British bass-baritone Iain Paterson as Jochanaan.”
St Gallen Online, 17 April 2011
"Iain Paterson’s spacious, noble and ductile baritone works beautifully in the role of Jochanaan."
"…an intelligent and theatrical performance. A name to keep."
RBL, ihearvoices.wordpress.com, March 2011
Amfortas in Wagner’s Parsifal
English National Opera / dir. Nikolaus Lehnhoff / cond. Mark Wigglesworth
“[a] thrilling, pain-wracked Amfortas”
Tom Service, Guardian Classical Blog, March 2011
“Amfortas, brilliantly sung by bass baritone Iain Paterson.”
Clare Colvin, Scottish Sunday Express, February 2011
“Superb singing — and heartbreaking acting — from Iain Paterson as Amfortas. What an immense Wagnerian this young Scot now is.”
Richard Morrison, The Times
“Iain Paterson’s Amfortas.. gleaming vocalism and histrionic magnetism”
Andrew Clark, The Financial Times
“The more inflected, lustrous, and impassioned singing came from Iain Paterson’s Amfortas.”
Rupert Christiansen, The Telegraph
“Iain Paterson's Amfortas is impressively anguished.”
Barry Millington, The Evening Standard
“The sturdy bass-baritone Iain Paterson was a poignantly anguished Amfortas.”
Anthony Tommasini, The New York Times
“Paterson was a very strong Amfortas, too, his singing carrying warmth and desperation from its initial long-breathed utterances… He certainly brought out the character’s self-loathing and self-destructive tendencies; but also the true tenderness he has for his father as well.”
Alexander Campbell, Classical Source
“Iain Paterson was a harrowing Amfortas, his song of woe sending him spinning across stage like a sot…Tomlinson, Skelton and Paterson singing and acting out of their skins as relationships reach their emotionally fraught conclusions.”
Igor Toronyi-Lalic, The Arts Desk
“Iain Paterson here makes an eloquent, moving Amfortas. He acts with often harrowing commitment.”
Hugo Shirley, Musical Criticisms
“Iain Paterson makes a great impact as the wounded king Amfortas.”
Warwick Thompson, Bloomberg
Elgar The Kingdom
London Symphony Orchestra / cond. Sir Mark Elder / Barbican Hall
“Iain Paterson also impressed… unrushed, beautifully articulated delivery”
Igor Toronyi-Lalic, The Arts Desk, February 2011
“Iain Paterson's particular gift for expression … it was a delight to hear him in the role of Peter, coaxing line and phrase into ever more delicate contortion.”
Alexandra Coghlan, New Statesman, January 2011
Title role in Mozart’s Don Giovanni
English National Opera / cond. Kirill Karabits / dir. Rufus Norris
“His singing is exemplary in its warmth and ease (the Serenade was crooned beautifully dolcissimo), he is an intelligent actor and his delivery of the text was crystalline.”
Rupert Christiansen, The Telegraph, November 2010
“Iain Paterson was in great voice as a thoroughly evil Don Giovanni”
William Hartston, The Daily Express, November 2010
Mephistopheles in Gounod’s Faust
English National Opera / cond. Edward Gardner / dir. Des McAnuff
“Iain Paterson grows in stature by the minute as Mephistopheles. The technical ease and stylistic authority of his singing, as well as his imposing stage presence, suggest that international stardom is on the cards.”
Rupert Christiansen, The Telegraph, September 2010
“Paterson…vibrant voice in peak condition. Their duet (with Toby Spence) are musical high points.” Richard Morrison, The Times, September 2010
Redburn in Britten’s Billy Budd
Glyndebourne Festival Opera / cond. Sir Mark Elder / dir. Michael Grandage
“The musical performance is uniformly excellent, and when Darren Jeffery (Ratcliffe), Matthew Rose (Flint) and Iain Paterson (Redburn) deliver their trio, it is as good as opera can get.”
Anna Picard, The Independent, May 2010
“Iain Paterson’s outstandingly well sung First Lieutenant Redburn”
Hugh Canning, The Times, May 2010
“Iain Paterson’s Mr Redburn was the finest interpretation of this part that I’ve seen”
Melanie Eskenazi, What’s On Stage, June 2010
Fasolt in Wagner Das Rheingold
Opera National de Paris-Bastille / cond. Philippe Jordan / dir. Günter Krämer
“Does it whet the appetite for the rest of the cycle as a good Rheingold should? On balance, yes, but more because of its sophisticated casting…especially Iain Paterson’s Fasolt, a revelation.”
