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Neal Davies

  • Bass-Baritone


Neal Davies press reviews

Garsington Opera - A Midsummer Night's Dream, 2010
'...Neal Davies’s bumptious Bottom...'
Sunday Times, June 28, 2010
'Best is Neal Davies as Bottom, who makes every word crystal-clear and plays in a hilariously deadpan style, as if Philip Larkin had been invited to join Monty Python.'
Fincancial Times, June 25, 2010
'...Neal Davies’s magnificently pompous Bottom...'
The Times, June 21, 2010
'For once the mechanicals, a gallery of working-class stereotypes led by Neal Davies's wonderfully judged Bottom...'
The Guardian, June 21, 2010
'But by some way the star of the show is Neal Davies’s Bottom, more bank manager than weaver, vocally authoritative, consistently funny however ghastly the jokes.'
The Arts Desk, June 21, 2010
'...Neal Davies a winningly comic Bottom...'
Independent, June 21, 2010
'Leading them is Neal Davies’ paragon of a Bottom, officious, self-important and scrupulously sung.'
The Stage, June 18, 2010
Polyphony/ Stephen Leyton - St John Passion
'Neal Davies's sonorous and seasoned Christus provided a powerful foil to Bostridge.'
Martin Kettle, The Guardian, April 5, 2010
Chicago Symphony Orchestra/ Bernard Labadie - St John Passion
'Interchanges between Jesus and Pilate had heightened drama, thanks to Neal Davies and Daniel Eifert, one character' roused from mildness by the other's blunt expression of power.
Chicago Tribune, March 15, 2010
Ivanhoe/ Chandos
'...there are also fine contributions by sopranos Janice Watson and Geraldine McGreevey as the two female principals, and baritone Neal Davies as Richard Lionheart.'
Joshua Kosman, San Francisco Chronicle, April 11, 2010
'A superb A-list cast of British soloists is led by Neal Davies as King Richard, Toby Spence as Ivanhoe and Geraldine McGreevy as Rebecca.'
Nicholas Kenyon, The Observer, February 21, 2010
Madam Butterfly, Welsh National Opera 2009
'Neal Davies a sympathetic but ultimately impotent Sharpless.'
The Guardian, September 22, 2009
Samson, BBC Proms 2009
'Neal Davies offered more personal qualities in his compassionate representation of Samson's father, Manoa...'
The Guardian, August 21, 2009
Judas Maccabeus, Edinburgh Festival 2009
'...Neal Davies made a small but valuable contribution in the various bass roles...'
The Guardian, August 16, 2009
Creation/ Bridgewater Hall - June 13, 2009
'...bass Neal Davies delivered an earthy tone that descended deep into the soil for the rumbling low D that accompanies God's creation of the worm.'
The Guardian, June16, 2009
Athalia/ Concerto - Köln May, 2009
'Fellow Handel veteran Neal Davies was Gilchrist's opposite number as virtuous advisor Abner, a role that showcased his habitual controlled power and not-inconsiderable acting skills.'
Musical Criticism, May 20, 2009
...Neal Davies's opportunistic Abner... [was] exceptional...'
Guardian, May 18, 2009
...bass Neal Davies, in blisteringly forceful form...'
Independent, May 18, 2009
Elijah/ Cardiff March 1, 2009
'Neal Davies's Elijah vividly sustained the prophet's angry force, yet brought a breathtaking poignancy to his last plea of the aria It Is Enough.'
The Guardian, March 5, 2009
Arizona Opera, Mikado
'Phil Silvers-like figure alternating nerve and neurosis, Davies was superb in both acting and voice, showing off perfect tonal focus and a trill befitting one of the world's leading Handelian basses.'
Opera News
'Davies and Blythe, who will reprise their roles for Lyric Opera of Chicago in 2010-11, have a natural chemistry that comes across with warmth, like siblings sans the rivalry. Davies exhibited a dreamy baritone...'
Arizona Daily Star, November 16, 2008
Die Zauberlöte, Welsh National Opera, 2008
'Evans' triumph was complemented by Neal Davies' excellent portrayal of Papageno. An audience favourite, Davies grew in stature as the night went on, and he trod the line between comedy and depicting the human emotions of the character very neatly. The performances of the two arias and the Papageno-Papagena duet (with Claire Hampton an above-average, eye-catching Papagena) demonstrated Davies' clear diction and control of line, while his delivery of the spoken dialogue was the strongest in the cast.'
Musical Criticism/ March 24, 2008
'Neal Davies' Papageno is the mainstay among the men, with velvet tone and comic timing that delivers the laughs with remarkable aplomb.'
The Guardian, February 26, 2008
'Neal Davies relished the role of Papageno, and got better and better as the evening went on, gathering both vivacity and humanity as his ‘fate’ unfolded.'
Seen and Heard, February 20, 2008