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In Welsh...


Y TWR by Guto Puw

"... the drama is hugely reliant on the two-strong cast, the excellent mezzo Caryl Hughes and baritone Gwion Thomas who, as life-long lovers, mirror reality by being on stage for the entire show - that is, until death intervenes."
The Stage

"....the stunning work of the soprano Caryl Hughes and the baritone Gwion Thomas who are required not only to sing and act, but also to age about 50 years - and move the scenery."
The Times

"Gwion Thomas encapsulates all three phases of life in a natural and believable portrayal of Gwyn (Male), transforming himself completely from young man, through middle age to the elderly. His mannerisms subtly transform as his character ages and even his beautiful voice seems to age with his character as he sings through the seasons."
The reviews hub

Jane Eyre by John Joubert with ESO

"Gwion Thomas made a strong showing as the autocratic head."
(Roderic Dunnet in Music & Vision 2016)

"....while Gwion Thomas contributes an indignantly sympathetic Brocklehurst, baffled by the heroine's choice to leave Lowood and take charge of her life."
Opera magazine

The Trial

"....and in multiple roles there are standout cameos from Gwion Thomas,..."
(Rupert Christiansen in The Daily Telegraph 2014)

GREEK by Mark Anthony Turnage, with Music Theatre Wales 2011

" The excellent Gwion Thomas and Sally Silver ensure on-off sympathy for the parents."
The Guardian

"Gwion Thomas is no less engaging as dad, cafe manager and policeman."
The Times

CRIME FICTION (Huw Watkins) and THE SOLDIER'S TALE (Stravinsky,- in Welsh) with MUSIC THEATRE WALES at Wales Millenium Centre March 2009

"As the Man, Gwion Thomas's delivery was also wonderfully articulated. ....... - Gwion Thomas's brilliant and often moving portrayal of the soldier maximised the wit and satire of Glyn's translation...."
Opera Magazine


"And from the cock-crows of Gwion Thomas's superb Punch to the stratospheric coloratura swoops of Allison Bell's Lolita-like Polly, they aren't afraid to use their voices in the way that Birtwistle uses instruments: with no limits."
The Times - Richard Morrison

"...it is not the beauty that stays with you on your journey home. No, you'll be hearing Gwion Thomas's orgasmic whooping for joy as he, Punch, slashes and burns and beats his way into immortality."
The Independent - Edward Seckerson

"The strong cast is headed by Williams and by Gwion Thomas's psychotic Punch, who catches one unawares with the pathos of his boo-hooing over Allison Bell's aptly squeaky Pretty Poll."
The Guardian - Erica Jeal

"Gwion Thomas's Punch skilfully bridges the gap between screeching threats and soul-searching meditation."
Evening Standard - Barry Millington

"Gwion Thomas had a wonderful sneaking amorality in the role."
The Sunday Times - Paul Driver

"The performances are brilliant. Gwion Thomas is a malevolent, yet so-innocent Punch and the other members of the cast are equally fine."
The Opera Critic - Colin Anderson

"Gwion Thomas, dressed in a red romper suit, uses every possible sound and colour in his voice to convey Punch's unrestrained violence."
Metro - Warwick Thompson

"...Gwion Thomas's classic Punch, just the right mixture of geniality and threat, indolent lust and restlessness, and with a finely projected singing voice."
The Spectator - Michael Tanner

Operatic Press Reviews

"There are some impressive performances. Gwion Thomas and Lucy Schaufer are superb as Faber and Thea, the nerve-ridden straight couple whose marriage is crumbling."
The Guardian/The Knot Garden/Music Theatre Wales 2005

"Gwion Thomas alone made every word audible, which was useful when he delivered the prologue as Hermes and explained what was going on."
ConcertoNet.com 2003 / Ion by Param Vir, Music Theatre Wales
Linbury Studio Theatre, Royal Opera House

"Gwion Thomas as Leporello was an object lesson in all respects and made the most of his vocal opportunities, especially in the famous Catalogue song."
The Courier 1999 / Don Giovanni, Perth Festival

