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Opera Concert


Nancy Gibson und Edward Randall


sound clips

Bacchus in Strauss' Ariadne auf Naxos in Chemnitz

The 'serious pair' is sung by Nancy Gibson and Edward Randall. The entrance of the latter was the vocal highlight of the evening. With a firm, and in the middle voice baritonal grounded tenor, he soars with grand phrases and powerfully shapes the extremely difficult Bacchus passages of the final duet.

www.klassik.com Uwe Schneider, 13.05.2006

"Edward Randall delivers Bacchus with great tenoral power and radiance."

Sächsische Zeitung Jens Daniel Schubert, 15.05.2006

Rachael Tovey as Lora with Edward Randall as Arindal in Wagner´s Die
			 Feen in Würzburg Germany

Arindal in Wagners Die Feen in Würzburg

"The tenor role of Arindal demands youthful fire, a tragic figure a la Tannhäuser and Tristan, and flexible melisma as well as helden tenor power and stamina. Edward Randall brought all of these qualites in such a degree that enabled him to create an enthralling portayal of this torn, happless Prince . His beautiful as well as flexible voice with remarkable soaring high notes conquered the evil forces".

Der Neue Merker Sieglinde Pfabigan, März 2005

"The vocal realization is a major feat, which thanks to a number of guests is achieved. Edward Randall creates an Arindal with vocal and dramatic intensity, in his hopelesness, brokenness, and bewilderment that one will not quickly forget..."

Fränkisches Tageblatt Monika Beer, Februar 2005

"To the good theater ensemble came a few guests, the most important, Edward Randall (from Chemnitz) who optimally sang and personified the demanding tenor role of the prince Arindal."

Der Neue Merker, Februar 2005

Edward Randall in "Kleinzack"


Hoffmann in Offenbach's The Tales of Hoffmann in Chemnitz

"Edward Randall delivers a brilliant Hoffmann"

"In this work all is for nothing, without a tenor. Even the colleagues applauded Edward Randall, as he was righlty celebrated in the generous final applause for his grandiose Hoffmann."

Sächsische Zeitung Irene Tüngler, March 2004

"Edward Randall, in the titel role, offered everything that was demanded: passion, lyrical swooning and staying power until the end of the enormous role."

Neues Deutschland Laura Naumburg, March 2004

Edward Randall, Wieland Müller und Matthias Winter in Eugen Onegin


Lenski in Tschaikowsky's Eugen Onegin in Chemnitz

"… Edward Randall is a very solid and powerful Lenski, who never the less leaves no wishes unanswered with his vocal lyricism and sweetness of tone."

Das Orchester March 2004

Edward Randall als Max in Webers Der Freischütz


Max in Carl Maria von Weber's Der Freischütz in Chemnitz

"… Edward Randall sang like one expects a tenor in a German Romantic Opera : not held back in the lyrical passages only to be over taxed in the dramatic scenes, not with italianate exaggeration or sobbing tenor mannerisms, not with the stiffness of the heavy Heldentenors, rather he posseses something of all of the virtues of these vocal types, beautiful timbre, strength in the dramatic outbursts and energy to shape the psychological foundation of his figure."
MDR January 2003

Listen to sound clips of Erik, Max and more

Erik in Wagners Der fliegende Holländer

"… Edward Randall delivered as Erik secure, metallic, rising high notes. „

March 2002

" The role of Erik was entrusted to the theater's lyric tenor. Respectable and with many beautiful tones Edward Randall mastered the ungrateful and difficult part with no conditional deficits. "

Das Opernglas March 2002

"Edward Randall's performance as Erik was remarkable. He unites equally the lyric and the dramatic - for his vocal resources he exceeds himself and offers a convincing portrait of the role."

Blitz February 2002

"Most impressive was Edward Randall as Erik, the true lover of Senta. One would not have been surprised if Senta had spontaneously changed her mind."

