Sarastro - The Magic Flute - Opera Theatre of Saint Louis - 2022

JUNE EDITION

OPERA NEWS - JOANNE SYDNEY LESSNER

 

     "Adam Lau exhibited a WONDERFULLY CAVERNOUS BASS and dry sense of humor as Sarastro."

06.22.22

REVIEWSTL.COM - ROB LEVY

     "Also astounding is Adam Lau, whose POWERFUL VOCALS as Sarastro NEARLY STEAL the production."

05.31.22

BROADWAYWORLD.COM - STEVE CALLAHAN

     "As usual at OTSL the voices in this cast are sublime...Sarastro, the "High Priest of the Sun", is COMMANDINGLY SUNG by basso Adam 

     Lau (last seen here in Richard the Lionheart.)"

06.01.22

HECMEDIA.ORG - GERRY KOWARSKY

     "Her opposite number is Sarastro, High Priest of the Sun. Adam Lau is SONOROUS and deeply consoling in this role."

06.06.22

KDHX.ORG - CHUCK LAVAZZI

     "Bass Adam Lau radiates calm authority as Sarastro and projects even the lowest notes effectively."

06.03.22

LADUE NEWS - MARK BRETZ

     "Adam Lau’s powerful, resonating bass imparts the wisdom and austerity of Sarastro"

06.03.22

POPLIFESTL.COM - CHAS ADAMS

     "The basso Lau convincingly and captivatingly sings Sarastro. Lau’s coldly controlled presence paired with his deep, resonate, voice imbues

     Sarastro with gravitas and other-worldliness."

Kōbun Chino Otogawa - The (R)evolution of Steve Jobs - The Atlanta Opera - 2022

05.04.22

THE ATLANTA JOURNAL CONSTITUTION - JONATHAN SHIPLEY

     "LAU IS A BASS WHOSE SINGING RESONATES IN EVERY SENSE OF THE WORD"

 

06.13.22

CTFASHIONMAG.COM - VICTORIA HENLEY

     "Kobun Chino Otogawa — a role stunningly inhabited by bass Adam Lau, who effortlessly infused his role with a rare blend of humor,   

     lightheartedness, and undeniable poignance."

Don Basilio - Il barbiere di Siviglia - The Dallas Opera - 2022

03.22.22

ONSTAGENTX.COM - WAYNE LEE GAY

     "American bass Adam Lau as Bartolo’s conniving cohort Basilio provides ONE OF THE MANY HIGH POINTS OF THE

    EVENING with his entrancing delivery of the comically evil “Slander” aria."

03.21.22

TEXAS CLASSICAL REVIEW - RICHARD SYLVESTER OLIVER

     "Adam Lau was a commanding Don Basilio. His aria “La calunnia è un venticello” demands a virtuosic crescendo, which the bass managed with 

     fine attention."

03.21.22

THE DALLAS MORNING NEWS - SCOTT CANTRELL

     "Adam Lau is appropriately uptight, with a dense bass, for the opportunist music teacher Don Basilio."

Bonze - Madama Butterfly - The Dallas Opera - 2022

02.19.22

THE DALLAS MORNING NEWS - SCOTT CANTRELL

     "Adam Lau’s Bonze and William Meinert’s Imperial Commissioner dispense gorgeous basses"

May 2022 Edition

OPERA NEWS - STUART CHENEY

     “Adam Lau’s CLEAR, RESONANT BASS lent a SEARING GRAVITAS to the role of the Bonze”

Colline - La Bohème - North Carolina Opera - 2022

01.31.22

VOIX DES ARTS - JOSEPH NEWSOME

     "A wily Leporello and a powerhouse Don Basilio in North Carolina Opera’s productions of Mozart’s Don Giovanni (2015) and Rossini’s Il barbiere

     di Siviglia (2016), bass Adam Lau returned to Raleigh to philosophize benevolently as Colline in La bohème. Like Murray’s Schaunard, Lau’s

     Colline made a galvanizing entrance in Act One, the voice full and formidable throughout the range. His unkempt ‘fur’ tamed by a barber’s razor in

     Act Two, Lau’s Colline solemnly accepted Mimì into the bohemians’ society and bemusedly analyzed Marcello’s sparring with Musetta. When the

     friends’ horseplay was halted by impending tragedy in Act Four, Lau touchingly limned the crumbling of Colline’s stoicism. The bass sang

     ‘Vecchia zimara, senti, io resto al pian’ with disarming directness, approaching the piece not as an ode to a grand gesture but as an ordinary man’s

     selfless attempt at providing comfort. Lau projected his voice and his characterization without pushing the former or overplaying the latter,

     guilelessly amplifying the role’s humanity."

