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