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​​Otello

Storey offered a commanding well-knit voice, displaying heft and clarion tone throughout his considerable range. From a glorious "Esultate!" all the way to the last ghostly "un altro bacio" the English tenor was a supreme Otello; he seems poised to take on Domingo's mantle in the role.

[Opera News]

 

British tenor Ian Storey makes his U.S. debut in the title role. It can't be easy taking the part under the watchful eye of the company's general director , Plácido Domingo, long associated with the role. But there wasn't any evidence of a shadow. Storey, burly and athletic, he commands the stage on his own terms. He possesses the role confidently, brilliantly paces the character's gradual derangement, a barely controlled civility masking a volcanic temper. "Dio mi potevi scagliar tutti mali" was a whirlwind. By the conclusion, he is as empty and pathetic as one could hope for. A smart, engaging, powerful performance

[Orange County Register]

 

Ian Storey, made his debut as Otello. In this interpretation no versatile commander is brought down but a weak giant. It is disturbing how he is able to express vulnerability with his voice, touching how, with his natural, powerful, well-controlled tenor, he draws the psychological portrait of a human being eaten away by inferiority complexes.

[Tagblatt]  ​


Tristan und Isolde

Mit Nina Stemme und Ian Storey hat Zürich eine hochinteressante Besetzung für das exemplarische Un-Paar gefunden. Storey zeigt sanfte Kraft und das Kunststück des verhaltenen Strahlens. Im dritten Aufzug darf er schwächeln und tut das mit einem lyrischen Pianissimo, das für einen Tristan selten ist.

 With Nina Stemme and Ian Storey, Zurich as found a fascinating Tristan and Isolde. Storey reveals tender strength and has that rare skill of using his shining sonorities with intelligent restraint. In the third act (he) sings the weakened Tristan with a most affecting lyric pianissimo that one seldom encounters.

[KlassikInfo]

 

Als Tristan hat man Ian Storey verpflichtet: Ein Glücksfall. Er legt die Rolle seiner Stimme entsprechend eher lyrisch an, gestaltet sehr differenziert, mit tiefem Textverständnis und hat dann doch die Kraft für die mörderischen Ausbrüche im Fieberwahn des dritten Aktes.

For the role of Tristan the theatre engaged Ian Storey, a fortunate choice. His lyric approach to the role reveals a deep understanding of the text, full of contrast and yet possessing the strength for the murderous outburst of delirium in the third act.

[Art-Tv Oper]

 

Ian Storey war also ein jugendlicher Jedermann, befangen als Fremdling in der Bürgerwelt, verletzlich träumend in leiser Tongebung, zu erheblicher Strahlkraft geführt auch im finalen Sehnsuchts-Überschwang.

 Ian Storey was a youthful Everyman trapped as an outsider in this society, dreamingly vulnerable in lyrical passages yet revealing extraordinary power and brilliance in the final outpouring of longing.

[Frankfurter Rundschau]

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Wie er eingangs des dritten Aktes als steinerner Gast vor Kareol hockt, seiner Burg, des Sterbens wie des Lebens müde, das greift gleichwohl ans Herz.

In the third act his crouchin​g presence as a "stone-guest" in Kareol his castle, is truly heartbreaking

[DerTagesspiegel]

 

il suo terz'atto, intenso, appassionato,sempre canto e mai Sprechgesang, è daricordare.

His third act, intense, passionate but always sung was truly memorable

[La Stampa] 


Ian Storey, Tristan, ha capacità attoriali e una presenza scenica notevoli, ma anche una voce dal timbro potente e chiaro, capace di sfumature minimali, sorprendente nel rendere tutta l'inconscia sofferenza dell'amore come malattia.

Ian Storey, Tristan, has remarkable acting skills and stage presence, and also a voice with a clear and powerful quality, capable of the slightest colour shades, amazing in rendering all the unconscious suffering of love as a sickness.

[Del Teatro]



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