"Gwion Thomas' virtuoso Punch naturally dominates, with his panoply of clever vocal, physical and musical resources."
The Financial Times 1998 / Punch and Judy, Cheltenham Festival

"Gwion Thomas as Punch had the measure of his far-flung vocal line, encompassing the vulnerable side of the character as well as his stereotypical brutality."
The Independent 1998 / Punch and Judy, Cheltenham Festival

"Gwion Thomas was in heroic form as Orfeo, rich of voice and entirely at ease with the wide range of his part. The smoothness of his legato and effortless delivery of the text gave an impression of Italian warmth. Above all, Thomas had an innate feeling for the style of Monteverdi's monody, outlining his plea to Charon in the third act with heart breaking tenderness and bringing an unforced naturalness to his final lament for Euridice."
The Independent / Orfeo, Kent Opera

"With his powerful voice and convincing metamorphosis from street-rat to distinguished dandy, he lifted the starchy Greek above only looking at pictures."
Het Parool / Greek, Amsterdam

"Gwion Thomas holds centre stage as Figaro, debonair in Jermyn Street tweeds and Seville-orange waistcoat, and is as expansive of character as of voice."
The Times / The Barber of Seville, English Touring Opera

"and Gwion Thomas, always a stylish, lively singer was a notable Bill Bobstay."
The Observer / HMS Pinafore, Royal Festival Hall London Philharmonic Orchestra

"Gwion Thomas, as a beguilingly Welsh boatswain, sailed on his way mellifluously. His nicely tongue-in-cheek rendering of For He is An Englishman was one of the high points of the evening."
The Times / HMS Pinafore, Royal Festival Hall

"Gwion Thomas is a strong Figaro, whose wit and ingratiation are clearly aimed at making sure he survives; his collusion with the audience is mercifully chastened by this toughness, though he can certainly charm with his singing."
The Times / Barber of Seville, Welsh National Opera

"Gwion Thomas as the collaborator, and ..were outstanding in the main roles."
Daily Telegraph / A Night at the Chinese Opera, Cheltenham Festival

"The solo cast was splendid and Gwion Thomas Made Chao Lin a very real character"
The Scotsman / A Night at the Chinese Opera, Glasgow Royal Concert Hall

"No one could have tried harder then this chosen cast... got it absolutely right, as did the impressively versatile... and Gwion Thomas."
The Times / A Night at the Chinese Opera

"splendidly cast, including Gwion Thomas, outstandingly forceful as Punch."
Observer / Punch and Judy, Aldeburgh

"On stage the robust vitality was centred in a lewd, leering, full-blooded performance by Gwion Thomas as Punch in humped costume."
The Times / Punch and Judy, Aldeburgh Festival

"magnificent performances by the young singers, particularly the superbly type-cast Punch."
Musical Times / Punch and Judy, Vienna

"Gwion Thomas sang Mr Scipio in ringing style, and with cool comic flair; he is a performer of noteworthy potential."
Financial Times / Scipio's Dream, Purcell Room

"the Welsh baritone, Gwion Thomas, gave a truly memorable performance as The Lecturer, full of quirky characterisation and underlying pathos."
Opera Magazine / A Water Bird Talk

"The singer who shows real confidence in acting is the Schaunard of Gwion Thomas, lithe, witty and inventive. Listen to... and Gwion Thomas' Schaunard and hear voices which have youth on their side but a maturity of timbre and rich store of emotion."
Daily Telegraph / La Boheme

"rivetingly well sung and acted by the six-strong company, with the baritone Gwion Thomas outstanding both as the hostage and the deranged Artaud."
The Times / New Operas at Donmar, Opera Theatre Company

"and was hugely lucky in Gwion Thomas as its protagonist - bluff and subtle, with the charisma of a bemused, chastened Bruce Willis."
Financial Times / Garden Venture

"and the whole was sustained by a vivid performance of the protagonist by Gwion Thomas."
The Times / Garden Venture

"Also an engaging protagonist, a real performer, a user of words, a projector, a presence."
Opera Magazine / Garden Venture

"Gwion Thomas's fine baritone was ideally suited to the music of Enrico, and he showed a natural gift for Italian comedy."
Opera Magazine / Il Campanello

