Fenton - Falstaff - Verdi

Scottish Opera - July 2021

"Verdi's late-flowering comedy is also a triumph of young love over experience, and here Gemma Summerfield and Elgan Llyr Thomas give a particularly glowing account of the young lovers Nannetta and Fenton."

The Guardian

"...and Elgan Llyr Thomas as her lover Fenton are notably compelling, particularly in the final act in Windsor Park."

The Stage

"The Vocal stars of the show are......Elgan Llyr Thomas"

The Sunday TImes


Gonzalve - L'heure Espagnole - Ravel

Grange Park Opera (film) - March 2021

"...the fluid phrasing and Gallic tang of Thomas' dapper sounding tenor"

The Arts Desk

"Thomas makes a fine Gonzalve, darker and weightier in tone than most."

The Guardian

"Elgan Llyr Thomas was in comically lustrous voice as Gonzalve, extravagant in delivery and sense of line"

Opera Wire

"Elgan Llyr Thomas brings a bright, healthy tenor to poet-about-town Gonzalve"

The Stage

GPO’s singers, under Medcalf’s direction, succeed admirably [...] Elgan Llŷr Thomas as the handsome, posy Gonzalve, and Ashley Riches [...] play their parts with tremendous gusto.”


Gonzalve 2.jpg

Tom Rakewell - The Rake's Progress - Stravinsky

Klara Festival and Aldeburgh Festival - March - June 2019

"Three different singings casts shared touring duties, and happily the Suffolk contingent was led in rapturous fashion by Elgan Llŷr Thomas as Tom Rakewell. With a voice that's exquisitely modulated and flexible in creating character, this young tenor confirmed his status as one of the most exciting British male talents to have emerged in recent years."

Mark Valencia, Opera Magazine , Aldeburgh Festival 2019

"Of the cast we heard I would say she has picked three knockout performers, Elgan Llŷr Thomas sang Tom Rakewell with terrific verve."

Richard Morrison,The Times, Snape Maltings, Aldeburgh Festival 2019

"in Igor Strawinskys ironisch-klassizistischer Oper The Rake's Progress...und Elgan Llŷr Thomas als Tom Rakewell hervorragen"

Walter Weidringer , Die Presse, Aldeburgh Festival 2019

"The cast was led by the young Welsh tenor Elgan Llŷr Thomas as the feckless Tom, whose brightly lit tone swept through the score from the opening duet through to “death’s approaching wing”. Able to command facial expression with ease, whether shame, frustration or child-like naivety when incarcerated in Bedlam, Thomas gave a truly persuasive portrait and hisattempt to define love was particularly touching."

David Truslove, Opera Today,

Snape Maltings, Aldeburgh Festival 2019


"Elgan Llŷr Thomas performed a classic Tom Rakewell and seemed to have

everything one needs- voice, charm, stage presence - to make a great career."

La Libre Belgique, La Monnaie


Orchestra of Opera North cond. Martyn Brabbins / Orbin in Elgar's Caractacus

Hyperion CDA68254, release date April 2019

"Elizabeth Llewellyn lends some lyrical respite to much of the forceful rhetoric of the work’s warrior spirit, one abundantly supplied by Caractacus’s impetuous son, Orbin, played by Elgan Llŷr Thomas. Both are also passionately equal to Elgar’s enthralling love duet in scene 3, a section that avidly confirms the operatic character of this rich score."

Jeremy Dibble, Gramophone, April 2019


"Thomas and Llewellyn rise engagingly to their impassioned duet in scene three."

Daniel Jaffé, BBC Music Magazine, June 2019

Normanno, Lucia di Lammermoor - Donizetti

English National Opera, October 2018



"Elgan Llyr Thomas was wonderfully controlled and creepy as Normanno."

Planet Hugill




"...Elgan Llyr Thomas’s sneaky retainer

Normanno and Sarah Pring’s

Cassandra-like companion Alisa all fit

admirably into the broader picture."

The Stage



"His oily factotum Normanno is sung with

exemplary diction and finesse by

Elgan Llŷr Thomas not as Scott’s military

captain but as a snivelling jobsworth

complete with briefcase and comb-over."


"As Enrico’s retainer Normanno,

Elgan Llyr Thomas sang superbly."

Mark Ronan


Johnny Inkslinger, Paul Bunyan, Britten

English National Opera at Wilton's Music Hall, September 2018



Particularly lovely singing from Elgan Llŷr Thomas (Johnny Inkslinger).

The Telegraph


Among the principals, Elgan Llŷr Thomas’ Johnny Inkslinger shone particularly brightly.

The Stage


Elgan Llŷr Thomas is the latest discovery in a golden age of British tenors...he does the intellect of the Britten/Auden American myth, Johnny Inkslinger, and the most complex aria in the musical proud. 

The Arts Desk


The cast had huge enthusiasm. It’s invidious to pick out just a few, but the Welsh tenor Elgan Llyr Thomas as Inkslinger is plainly one for the future.

The Daily Mail 


Elgan Llŷr Thomas is a ENO Harewood Artist and was perfect as Johnny Inkslinger, the bookkeeper. Britten abruptly changes gear for this part, departing from operetta and lavishing out into grand opera: the voice of Peter Pears was clearly in his mind. Sir Peter would eventually perform the role at Aldeburgh, then on tour. But Llŷr Thomas is a good deal more handsome than Pears and emphatically more athletic of both voice and movement, while still successfully reproducing the unsurpassed Pears musicality.

Seen and Heard International

Peter Quint, The Turn of the Screw, Britten

English National Opera at Regent's Park Open Air Theatre, June 2018


"But the most vocally striking contribution comes from the promising Welsh tenor Elgan Llŷr Thomas, who as Quint combines rich vibrant tone with handsome presence."

The Telegraph


"And the real villain of the piece? Elgan Llŷr Thomas’ Peter Quint, chalk-faced and rusty-haired, kicked the fear factor up several gears. Perhaps it was the eerie stillness of his movements. Perhaps the way his glacial voice erupted in demented passion, bursts of savagery that were perfectly targeted and unpleasant to witness. Whatever the reason, Thomas made the role his own."



"Elgan Llŷr Thomas’s gimlet-eyed and glintingly sung Quint."

The Times 


"Llŷr Thomas’s muscular, firmly defined tenor captured

Quint’s viciousness and angry resentment;

he was similarly imposing physically."

Opera Today

"Thomas’s Quint duly dominates the action with his

interventions: his sound is both lean and ringing and

he exudes a natural confidence."

The Stage

©John Snelling