Reviews

Wotan Das Rheingold Opera North

‘Michael Druiett, the commanding Wotan, with a remarkably Wagnerian profile, not only has a sumptuous voice, but also uses it to express both Wotan’s grandeur of aspiration, and his shocking (in this primeval scene) political intriguing, ’The Spectator'

'I cannot sufficiently praise the Wotan of Michael Druiett who invoke all the gravity and authority of the role and sang it superlatively and brought out its high drama. His voice is clean-cut and pure in intonation, but his heldobariton flexibility has an added seasoning from the dark , rich hues of a true bass. It beggars believe that Michael Druiett is not snapped up for appearances at the Met,Bayreuth, Paris,Seatlle-everywhere."

'Wagner News'

‘Michael Druiett is vocally and dramatically a suave and imposing Wotan; the voice is smooth and dark, his phrasing supremely elegant with subtle shading of dynamics.’Opera Britannia

‘Michael Druiett makes a noble Wotan.’

The Telegraph

Druiett’s Wotan is handsomely sung.’

The Times

‘Michael Druiett’s Wotan, cast as a caricature Victorian self-satisfied plutocrat, was powerfully sung.’

Classical Source

‘Michael Druiett’s powerful Wotan is a dominant presence physically as well as vocally.‘

Huddersfield Examiner

‘Michael Druiett displayed a very firm and pleasing tone as Wotan.’

Music OMH

‘Michael Druiett, resplendent in Victorian tail-coat, brought a majestic bass-baritone to Wotan.’

Opera

‘It is Michael Druiett as Wotan, chief of the gods and resplendent in tailcoat, whose majestic, seamless bass-baritone provides the backbone to the voices.’
The York Press

‘Michael Druiett imposing as Wotan.’

Birmingham Post

‘Michael Druiett’s towering Wotan leads from the front, vacillating when under threat but regaining authority with Freia’s recovery.’
Opera

Der Wanderer Siegfried Opera North


‘Michael Druiett has matured into a majestic Wanderer of international quality.’ Financial Times

‘Druiett is marvelous, fatigue and disappointment conveyed in every heavy footstep and shoulder shrug.’

The Arts Desk

‘Michael Druiett’s wracked Wanderer is familiar as the Wotan in Opera North’s Das Rheingold, soaked with dramatic charisma.’
Bachtrack

‘Michael Druiett’s Wanderer was noble, imposing and with a nice line in irony.’

Birmingham Post

‘...sings with admirable steadiness and composure.’

The Daily Telegraph

‘Druiett’s Wanderer, authoritative and sympathetic.’

The Guardian

‘The rest of the cast were certainly at an international level with Jo Pohlheim a black voiced Alberich and Michael Druiett a smooth talking Wanderer.’
Lark

‘Druiett's imposing presence and decidedly heavyweight vocal quality make him the ideal Wotan. Although no longer visibly a god, Wotan is just as manipulative and scheming as before and now, in his disguise as "the Wanderer", even more enigmatic. The Wanderer's opening narration supported by gleaming brass motifs was smooth, dark and majestic. His Act l scene in which he poses the three questions to Mime tinged with menace; the Act ll confrontation with (Jo) Pohlheim's Alberich electrifying, whilst his wondrous lyrical outpouring in Act lll is matched only by exquisite playing of the utmost tenderness from the orchestra. Druiett's eyes and facial expressions, with just the hint of a sardonic smile, convey so much to the audience.’

Opera Britannia

‘It was an authoritatively sung portrayal that conveyed the God’s increasing weariness, sadness and resignation.’
Seen and Heard International

‘Michael Druiett, as the Wanderer, is impressive and  will be great. Unlike most of the singers he did throw himself into the part, acting it vividly, and reached magnificent heights in his confrontation with Erda, the remarkable contralto Ceri Williams, whom we have to hear a lot more of. The Wanderer’s confrontations, with Mime, Alberich, Erda, Siegfried, are perhaps the most stirring passages in Siegfried, Wagner’s sympathy with the old order passing outweighing his concern with what is replacing it. Or that is what it can often seem like, and with a singing actor of Druiett’s power that seemed almost inevitable.’

The Spectator

‘Michael Druiett’s Wanderer marks another bold step into this demanding repertory. He has the physique du role and the vocal power to match.’
The Sunday Times

‘Costumed to suit Wotan’s alter ego as a distressed 19th century capitalist, Michael Druiett is mellifluous.’

The Times

May 2017

 

l

Commendatore: Don Giovanni / Opera North

‘Michael Druiett as the Commendatore has remarkable stage presence, exuding authority even as a head poking up through a trapdoor. His voice at the feast sends all the right shivers through the audience – “Don Giovanni! A cenar teco m’invitasti…’

Bachtrack

 

‘The casting of Heldenbariton Michael Druiett (Wotan in Opera North's Das Rheingold and The Wanderer in next year's Siegfried) as Il Commendatore gave a smooth and sonorous authority to the role - a welcome change for my ear from the grainy basses that I have sometimes heard.’

Opera Britannia

 

‘Having been killed off right at the start of the opera the role of the Commendatore only comes into its own at the very end and Michael Druiett suitably dominated the supernatural scene of Don Giovanni’s demise.’

Seen and Heard International

 

‘The singing is excellent, with Miles’ bel canto skills brought to bear on Mozart’s grumbling servant, alongside Meeta Raval’s passionate Donna Anna, Elizabeth Atherton’s flamboyant Elvira, Christopher Turner’s buttoned-up Ottavio and Michael Druiett’s Il Commendatore all providing conspicuous highlights along the way.’

The Stage

 

‘Michael Druiett has the vocal depths and menacing shaven head to register as the Commendatore…’

What’s on Stage

Bonze: Madama Butterfly / Glyndebourne On Tour

‘Standouts in smaller roles include Michael Druiett’s imposing Bonze, rising threateningly from his wheelchair to denounce the apostate Butterfly...’

The Stage

 

‘...there's strong support from Michael Druiett's imposing Bonze.’

The Times

 

Bonze: Madama Butterfly / Welsh National Opera

Of the smaller roles, which were all well taken, I would like to single out Michael Druiett as the Bonze (Priest). Towering over the guests in Act I, his powerful stage presence and strong bass convinced you absolutely of his moral authority and the sense of outrage at the debasement of both his religion and the community, by Cio-Cio-San’s decision to adopt the “western faith”.’

Opera Britannia

 

‘Michael Druiett’s brief appearance as the Bonze was an exercise in authority, both vocally and in terms of stature’

Seen and Heard International

 

Bonze: Madam Butterfly / Raymond Gubbay Ltd at the Royal Albert Hall, London

‘Michael Druiett’s Bonze emerged strongly from the rest of the cast.’

Bachtrack

 

‘…sung and acted with tremendous authority by Michael Druiett.’

The Guardian

 

Banquo: Macbeth / Dorset Opera Festival

‘Michael Druiett was a noble Banquo; there’s a touch of good Port to his voice which gives it both warmth and depth, and his singing showed a notable savouring of the libretto.’

Bachtrack

 

‘Michael Druiett gave a solidly stirring account of Banquo.’

Opera Now

 

‘Michael Druiett, an exceptionally vivid presence as Banquo.’

The Spectator

 

‘Thrilling performances from  Michael Druiett as a noble Banquo.’

Sunday Express

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