AD Rem. February 2002

Erik in Wagner's Der fliegende Holländer in Minden

"… A Trump of the production is Edward Randall's Erik, who let his baritonal grounded tenor shine in full brilliance. "
Mindener TageblattUdo Stephan Köhne, 11/2002

"… Edward Randall as the hunter of the lost treasure did his thing well ... he had no problems with the difficult tessitura of this role. "
Opernglas K.G. v. Karais, 11/2002

Siegmund in a concert performance of the first act of Wagner's Die Walküre with the Knoxville Symphony Orchestra

"… There were moments when it almost seemed like a real opera, especially when Edward Randall, singing the role of Siegmund, took over the stage with his vigorous presentation of the brother/lover of Sieglinde...

Knoxville News
October 2001

King David in Kurt Weill's The Eternal Road at the Brooklynn Academy of Arts
Edward randall tenor

"…Edward Randall sang David's initially amorous, then grieving music in handsome, charged tones. Conviction and commitment were evident from every performer…"

Patrick Giles Opera News June 2000

Edard Randall Tenor

Tom Rakewell in Rakes's Progress

The cast of this difficult piece, made up entirely of soloists from the Chemnitz ensemble, was convincing throughout. Versatil and emotional, Edward Randall used his outstanding vocal and acting skills to create an agil and careless Tom whose hunger for fame and fortune, his wavering opposition to temptation and his insane desire to be a young Adonis could be personally experienced by the audience.

{Tom Rakewell in Rake's Progress}

{Edward Randall als Almaviva} Almaviva in Rossini's Il Barbiere di Sivigla

Edward Randall as Almaviva mastered the roles difficult "cliffs" with elegance and astounding vocal warmth. As an actor he was most surprising as a first rate comic talent. Whether it was as the stinking drunken soldier or as the wily music teacher he was convincing throughout and moreover in the end created a lover of manly intimity.

Joachim Weisse
Chemnitzer Blitzzeitung

The Serenade for Tenor, Horn and Strings Benjamin Britten

Mozartfest im Schloss Schwetzingen

"...It was followed by a both dreamily technically performed and deeply emotional reading of The Serenade for Tenor, Horn and Strings from Benjamin Britten... Britten wrote the work as many of his works for Peter Pears and for the phenomenal horn player Dennis Brain. In Schwetzingen Tenor Edward Randall managed with his both lyrically controlled and heroically unrestrained voice to reach this overwhelming example set by this historical pair and produced as if by magic, together with the excellent hornist Tobias Liedtke, a richly complicated and endlessly subtle world of sound. Especially in the Epilog unfolded a throat gripping sadness of unbelievable tenderness and poetry ."


Les Illumination Benjamin Britten

"Für den Sänger erwiesen sich die "Erleuchtungen" als eine immense herausforderung an sein stimmliches Vermögen und an seine Gesangstechnik. Enorme Intervalle galt es da zu meistern, belcantohafte Momente unvermittelt in ein hartes Fortissimo zu steigern. Nur so sind die scheinbaren Wahnsinnigkeiten des sich kein Maß setzenden Rimbaud in der Vertonung durch Britten nachvollziehbar zu machen. Auch wenn man es leider unterlassen hat, gelang es Randall, dem Publikum jene Entgrenzung zu signalisieren, die dem Dichter wie dem Komponisten vorschwebten. Eine hohe Musikalität, eine strapizierfäige Stimme, gapaart mit Sinn verständnis, brachten einen Eindruck zustande, der das Publikum hingerissen applaudieren ließ."

Meininger Tageblatt

Jesus-Passion Oskar Blarr (In Hebrew)

"Edward Randall rose above the excellent singer sextette with his radiant powerful Tenor."

MOZ Frankfurt (Oder)

Dream of Gerontius Elgar

" Edward Randall was convincing in the Role of "Gerontius" and the "Soul". His sensitive Piano with "How still it is" or the painful despairing "Take me away" were equally impressive.

Gerhard Mieth, Magdeburg

Elias Mendelssohn

"Above all Edward Randall was able demonstrate his creative powers in the contemplative passages and in the recitatives of Obadjah he was able to employ his refined technical skills and broad palette of vocal colors.

Freie Presse

Opera Concert