Second Armoured Man - The Magic Flute - The Metropolitan Opera - 2022

12.18.21

OBERON481.TYPEPAD.COM 

     "Adam Lau's Second Guard stood out."

Jailer - Tosca - The Metropolitan Opera - 2021

12.05.21

OBERON481.TYPEPAD.COM 

     "Tony Stevenson (Spoletta), Christopher Job (Sciarrone), and Adam Lau (Jailer) each made their vocal mark."

Don Basilio - Il Barbiere di Siviglia - Utah Opera - 2021

10.11.21

UTAH ARTS REVIEW - RICK MORTENSEN

     "This production cast Don Basilio as a strutting Italian pop singer, which Adam Lau played broadly, sometimes holding a pretend microphone and        doing an Elvis-style bump and grind as his rich, bass voice glided easily over Rossini’s score. His rendition of “La Calunnia” (“slander”) was ONE

     OF THE EVENING'S  MUSICAL HIGH POINTS, and his character’s duplicity and confusion created an excellent foil to Adams as   

      Figaro. "

10.12.21

UTAHTHEATREBLOGGERS.COM - ELIZABETH HANSEN

 

     "Adam Lau played Don Basilio, Bartolo’s money-grubbing ally who advances Bartolo’s nuptials with Rosina.  Lau has an AMAZING BASS

     VOICE and can sing lower than any human should be able to."

Masetto - Don Giovanni - Seattle Opera - 2021

03.19.21

BACHTRACK.COM - Stephen Pritchard

     "Vocally, however, he is outclassed by the impressive bass of Adam Lau as Masetto, the new husband that the Don humiliates."

Bass Soloist - Handel Messiah - San Francisco Symphony - 2019

12.18.19

OPERAWIRE.COM

     "Bass Adam Lau provided the ground for the four.  He was solid, determined, effective, effortless, and yet, firm and convincing.  He sang with

     conviction and often resonant beauty.  We never doubted his determination.  And what he sang resolved any doubts we might have about the

     message he transmitted.  He was unshakeable."

Alidoro - La cenerentola - Seattle Opera - 2019

10.25.19 

SGN.ORG - ALICE BLOCH

     "It's been a pleasure to watch young bass Adam Lau mature through many performances at Seattle Opera.  As Alidoro, the prince's tutor and

     Cinderella's advocate, he sang with assurance, including some spine-tingling high notes (high for a bass, that is).

Basilio - Il barbiere di Siviglia - Portland Opera - 2019

06.29.19

NORTHWESTREVERB.BLOGSPOT.COM 

     "Adam Lau was terrifically funny as the Don Basilio, and his animated singing of "La calunnia," a lesson in dirty tricks, caused a riot of laughter."

Oroveso - Norma - Utah Opera - 2019

05.05.19

FRONTROWREVIEWERSUTAH.COM - BENEDICTE DANSIE

     "Adam Lau's (Oroveso) gorgeous bass voice lends regal command to his role as leader of the druids.  He shows the turmoil and absolute heartache          of attempting to balance his position as both a father and political leader perfectly."

Bass Soloist - Mozart Requiem - Charlotte Symphony - 2019

04.16.19

BROADWAYWORLD.COM - PERRY TANNENBAUM

     "the "Tuba mirum" was a fine spotlight for all four guest vocalists, particularly bass Adam Lau, smoothly accompanied by principal trombonist John

      Bartlett"

Kobun Chino Otogawa - The (R)evolution of Steve Jobs - Seattle Opera - 2019

02.26.19

SYBARITICSINGER.COM - MEGHAN IHNEN

     "This imaginative and brilliantly put-together opera would come to naught were it not for the excellent singers: powerful baritone John Moore as

      Jobs, bass Adam Lau as Kobun"

02.28.19 

DRAMAINTHEHOOD - MOLLY CASSIDY  

     "Adam Lau as Kobun Chino Otogawa has a wonderful, rich, and clear bass sound and his comedic timing is spot on."

Frère Laurent - Roméo et Juliette - Utah Opera - 2018

10.19.18 

THE UTAH REVIEW - HEATHER KING

      "Adam Lau makes his Utah Opera debut as the thoughtful Frère Laurent who agrees to marry Romeo and Juliette and then helps Juliette escape a    

       forced marriage to Count Paris and stuns with his bass vocals."

