Gyula Orendt's Reviews

The Guardian

“THERE ARE STRONG PERFORMANCES, PARTICULARLY FROM GYULA ORENDT’S PAPAGENO (headline) – Gyula Orendt’s Papageno is the heart of this production, turning his journey towards earthly fulfilment with Sarah Dufresne’s Papagena into the most convincing development of character and comedy in the show”

Opera Today

“As Papageno, Gyula Orendt was a complete delight. A highly musical artist, this performance sounded superb but was based around a highly physical approach to the character; Papageno’s physical hi-jinks in the production clearly phased Orendt not one wit. He also had a lovely way of including the audience in his asides, making the character into just the right sort of sad clown”

Le Monde

« Mais c’est au Comte veule et carnassier de Gyula Orendt, entre dubitation et vindicte, faiblesse et suffisance, que vont les suffrages. »

Le Figaro

« Parfait en obsédé sexuel qui rate tout, Gyula Orendt est un Comte aux nuances musicales souveraines »


« la voix puissante de Gyula Orendt soutenue par le chœur prend les allures d’une incantation fervente proche d’un Ohana »

Opera Today

“Orendt’s Guglielmo rather revelled in the vast comic scale of his arias. It’s not just that the voice is so large, but it’s that it also has such a developed and innate sense of character. The voice can sound mocking one moment – almost like a foil to Thomas Allen’s Don Alfonso – but the next it seems to imitate the orchestra – how some of Orendt’s notes rang out against some of the brass fanfares, as if in a comic duet, was thrilling”

Opera Online

“Gyula Orendt proves a superb actor and brilliant all-rounder as Guglielmo”