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."
"...Elgan Llyr Thomas’s sneaky retainer
Normanno and Sarah Pring’s
Cassandra-like companion Alisa all fit
admirably into the broader picture."
"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."
Johnny Inkslinger, Paul Bunyan, Britten
English National Opera at Wilton's Music Hall, September 2018
Particularly lovely singing from Elgan Llŷr Thomas (Johnny Inkslinger).
Among the principals, Elgan Llŷr Thomas’ Johnny Inkslinger shone particularly brightly.
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."
"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."
"Llŷr Thomas’s muscular, firmly defined tenor captured
Quint’s viciousness and angry resentment;
he was similarly imposing physically."
"Thomas’s Quint duly dominates the action with his
interventions: his sound is both lean and ringing and
he exudes a natural confidence."