10.14.18

UTAH ARTS REVIEW - EDWARD REICHEL

      "bass Adam Lau as the gentle Frère Laurent and tenor Christopher Oglesby as the hot-headed Tybalt stand out for their fine characterizations"

Sarastro - Die Zauberflöte - Kentucky Opera - 2018

09.19.18 

ARTS-LOUISVILLE - ANNETTE SKAGGS

     "Throughout musical history it common that the villain of the story is performed by a bass. Sarastro is not necessary a bad guy, but nonetheless, he

     is performed by a bass. Lucky for us we have Adam Lau encapsulating those low Fs that few singers can reach."

Old Hebrew - Samson et Dalila - North Carolina Opera - 2018

04.29.18 

CLASSICAL VOICE OF NORTH CAROLINA - ROY C. DICKS

     "Bass Adam Lau, a returning favorite here, sang the brief role of An Old Hebrew with such rich tone and solid production that his performance 

     remains equally in the memory along with the principals."

Basilio - Il barbiere di Siviglia - Kentucky Opera - 2018

02.20.18

ARTS-LOUISVILLE - ANNETTE SKAGGS

     "As soon as I heard Adam Lau as Basilio utter his first phrase I thought to myself, I bet he’d make a great Mephistopheles (It seems he has). With a

      distinguished basso, clear resonance, and delightful comedic reactions, he played Bartolo’s sidekick to the hilt. " 

Bass Soloist - Handel's Messiah at Carnegie Hall - Musica Sacra - 2017

12.23.17

HOLLYWOODSOAPBOX.COM - JOHN SOLTES

     "The soloists consisted of soprano Kathryn Lewek, mezzo-soprano Samantha Hankey, tenor Joshua Blue and bass Adam Lau. Each of them added

      energy and power to the evening’s arias and recitatives."

Bass Soloist - Mozart Requiem - San Diego Symphony - 2017

11.22.17

SAN DIEGO READER - GARRETT HARRIS

     "Likewise, Bass Adam Lau could sing the role of Figaro at any house in the world and would be appropriate as The Count in smaller houses. When 

      Lau began singing the Tuba mirum my heart rejoiced. The sound that poured out of his face hole was as dark and ominous as the grave, yet it 

      remained beautiful and balanced."

11.21.17

SAN DIEGO STORY - KEN HERMAN

     "This quartet—soprano Jessica Rivera, mezzo-soprano Jennifer Johnson Cano, tenor Colin Balzer, and bass Adam Lau—proved to be strong

     individually and even more so as an ensemble. The differences in their vocal colors and techniques disappeared when they united in the glorious

     “Benedictus,” for example."

King Creon - Medea - Wexford Festival Opera - 2017

02.01.17

OPERA NEWS - BRIAN KELLOW 

     "...the superb bass ADAM LAU as Creon. Lau made a strong impression!"

10.19.17

OMM.DE/VERANSTALTUNGEN/FESTSPIELE2017/WEXFORD-2017-MEDEA.HTML - THOMAS MOLKE

     "Adam Lau was her father, King Creon, with a profound bass. In the confrontation with Medea in the second act, he manages, with all authority

     and toughness, to implement the compassion that takes him for Jason's abandoned wife vocally with soft bows."

10.20.17

BACHTRACK.COM - ANDREW LARKIN

     “while Adam Lau’s King Creon defended her powerfully.”

10.23.17

THE TELEGRAPH - RUPERT CHRISTIANSEN

     “Ruth Iniesta (Glauce), Raffaella Lupinacci (Neris), and Adam Lau (Creon) all give vivid, stylish readings of their arias”

10.28.17

OPERA TODAY - CLAIRE SEYMOUR

     “Adam Lau had just the right balance of weight and flexibility as King Creon and - despite his mundane garb - established a regal presence.”

11.03.17

OPERAWIRE.COM - ALAN NEILSON

     "Parading around the fitness center or Medea’s apartment, King Creon, played by Adam Lau, had to suffer some of the more absurd consequences

     of updating the opera to the present day, such as when he threatens to expel Medea from his kingdom – which presumably referred to the fitness           center. Nevertheless, he was vocally quite impressive, his dark resonant bass which has a rough gravelly texture, endowing him with the gravitas

     necessary to impose his authority over Medea."