Francis Carlin, Financial Times, March 2010
“The singers were on fine form. (...) (Amongst others,) the excellent giants sung by Iain Paterson and Günther Groissböck made this a very desirable Rheingold.”
Le Temps, March 2010
“The main roles were sung unanimously well. (...) The giants (Günther Groissböck and Iain Paterson) were grandiose.”
Emmanuel Dupuy, Diapason, March 2010
“The two giants were larger than life – the tender Iain Paterson as Fasolt, and the athletic Günther Groissböck as the murderous Fafner.”
Jean-Charles Hoffelé, Concert Classic, March 2010
“The casting was all of the highest quality, (including) two first class basses (Iain Paterson and Günther Groissböck).”
Christian Merlin, Le Figaro, March 2010
“The giants were a huge success. Bass-baritone Iain Paterson (Fasolt) and bass Günther Groissböck (Fafner) were delightful both in the quality of their singing and in their portrayal of the characters. Linked in brotherly love, they were youthful, likeable, and full of enthusiasm and vigour.”
Elisabeth Bouillon, Forum Opéra, March 2010
“The singing is wonderful. (...) The basses Iain Paterson and Günther Groissböck impart both strength and uncertainty to the giants Fafner and Fasolt.”
Caroline Alexander, Webthea.com, March 2010
“The cast was vocally outstanding. (...) In particular, Günther Groissböck as Fafner and Iain Paterson as Fasolt performed to the highest possible standards.”
Joachim Lange, Wiener Zeitung, March 2010
“Fasolt was sung with the earthy, powerful bass of the excellent Iain Paterson.”
Peter Hagmann, Neue Zürcher Zeitung, March 2010
“Musically, the evening met Paris Opera’s usual high standards. (...) A particular highlight was Iain Paterson’s interpretation of Fasolt. Not only did his youthful, decisive performance give the character a whole new dimension, but he also bewitched the audience with his full lyrical voice.”
Hermann Grampp, Nordbayerischer Kurier, March 2010
Elgar The Kingdom
Hallè Orchestra / cond. Mark Elder / Bridgewater Hall, Manchester
“The baritone Iain Paterson, as St Peter, was exemplary in feeling and diction, and Susan Bickley’s bright mezzo lit up Mary Magdalene.”
Geoff Brown, The Times, October 2009
Mandarin in Puccini Turandot
English National Opera / cond. Edward Gardner / dir. Rupert Goold
“The beauty of Puccini's "imagined" orientalism is luxuriantly and excitingly chronicled by Edward Gardner and the ENO orchestra and it’s always encouraging when a company can field a singer as impressive as Iain Paterson.”
Edward Seckerson, Independent, October 2009
Monterone in Verdi Rigoletto
English National Opera / cond. Stephen Lord / dir. Jonathan Miller
"Iain Paterson seizes his brief moment of vengeful rage splendidly as Monterone.”
Richard Morrison, The Times, September 2009
“…fine, idiomatic singing comes from Iain Paterson’s Monterone.”
David Gutman, The Stage, September 2009
“Fine expressive singing comes from…Iain Paterson’s vengeful Monterone.”
Jim Pritchard, Seen and Heard International, September 2009
“The Duke’s enemy Monterone, whose curse so troubles Rigoletto, is given a powerful portrayal, vocally reminiscent of Mozart’s Commendatore, by Iain Paterson.”
Christopher Gray, The Oxford Times, September 2009
Amonasro in Verdi Aida
Bregenz Festival / cond. Carlo Rizzi / dir. Graham Vick
"Iain Paterson's Amonasro is powerfully done. Highly credible in his fury... the excellent Scottish bass-baritone makes the most of his imposing stage presence."
International Record Review, September 2010
“Iain Paterson… truly able to communicate feelings through song.”
Shirley Apthorp, Financial Times, July 2009
“Iain Paterson offers solid vocalism and a powerful portrayal as Amonasro; his contribution to the Nile scene is key in making it the highlight of the show.”
Ira Siff, Opera News, October 2010
Monterone in Verdi Rigoletto
English National Opera / cond. Stephen Lord / dir. Jonathan Miller
“Iain Paterson seizes his brief moment of vengeful rage splendidly as Monterone.”
