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 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."
"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."
"....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."
"Gwion Thomas is no less engaging as dad, cafe manager and policeman."
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...."
PUNCH & JUDY REVIEWS
MUSIC THEATRE WALES / LINBURY STUDIO ROH MARCH 2008
"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."
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
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
Thomas' virtuoso Punch naturally dominates, with his panoply
of clever vocal, physical and musical resources."
The Financial Times 1998 / Punch and Judy, Cheltenham
"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
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
"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 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
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
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
Financial Times / Garden Venture
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,
Opera Magazine / Garden Venture
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
"As the rejected suitor,
he sang with an admirable firm line & smooth tone & acted
Western Mail / I Puritani
ardent & bewildered as the well-meaning but finally powerless
The Times / The Fall of the House of Usher, Music Theatre
"with a subtle and intriguing Figaro,
beautifully sung and played by Gwion Thomas, success was
assured. Figaro made every syllable work in his polished
The Stage / The Marriage of Figaro
Thomas's Wildman was an astounding tour de force."
Sunday Telegraph / The Wildman, Aldeburgh Festival
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
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
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
"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
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
clear enunciation with a meaningful interpretation of the
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
Huddersfield Daily Examiner / Concert Huddersfield Town
"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
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:
outstanding cast with Gwion Thomas as Chao, gives this curious
roll-call of characters depth and often real poignancy.
The Guardian / Weir's A Night at the Chinese Opera