Bass Soloist - Mostly Mozart Festival - Lincoln Center - 2017

07.29.17

BROADWAYWORLD.COM - RICHARD SASANOW

     "a group of polished soloists from the opera world--soprano Brandie Sutton, tenor Jack Swanson, bass Adam Lau and, especially fine, soprano Janai

     Brugger and mezzo Jennifer Johnson Cano"

Mephistopheles - La damnation de Faust - Royal Liverpool Philharmonic - 2017

03.14.17

THE TIMES UK - NEIL FISHER

     "Adam Lau’s Satan was a considerably more attractive figure — this was a Mephisto you definitely could take home to your mother — and the

     young bass had a suave plausibility that worked well until he dragged his client to Hell."

03.14.17

THE GUARDIAN - ALFRED HICKLING

     "Adam Lau’s brilliant Mephistopheles, whose bold, dramatic singing off-book characterised the diabolic intent to drag the old scholar out of his

     study."

Pilate - St. John Passion at Carnegie Hall - MasterVoices - 2017

02.09.17

BLOGCRITICS.ORG /CONCERTREVIEW - JON SOBEL

     "Adam Lau’s operatically powerful bass and Jesse Blumberg’s milder baritone suited their roles of Pilate and Jesus respectively."

02.17.17

LA SCENA MUSICALE - CHARLES GEYER

     "He and bass Adam Lau, as Pilate, masterfully ratcheted up the complex dramatic tensions between them, offering in rich detail the full arc of their 

     two-character morality play within the larger theological and psychological superstructure of narrative recitatives and choruses, chorales and arias

     surrounding it.

Bass Soloist - Messiah - Carnegie Hall - 2016

12.22.16

CLASSICALVOICEAMERICA.ORG - DAVID SHENGOLD

     "Adam Lau, a genuine bass with an inky resonance recalling Ezio Flagello, performed commendably."

Figaro - Le nozze di Figaro - 2016

11.06.16

THE KANSAS CITY STAR - LIBBY HANSSEN

   

     "This show was marvelously cast, all fine actors and impressive singers. Adam Lau’s Figaro was a smart, convincing character, easy to root for, a     

     resounding voice without becoming ponderous."

11.06.16

KCMETROPOLIS.ORG - JESSIE RIGGINS

   

     " Lau’s Figaro was polished and controlled, and shines in the vulnerable “Aprite un po’quegli occhi” (“Open your eyes”)."

11.09.16

THE INDEPENDENT - PAUL HORSLEY

     "Of course no Figaro can succeed without a good Figaro, and Adam Lau delivers a witty and sophisticated version of the role, despite seeming a tad

     too “madcap” at times...he demonstrates a tasteful feel for vocal embellishment"

Donner - Das Rheingold - 2016

09.16.16

CLASSICAL VOICE OF NORTH CAROLINA - KEN HOOVER

   

     "Adam Lau as Donner was outstanding in his performance in the scene of clearing the mists."

09.9.16

TRIANGLE ARTS & ENTERTAINMENT - DUSTIN K. BRITT

   

     "Adam Lau, as hammer-wielding Donner, was a bass of the highest order, with a clear and steady godlike voice."

Lodovico - Otello - Minnesota Orchestra - 2016

07.25.16

TWIN CITIES PIONEER PRESS - ROB HUBBARD

   

     "But all of the principal singers exhibited strong yet subtle voices, with Eric Barry’s Cassio invariably engaging while the boisterous bass of Adam

     Lau’s Lodovico resonated impressively."

Bass Soloist - Beethoven 9 - San Francisco Symphony - 2016

07.15.16

THE BERKELEY DAILY PLANET - JAMES ROY MACBEAN

      "“O Freunde, nicht diese Tone! Sondern lasst uns angenehmere anstimmen; und Freudenvollere.” (Oh friends, put aside these sounds! Let us be

     more civil, and speak more joyfully.”) In this SF Symphony performance, these words were robustly sung by bass Adam Lau, who brought power

     and clear diction to his interpretation. Following this introduction, Adam Lau began the Ode to Joy with the familiar, inspiring  words,   “Freude,

     schöner Gotterfunken, Tochter aus Elysium” (“Joy, beautiful godlike spark, daughter of Elysium.”) Now the chorus enters, singing of the way all

     men become brothers under the soft wings of Joy."

