Luciano Pavarotti’s ghost was banished from the production as Rodolfo’s famous aria, Che gelida manina, sung by Robyn Lyn Evans, soared clearly into the barn’s rafters…
…the magnificent Rodolfo of Robyn Lyn Evans in the role of the poet whose homogeneous voice, superb phrasing and generous top notes made one marvel…
Making his role debut as her lover Cavaradossi, lyric tenor Robyn Lyn Evans was magnificent, and as good to watch as he was to listen to. His ability to sustain Puccini’s long, verismo lines and soar seemingly effortlessly to the top of the tenor register was quite spellbinding. In those scenes of tender emotion, and whether singing solo or in one of the tight ensembles, his performance was of the very highest order, never more so than in his heartfelt rendition of E lucevan le stelle – When the stars were brightly shining – snippets of which we were singing all the way home!
Robyn Lyn Evans – a revelation as the quietly charismatic and unequivocally likeable Cavaradossi, whose last lament is a moment of unequalled exquisiteness – in Act I flickers playfully like the candles all around them.
As Anna’s fiancé Don Ottavio, Robyn Lyn Evans delivered a superbly stylish Act II aria about calming his lover’s anguish by avenging her father’s death
Robyn Lyn Evans’s Don Jose is the right voice with the right ardour and less a wimp than so often.
Robyn Lyn Evans manages to elevate Don Ottavio above his usual status as opera’s ultimate wimp. His bright Italianate tenor makes relatively easy work of ‘Il mio tesoro’.
Evans’ clear tenor voice shone in his solo arias.
Robyn Lyn Evans is a fine Don Ottavio: although he’s deprived in this production of one great tenor aria, “Dalla sua pace”, he delivers the other, “Il mio tesoro”, with honeyed fervour.
The young Welsh tenor Robyn Lyn Evans uncorked exceptional focused tone as Ismaele;…
Lyn Evans’s Ismaele makes his mark,
Ismaele was beautifully sung by Ceredigion-born Robyn Lyn Evans. He might have been made to look and act like a nerdy college boy but his voice was gorgeous and we should demand to hear more of him with this opera company.
The most promising newcomer was Robyn Lyn Evans as Ismaele…. His tenor voice is clear and well-nuanced, and although the role does not offer huge scope for making an impression, he did a very good best with it.
Robyn Lyn Evans’s Alfredo was a powerful, diamond-edged tenor.
…Robyn Lyn Evans’s Lensky sing(s) and act(s) with feeling…
Robyn Lyn Evans relishes Lensky’s woes
Robyn Lyn Evans…sings his great aria (Lensky’s aria) beautifully.
But the vocal and dramatic highlight is Robyn Lyn Evans’ Lensky. Sensitive yet quick to judge, he captures the sense of a poet torn between private emotional turmoil and rigid social convention.
Robyn Lyn Evans was an effective and committed Lensky, capable of genuinely affecting lyricism and acting the part forcefully – his insulting of Olga at Tatyana’s birthday party more explosive than the gunshot later to kill him and was in many respects the most ‘dramatic’ moment of the evening.
Robyn Lyn Evans’s Lensky, again, is almost to be pitied, his great aria before the duel with Onegin an effusion of irresistible and genuine anxiety and very much a higher vocal summit in this production than it is in others.
Tenor Robyn Lyn Evans as Lensky sings a sad aria “Shall I survive the day that’s dawning?” with great pathos and regret prior to his fateful duel with Onegin.
Robyn Lyn Evans reveals a brilliantly expansive tenor as Pinkerton.
Parliament, lead by Lord Cecil, given another strong and convincing performance by Welsh tenor Robyn Lyn Evans.
A young singer, with the virility and passion the part needs but also the high lyricism in the voice to carry off all the emotion and charm the character requires. It was one of the most exciting evenings I can recall in recent years of many, many performances.