"Gwion Thomas stood out as a sardonic Carbaret style compere."
Financial Times / The Emperor of Atlantis, Queen Elizabeth Hall

"As the rejected suitor, he sang with an admirable firm line & smooth tone & acted with conviction."
Western Mail / I Puritani

"Gwion Thomas, ardent & bewildered as the well-meaning but finally powerless friend, William."
The Times / The Fall of the House of Usher, Music Theatre Wales

"with a subtle and intriguing Figaro, beautifully sung and played by Gwion Thomas, success was assured. Figaro made every syllable work in his polished performance."
The Stage / The Marriage of Figaro

"Gwion Thomas's Wildman was an astounding tour de force."
Sunday Telegraph / The Wildman, Aldeburgh Festival

"Gwion Thomas, magnificent in quasi-naked Tarzan demeanour."
The Times / The Wildman, Aldeburgh Festival

"and Gwion Thomas's Wildman had the right charisma from his first appearance."
Financial Times / The Wildman, Aldeburgh Festival

"Gwion Thomas' Wildman powers across the stage, slithering and sliding, howling and gibbering with terrifying ferocity generating a surging intensity."
The Independent / The Wildman, Aldeburgh Festival

"At the centre of the action is the Wildman himself, arrestingly portrayed in voice and body by Gwion Thomas, for whom the part was written, calling on extremes of compass and expression comparable with those demanded by Peter Maxwell Davies in his Eight Songs for a Mad King."
Opera Magazine / The Wildman

"As Wildman, Thomas is extraordinary in his agile writhings -inimitable in future productions."
The Stage / The Wildman

"Among the voices in a strange world of sound, Gwion Thomas was riveting as the Astrologer - at once barbaric and sinister."
Staffordshire Sentinel / The Burning Fiery Furnace

"Gwion Thomas, a last minute Leporello, light fingered servant to the rapacious Don, stole the show in this Opera Box Production. A splendid actor with a fine voice, he lit the stage."
Daily Post / Don Giovanni

Oratorio and Recital Press Reviews:

"Gwion Thomas has an excellent voice which he uses most effectively. His interpretation of this demanding part was very well thought out and he met all the demands of the music."
Ipswich Times / Elijah

"He has a fine and very pleasing baritone voice, and this is at the service of a cultivated musical intelligence. His progress through the conflicting emotions of the cycle (Dichterliebe) was beautifully and eloquently expressed and his voice was skilfully modulated; the clarity of his diction, which allowed Heine's words to be heard, added to the excellence of the performance."
Daily Telegraph / Manchester Midday Concerts

"combined beautifully clear enunciation with a meaningful interpretation of the text."
Liverpool Echo / Five Mystical Songs, Liverpool Cathedral

"He has a fine baritone voice, firm, dark-toned and vibrant. He sings with obvious dramatic insight and expressive feeling and no little flair in characterisation."
Staffordshire Sentinel / Penkhull Festival

"voice of richness and strength and a clear diction.. alternately melodiously flowing and stirring."
Huddersfield Daily Examiner / Concert Huddersfield Town Hall

"a gem of a concert (plenty of variety) with two fine singers. His voice has richness, power and intelligence, his wife's a flexible purity."
Wrexham Herald and Post / Joint recital in Wrexham

"is musical, and has a warm baritone voice of great richness, with no weak spots. As an interpreter of lieder he has that rare ability to become one with the spirit of what he is singing, without resorting to acting."
Cambrian News / Joint recital in Dolgellau

"Perhaps the final accolade should be reserved for Thomas who sang the dramatic role of Pilate."
Scunthorpe Evening Telegraph / St John Passion

"The special colour of the voice was never sacrificed. The whole portrayal of the prophet was profound and dignified. It is enough with the fine cello obligato, had intense feeling but without a trace of sentimentality."
Liverpool Daily Post / Elijah

Classical CD Review:
"The outstanding cast with Gwion Thomas as Chao, gives this curious roll-call of characters depth and often real poignancy. Highly recommended."
The Guardian / Weir's A Night at the Chinese Opera

© 2013 Gwion Thomas