Basilio - Il Barbiere di Siviglia - 2016 

04.02.16

VOIX DES ARTS - JOSPEH A. NEWSOME

     "The casting of Adam Lau, the fantastic Leporello in North Carolina Opera’s 2015 production of Mozart’s Don Giovanni, as Rossini’s Don Basilio

     was an instance of an ideal intersection of singer and rôle. A delectably conspiratorial—and kleptomaniacal!—presence in Act One, Lau delivered

     the aria ‘La calunnia è un venticello’ with amplitude that packed the punch of a ‘colpo di cannone,’ only the final bars slightly compromised by

     forcing. In the Act One finale, Lau voiced Basilio’s lines with sonorous aplomb. His collapse when ‘wounded’ by a flying pillow in the cleverly-

     staged ‘battle’ between rival factions was worthy of vintage Rick Flair. As the centerpiece of the Act Two Quintetto, Lau amusingly sang and acted         Basilio’s befuddlement, willing both to suffer his sudden malady’s ill effects and to recover from them with equal rapidity depending upon which  

     circumstance yielded the greater windfall. Vocally, Lau was as solid a Basilio as can be heard in any production of Barbiere today, a rival to the

     exalted legacies of Ezio Pinza and Cesare Siepi, and he was fabulously buffo without being a buffoon."

04.01.16

CLASSICAL VOICE OF NORTH CAROLINA - KEN HOOVER 

     "American bass, Adam Lau, has been praised as a "bass of real quality, with sonorous low notes." His portrayal of the music teacher, Don Basilio,

     was solid musically and reflected a real understanding of comedic interaction."

4.02.16

THE NEWS & OBSERVER - ROY C. DICKS

     "Adam Lau employs his booming bass humorously as music teacher Don Basilio"

Bass Soloist - Mahler 8 - St. John the Divine - 2016

02.26.16

SUPER CONDUCTOR BLOG SPOT - PAUL J. PELKONEN

     "As the Pater Profundus, bass Adam Lau sang with a rich, dark tone"

Bass Soloist - Messiah - San Francisco Symphony - 2015 

12.18.15

SAN FRANCISCO CLASSICAL MUSIC EXAMINER - STEPHEN SMOLIAR

     "The strongest of them was Lau, which was probably just as well, since his airs tend to have the strongest dramatic impact. His committed

     internalization of “Why do the nations so furiously rage together” was so strong that he delivered the entire performance without opening his

     score. (Would anyone really expect him to read all the notes in his part for that air?)" 

     

Papa - An American Dream - Seattle Opera - 2015

08.21.15

OPERA NEWS - MARK MANDEL

     "Black-timbred bass Adam Lau was solid as Kobayashi"  

08.22.15

SEATTLE TIMES - MELINDA BARGREEN

     "Nina Yoshida Nelsen and Adam Lau were remarkably good as Setsuko’s parents"

08.22.15

CITY ARTS ONLINE - PHILIPPA KIRALY

     "Bass Adam Lau as Papa Kobayashi...all are compelling in their acting, excellent in their singing"

08.25.15

CLASSICAL VOICE AMERICA - JASON VICTOR SERINUS

     "As her parents, debut American bass Adam Lau and debut mezzo-soprano Nina Yoshida Nelsen were quite touching"

Berardo - Richard the Lionheart - Opera Theatre of St. Louis - 2015

06.16.15

CHICAGO TRIBUNE - JOHN VON RHEIN

     "Tai Oney's puppy-doggish Oronte and Adam Lau's Berardo had less to do, but each singer delivered the vocal goods convincingly. Lau is a bass to

     keep an eye on." 

06.11.15

BROADWAY WORLD REVIEWS - STEVE CALLAHAN

     "Berardo is sung by bass Adam Lau, and he shows wonderful power. Admittedly, here the low beauty of his voice is blessed by being surrounded

     by an array of very high voices, but he is clearly an outstanding talent."

06.09.15

LADUE NEWS - MARK BRETZ

     "Adam Lau’s commanding bass brings persuasive power to Berardo"

06.09.15

THE OPERA CHASER

  

     "In the smaller singing role of Costanza's servant Berardo -  nonetheless given loads of stage time and drive to the plot - Adam Lau opened the

     night with impressive bass might and formidable stage presence. Berardo too wasn't left out of the chemistry of attraction for Costanza and Lau

     adorably complied.

06.08.15

ST. LOUIS POST-DISPATCH - SARAH BRYAN MILLER

 

     "Bass Adam Lau was an attractive, sympathetic Berardo, the servant who saves Costanza, with an attractive, well-used voice."

 

06.08.15

KDHX - STEVE CALLAHAN

     "Berardo is sung by bass Adam Lau, and he shows wonderful power. Admittedly, here the low beauty of his voice is blessed by being surrounded

     by an array of very high voices, but he is clearly an outstanding talent."