Richard Morrison, The Times, September 2009
“…fine, idiomatic singing comes from Iain Paterson’s Monterone.”
David Gutman, The Stage, September 2009
“Fine expressive singing comes from…Iain Paterson’s vengeful Monterone.”
Jim Pritchard, Seen and Heard International, September 2009
“The Duke’s enemy Monterone, whose curse so troubles Rigoletto, is given a powerful portrayal, vocally reminiscent of Mozart’s Commendatore, by Iain Paterson.”
Christopher Gray, The Oxford Times, September 2009
Amonasro in Verdi’s Aida (revival)
English National Opera / cond. Gérard Korsten / dir. Jo Davies
“Iain Paterson’s Amonasro is outstanding”
Neil Fisher, The Times, October 2008
Title role in Mozart’s Don Giovanni
Chicago Opera Theater / cond. Jane Glover / dir. Diane Paulus
“Scottish bass baritone Iain Paterson made a notable American debut as Giovanni, his singing entirely refined and elegant...”
Opera News, July 2008
“Iain Paterson, a fine Scottish bass-baritone making an impressive American debut, did everything he could with the sinister, charmless bully he was directed to portray. He sang splendidly. This is a talent to watch.”
John von Rhein, Chicago Tribune, May 2008
Amonasro in Verdi's Aida
English National Opera / cond. Edward Gardner / dir. Jo Davies
"The stand-out performance is from Iain Paterson as Aida's bullish father Amonasro. His sound is weighty, his delivery even, his vocal authority thrilling."
Warwick Thompson, Bloomberg.com
"The real surprise of the evening was Iain Paterson's Amonasro. His apparent move upward from bass to bass-baritone reveals him to have a superbly integrated and exciting Verdi voice, particularly at the top where it opened out and rang into the auditorium wonderfully nobly and freely. The dramatic temperature rose from the moment he opened his mouth."
Alexander Campbell, Classicalsource.com, November 2007
"Iain Paterson's Amonasro rather stole the show with a beautifully schooled baritone and a striking stage presence."
Timeout, November 2007
"Two singers were particularly outstanding…Iain Paterson in his debut as Amonasro…whose bass-baritone is now impressively refined and compelling"
Opera Today, November 2007
"Iain Paterson is outstanding…"
Richard Morrison, The Times, November 2007
"Iain Paterson's sterling Amonasro"
Rupert Christensen, The Daily Telegraph, November 2007
"Iain Paterson as Amonasro impressed most, a commanding voice and dramatic presence."
Intermezzo.com, November 2007
"…the finest singing comes from smaller roles such as Iain Paterson's Amonasro…"
Anthony Holden, The Guardian, November 2007
Fasolt in Wagner Rheingold
Salzburg Osterfestspiele / cond. Simon Rattle / dir. Stéphane Braunschweig
"Iain Paterson was outstanding; opera houses should be fighting over his Fasolt. His dramatic success was down to a natural acting talent."
Markus Thiel, Münchner Merkur, April 2007
Puccini La Bohème
English National Opera / cond. Xian Zhang / dir. Stephen Pimlott
"Iain Paterson's staunch Schaunard contributed to a polished ensemble feel even on the first night"
Anthony Holden, The Observer, February 2007
Mozart The Marriage of Figaro
English National Opera / cond. Andre de Ridder
"Figaro is robust and thoughtful: well sung by Iain Paterson."
Hilary Finch, The Times, January 2007
"The fine bass-baritone Iain Paterson sang Figaro extrememly powerfully."
Rodney Milnes, Opera Magazine, February 2007
Janácek Jenufa
English National Opera / cond. Mikhail Agrest
"Iain Paterson's…memorable Foreman"
Erica Jeal, The Guardian, October 2006
Orest in R Strauss Elektra
Edinburgh International Festival / Royal Scottish National Orchestra / cond. Edward Gardner
"Iain Paterson was a noble Orestes".
Raymond Monelle, The Independent, August 2006
"Of the men, Iain Paterson's Orestes had the most significant presence, both noble and sensitive."
Kenneth Walton, The Scotsman, August 2006
"Orest was portrayed, with ominous dark tone, by Iain Paterson."
Richard Morrison, The Times, August 2006
"Iain Paterson sang a well-judged Orestes."
Sandy Scott, Edinburgh Evening News, August 2006
Le Bret in Alfano Cyrano de Bergerac
Royal Opera House / cond. Mark Elder / dir. Francesca Zambello
"Iain Paterson made robust vocal sense as Cyrano's friend Le Bret."
