adam flowers
tenor
reviews
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adam flowers tenor
reviews |
as seen in Dan Boylan's MidWeek Hawaii "Mostly Politics" column
as Nemorino in Opera San Jose's "L'Elisir D'Amore":
"The most well-deployed voice, however, belongs to Flowers, a resonant, through-the-mask lyric tenor possessed of that enigmatic ear-catching quality that the Italians call squillo. He also sports a completely brakeless passage to head voice, allowing him to slip into suddenly soft, high tones for effects both comic and poignant; the latter is highlighted in Nemorino's plaintive song of hope, "Una furtiva lagrima" ("A furtive tear"). Flowers adorns the cadenza at the end of the famed aria with lovely silences..."
as Gherman in West Bay Opera's "Queen of Spades":
...the excelent singing by the entire cast is capped with a remarkable lead performance by tenor Adam Flowers...Flowers is a case of the right talent meeting the right role. As Russian Army officer Gherman, an addicted gambler, he faces a challenge: He is in all seven scenes of the opera. Throughout, he never loses power or focus. His tenor voice is remarkable in its expressive nuances and fluidity. One might say it's shading is a combination of the dramatic and the lyrical. And it doesn't hurt, either, that he is a good-looking guy loaded with acting talent. Keith Kreitman, Oakland Tribuneas B.F. Pinkerton in Opera San Jose's "Madama Butterfly":
"Adam
Flowers, whose ardent des Grieux was a highlight of OSJ's recent Manon, was even
more impressive as Pinkerton, his voice sweet and resilient, with a satisfying
ping to the high notes. He cut a handsome figure onstage, capturing Pinkerton's
arrogant selfishness as well as the boyish charm that makes Butterfly fall for
him."
Andrew
Farach-Colton, Opera News.
"They booed Adam Flowers at Opera San José on Saturday night, one of three key validations the audience gave the opening-night performance...Why did they hate him? Because he was convincingly heinous as the naval officer Pinkerton... Flowers, a sweet-voiced tenor, nearly steals the show..." Colin Seymour, San Jose Mercury News
as Chevalier Des Grieux in Opera San Jose's "Manon":
"Sweet-voiced
Adam Flowers was equally impressive, conveying both des Grieux's impulsive ardor
and his devotion to Manon through singing that seemed to come straight from the
heart... Flowers sang in excellent French."
Andrew Farach-Colton, Opera News
"...Adam
Flowers' Chevalier des Grieux, Manon's besotted lover, whose full tenor voice
grew stronger and richer as the acts passed."
Keith Kreitman, Oakland Tribune
"As [Manon's] lover, the chevalier des Grieux, Adam Flowers gave an intense, committed performance. This young tenor has made great strides in both vocal development and stage presence since his first appearance with Opera San Jose. The role of des Grieux has, in the middle of a very lyric role, one heavy dramatic aria that is the downfall of many a tenor who can otherwise handle the role well. In that aria, 'Ah fuyez douce image', Flowers acquitted himself well, negotiating the high notes with unstinting power and building the intensity...he used his lyric instrument to stronger advantage, and was alone among the principals to consistently shade his singing with a dynamic range from piano to forte." Kelly Snyder, Concertonet
as Camille de Rosillon in West Bay Opera’s “The Merry Widow”
“Adam Flowers in the tenor role of de Rosillon was the genuine article, hitting the high money notes with bravado...” , Palo Alto Weekly
as Tybalt in Hawai'i Opera Theatre’s “Romeo et Juliette”
“I hated to see Tybalt die. Tenor Adam Flowers is so good that you want him there longer.” Valeria Wenderoth, Honolulu Star Bulletin
as Don José in Opera San Jose’s “Carmen”
“Tenor Adam Flowers, in the role of the poor wretch, is an accomplished singer who can float up to falsetto range or punch notes with power.” , San Jose Mercury News
“Boyish and sweet-faced, Flowers is a sensitive, clear-voiced singer who brought endearing qualities to this taxing role. His “Flower Song” in Act II was passionate and nicely nuanced…”
“Opera San Jose's resident company has always provided well-balanced casts, with singing of the highest quality. At Sunday's performance, the singers also were particularly good actors. Michele Detwiler as Carmen and Adam Flowers as Don Jose, the soldier she seduces into hell, were powerful.”
“…the acting Oscar has to go to Adam Flowers for his portrayal of the ardent, soon rejected lover, Don José…in watching Flowers on opening night, one was reminded of the glory days when Franco Corelli tore up the scenery…”
as Macduff in West Bay Opera’s “Macbeth”
"...tenor Adam Flowers (Macduff) exhibited admirable Italianate ping and phrasing..."
as
Manrico in Opera San Jose’s “Il Trovatore”
“[Flowers’] delivered a strong, blazing account of “Di quella pira”, in which moments of tenderness and heroic fury alternated tellingly.”
as Ferrando in Rimrock Opera's "Cosi fan tutte":
"Flowers’ expressive face brought down the house just by raising an eyebrow, and his vocal range was incredible.” Jaci Webb, Billings Gazette
as Erik in Opera San Jose's "The Flying Dutchman":
“As
Erik, Adam Flowers has never sounded better.
He was able to project his tenor to match the power of the lower register
singers without straining or losing a rounded timbre in the effort.”
“Adam
Flowers has a hefty tenor voice with a lyric quality which rode smoothly on top
of Wagner's heavy orchestration. He gave a most appealing portrayal, making some
onlookers feel sorry that his love was so completely unrequited.”
“Adam
Flowers’ Erik was one of the best I heard anywhere – a lyric tenor but with
a powerful edge.”
“The
sweet-voiced Adam Flowers invested Erik with Schubertian Pathos…”
as Don Ottavio in Opera San Jose's production of "Don Giovanni"
"Flowers' Don Ottavio blustered, as the character is wont to do, and bravely navigated the treacherous waters of 'Il mio tesoro.'"
for the tenor solo in Mozart’s Requiem with Midsummer Mozart conducted by Maestro George Cleve
“Tenor Adam Flowers, his voice sweet and bright, infused the ensembles with warmth.”
“Adam Flowers, though he mugged unconscionably as Don Basilio, contributed a vocal performance of startling power and scope…”
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