Leporello - Don Giovanni - North Carolina Opera, NC - 2015

04.20.15

VOIX DES ARTS  - JOSEPH NEWSOME

     "From the first notes of ‘Notte e giorno faticar, per chi nulla sa gradir’ in Act One, Adam Lau was a Leporello who had the audience in the palms of

     his hands. More impish opportunist than partner in crime, Mr. Lau’s Leporello was an ideal foil for Don Giovanni. There were both great fun and

     a suggestion of a tender effort at dissuading Elvira from pursuing Giovanni in his performance of the aria 'Madamina! il catalogo è questo.’ He

     caressed the melody of the andante con moto, 'Nella bionda egli ha l'usanza di lodarla la gentilezza,' gently flattering Ms. Clark’s becomingly

     blonde Elvira. His patter in ensembles was barnstorming, and every vocal gesture was matched by physical comedy worthy of Buster Keaton. In

     Leporello’s Act Two duet with Giovanni, 'Eh via, buffone, eh via, non mi seccar,' Mr. Lau sang splendidly, and his mimicry of Giovanni in

     serenading Donna Elvira was sidesplitting...his address to the Commendatore’s monument in 'O statua gentilissima' was artfully-phrased. Mozart

     and da Ponte wrote the rôle of Leporello so magically that a good singer can easily walk away with the laurels in a performance of Don Giovanni.

     The high quality of his colleagues’ portrayals meant that Mr. Lau shared the laurels, but in both voice and demeanor he was a world-class

     Leporello."

04.20.15

THE NEWS & OBSERVER - ROY C. DICKS

     "As his loyal servant Leporello, bass Adam Lau combines a vividly sonorous voice with an astute comic sensibility, making him an audience

     favorite."

04.19.15

OPERALIVELY.COM - LUIZ GAZZOLA

     "Mr. Adam Lau was fabulous as Leporello, with a performance as good as any I've seen (and I've seen some mighty good ones). His Catalog Aria

     was excellent, not to forget his phenomenal comedic timing and acting. A++"

04.18.15

CLASSICAL VOICE OF NORTH CAROLINA - WILLIAM THOMAS WALKER

     "Manich has created a marvelous ensemble cast. Bass Adam Lau as Leporello has a flexible, rich, and solid voice and a real flair for comedy."

George London Foundation for Singers Competition - 2015

MAY 2015

OPERA NEWS - BRIAN KELLOW

    

     "Also making a stunning impression was thirty-year-old bass Adam Lau, who displayed a uniformly beautiful tone and keen acting skills in

     Claggart's aria from "Billy Budd". Lau's final "I will destroy you" seemed to hang in the air for some time after he finished singing."

02.28.15

VOCE DI MECHE - Meche Kroop

     "A gifted singer can get the listener to appreciate an aria that he/she might not ordinarily enjoy, or a language one does not particularly favor. For

     example, baritone Reginald Smith, Jr. and bass Adam Lau employed such fine English diction that we understood every word and considered their

     performances two of our favorites...Mr. Lau gave a similarly superb performance of "Claggart's Aria" from Britten's Billy Budd, giving the role all

     the bitterness and envy that was called for without ever compromising the requisite musicianship."

Don Alfonso - Cosi fan tutte - Naples Opera, Fl - 2015

02.22.15 

KNIGHTS ARTS FOUNDATION - SEBASTIAN SPRENG

     "But the best performance was delivered by Adam Lau, an outstanding Alfonso in every sense, vocal as well as theatrical, and stylistically even

     more accurate than his young colleagues."

02.08.15 

NAPLES DAILY NEWS - Harriet Howard Heithaus

     "And as comic foils and machinators of the plot to get the women to cheat, Alfonso and Despina have the best roles. You can sense Lau relishing

     his joke as he waves and weeps crocodile tears with the sisters, bidding the men safe passage to the military; “May the winds blow gently” is one

     of the sweetest trios of the opera."

  

Raphael & Adam - Hadyn Creation - Severance Hall - Credo Music Festival - 2014

07.22.2014

CLEVELAND CLASSICAL - Daniel Hautzinger

     "The soloists’ clear diction and expressive faces vividly brought the text to life, especially in recitatives...Lau was superb both as Adam and the

     angel Raphael, his silky voice tender while professing his love for Eve, and noble and weighty while narrating the creation of the earth.

     Performing much of his part from memory, he drew the audience further into the story through small gestures and sincere looks of joy and

     wonderment."