Ponchielli La Gioconda (St John’s, Waterloo)

“John Upperton, Powerful but lean of voice, brought a buccaneering edge to Enzo and deserves special credit for opening ‘Cielo e mar’ his big tenor moment, as a gentle rhapsody.” (Yehuda Shapiro, Opera)

Cavaradossi Tosca **** (Midsummer Opera)

“Tonight’s Tosca should perhaps have been titled Cavaradossi. … And in his big moment – the aria ‘E lucevan le stelle’ in which he contemplates life in light of his imminent death – Upperton (who’s appeared with both Royal Opera and English National Opera) makes us believe that for him, singing is as natural as talking.” (Francesca Wickers)

Dom Sébastien (Royal Opera House, Covent Garden)

“Amongst the smaller roles John Upperton (Dom Antonio) caught my ear, with absolutely clear diction.” (Serena Fenwick, Musical Pointers)

Verdi Otello (St John’s Waterloo)

“John Upperton has the ideal tenor for Othello, with lyrical sound that is pure, powerful, and ringing: spot-on pitches; no forcing, shouting or screaming; intelligible, communicative command of Italian. Verdi would have admired him mightily.” (Andrew Porter, Opera)

Janáček Zápisník Zmizelého (Beckenham Festival)

“In strong and unflagging voice he gave a stunning performance, combining impeccable Czech and the full variety of Janáček’s declamation without sacrificing any of his searing lyricism.” (Dvořák Society Journal, Terry Heard)

Rossini Ermione (Queen Elizabeth Hall)

“…while Upperton, his voice flowing like silk, disquietingly conveyed Pirro’s hauteur.” (The Guardian)
“As Pirro, John Upperton’s tenor had more of an Italianate ring, and he negotiated the fearsome colorature and tessitura with aplomb.” (Opera)

Rossini La Donna del Lago (St John’s, Smith Square)

“…there was one tenor equal to the challenge, John Upperton, who flung off Roderick’s more-than-two-octave scale leaps with confident, ringing tone.” (The Times)
“John Upperton threw out Rodrigo’s scintillating high Cs with apparent ease.” (The Guardian)