Press

For L’araldo maggiore (Isabeau) at Opera Holland Park 2018:

“The use of six on-stage trumpeters at the opera’s opening, with Thomas Humphreys as a lusty herald, was mightily effective as the proclamation of a joust.”

Colin Clarke, Seen and Heard International

“The other smaller roles were cast from strength with Nadine Benjamin as Ermyntrude, Joanna Marie Skillett as Ermyngarde, Princess’s ladies in waiting, and Thomas Humphreys as the herald.”

Robert Hugill, Planet Hugill

 

For Le Grand Pretre de Dagon (Samson et Dalila) at the Grimeborn Festival 2017:

“Thomas Humphreys sang the High Priest’s role with aplomb, and his re-interpretation of the role in this version was positively gleeful and made a real success of Bozok’s concept.”

Robert Hugill, Planet Hugill

“There is good work, too from baritone Thomas Humphreys as the High Priest who pimps her out.”

Mark Valencia, What’s on Stage

“…a menacingly cruel High Priest (sung with flair, in fluid French, by baritone Thomas Humphreys).”

Charlotte Valori, TheatreCat

 

For Marcello (La boheme) for the King’s Head Theatre 2016:

“Thomas Humphreys is wonderfully masculine in his voice and behaviour.”

London Pub Theatres

“Thomas Humphreys’ Mark formed a strong double act with [Matthew] Kimble and stood out for his fine baritone voice.”

Danny Coleman-Cooke, British Theatre

” Thomas Humphreys as ‘Mark’ (Marcello) conveys an effortless ‘posh-boy’ arrogance that works very well as a double-act with his flatmate.  It is a delight to see his transformation to puppyish dependence when the beautiful Musetta comes onto the scene.”

Rage Off Stage

“… Mark, played by Thomas Humphreys, is both funny and serious to the exact degree; his tortured love for Musetta is utterly convincing.”  

Charlotte Rose, Everything Theatre

                                                                                                                                   

For Jake Wallace (La fanciulla del West) at Grange Park Opera 2016:

“Memorable within the various cameo roles was…Thomas Humphreys as Jake Wallace, whose homesick lament reached into the very heart of the score.”

David Truslove, Bachtrack

“Especially notable:…Thomas Humphreys’ brief glory as the camp’s minstrel Jake Wallace.”

Stephen Walsh, The Arts Desk

“…perhaps the most memorable moment is the song from the minstrel, Jake Wallace (Thomas Humphreys), a touching moment of home-sickness and a melody which Puccini brings back at key moments in the opera.”

Robert Hugill, Planet Hugill                                                                                                                                        

For One Day This Will Be Long Ago, Tete a Tete Festival 2015:

“Thomas Humphreys and Victoria Atkinson sang beautifully and moodily…the sheer beauty of the voices, particularly Humphreys’, makes this an undeniably beautiful, if not emotionally eloquent, experience.”

Charlotte Valori, Bachtrack 

For Thelma King Award, Bath 2014:

“This year’s winner, baritone Thomas Humphreys, accompanied very fluently by his wife Raya Kostova, scooped the pool, winning not only the Song Prize, but the top award too. Thomas has a big, bold baritone voice, with commanding presence, singing Mozart, Rachmaninov and Gounod, a lovely aria from Faust, delicately sung in good French, with poise and tenderness, I particularly enjoyed the Rachmaninov, sung con passione. So too, clearly, did the judges, Della Jones, Jean Rigby and Robin Bowman. He already has an impressive CV and his future looks good.”

Peter Lloyd Williams, Bach Chronicle

                                                                                                                                                                        

For Concert with City of London Choir at the English Music Festival, 2013:

“Vaughan Williams’s George Herbert setting, Five Mystical Songs, in which the young baritone Thomas Humphreys touched nerves one would associate with a John Shirley-Quirk or a Bryn Terfel.”

Roderic Dunnett, Church Times

                                                                                

For Ein Deutsches Requiem (Brahms) at Tewkesbury Abbey, 2012:

“Impressive baritone Thomas Humphreys sang his solos incisively and with powerful projection.”

Colin Burrow, The Gloucestershire Echo

                                                                                                                                 

For The Emperor of Atlantis (Ullmann), at the Grimeborn Festival, 2011:

“…Thomas Humphreys’ intense, rich-toned emperor (high impressive in his demanding aria)…”

Yehuda Shapiro, Opera Magazine

“The title role is sensitively sung by young baritone Thomas Humphreys, captivating in his poignant farewell to life aria…”

Graham Rogers, The Stage