Roger Parker, Opera, July 2006
"The supporting cast was up to scratch, with Iain Paterson making his mark in a smaller role."
Rupert Christiansen, The Telegraph, May 2006
Title role in Mozart The Marriage of Figaro
Glyndebourne Touring Opera / cond. Thomas Rösner / dir: Graham Vick / revival dir. Jacopo Spirei
“Iain Paterson, a truculent but good-humoured Figaro, hasn’t done anything better, singing resonantly in a firm bass-baritone…”
Hugh Canning, Sunday Times, October 2005
“Iain Paterson’s Figaro commands the stage from his first few eloquent notes.”
Anthony Holden, The Guardian, October 2005
“Iain Paterson’s Figaro is still more accomplished - a warm, robust, perfectly integrated baritone, with bags of attitude.”
Hilary Finch, The Times, October 2005
“Iain Paterson's Figaro happily disdained the buffonery that others often resort to in that role in favour of something more considered.”
Stephen Pettitt, Opera, December 2005
Gunther in Wagner Twilight of the Gods
English National Opera / cond. Paul Daniel / dir. Phyllida Lloyd
“Iain Paterson made an impressive Gunther.”
Erica Jeal, Opera, June 2005
“Iain Paterson is the only singer in tip-top vocal health. He has handled his voice carefully over the last five years and is reaping the benefits now.”
Anna Picard, The Independent, April 2005
“Iain Paterson is an excellent Gunther.”
Hugh Canning, The Sunday Times, April 2005
Leporello in Mozart Don Giovanni
English National Opera
“Iain Paterson’s footballer-oik Leporello was the most fully-realised characterization, both musically and dramatically.”
The Sunday Telegraph, October 2004
“Iain Paterson captures the black humour of Leporello’s position.”
The Independent on Sunday, October 2004
“Iain Paterson’s burly, surly Leporello towers over his master to excellently discouraged effect.”
The Financial Times, October 2004
Fasolt in Wagner Rhinegold
English National Opera
“Iain Paterson is a wonderfully rich Fasolt.”
Classical Music Magazine, March 2004
“Iain Paterson sang particularly well as the nice giant Fasolt.”
The Times, March 2004
Ferrando in Verdi Il Trovatore
Welsh National Opera
“Iain Paterson delivered Captain Ferrando’s scene-setting prologue with admirable force and drama.”
Financial Times, October 2003
Timur in Puccini / Berio Turandot Act 3
BBC Symphony Orchestra / cond. Leonard Slatkin
“Iain Paterson’s Timur had noble stirring sound.”
Opera Magazine, May 2003
“Iain Paterson made a sympathetic Timur.”
The Telegraph, March 2003
“Iain Paterson captured the disillusioned tone of Timur.”
Classical Source, March 2003
Fasolt in Wagner Rhinegold
English National Opera at the Barbican
“And so it is down to Fasolt (Iain Paterson) and Fafner (Gerard O’Connor), here presented as the Mitchell brothers of Valhalla, to provide us with the closest match to humanity’s tight balance-sheet of virtue and violence. For me, Paterson’s is the most impressive, thoughtful and sympathetic performance. Fittingly to a work-in-progress, Paterson’s is a voice-in-progress; a burnished sound that is strengthening into something truly special. Unlike Rhinegold, which could still go either way the promise here seems certain.”
Independent on Sunday, October 2002
Colline in Puccini La Bohème
English National Opera
“In Michael Walling’s Coliseum revival there is more emotional heat in Colline’s song to his coat than in all of Mimi’s dying breaths; a tribute in part to Iain Paterson’s clear elocution.”
The Times, October 2001
“Iain Paterson’s Colline offered exemplary support.”
The Sunday Telegraph, September 2001
“…well matched by an excellent Colline (Iain Paterson).”
Independent on Sunday, September 2001
“The only voice big and full enough for the job is Iain Paterson as Colline.”
Evening Standard, September 2001
Ferrando in Verdi Il Trovatore
English National Opera
“There was a new and confident Ferrando in Iain Paterson, who launched the work in forthright fashion.”
Opera Magazine, July 2001
Balthasar in Schumann Genoveva
Opera North
“There were two other outstanding basses, Iain Paterson and Anthony Cunningham, as the two hit-men, Balthasar and Caspar.”
Opera Magazine, November 2000
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