|ROYAL OPERA HOUSE, COVENT GARDEN - APRIL 2006
|John Treleaven sang the part of Siegfried with a clearly focussed vocal line, secure top notes and a metallic shine to the voice…………with exemplary articulation and sensitive phrasing.
With irresistible charm the animated performer tenor presents all of the high spirits of youth of the unknowing death candidate with “laughing joy.” It was indeed very delightful how his joie de vivre was also expressed vocally and showed the lyric singer, whom Treleaven has remained in spite of all the Tristan-Siegfried exertions, to full advantage.
|Der Neue Merker
|The singing too is at a high level. I had to admire John Treleaven for his staying power and his touching death scene.
John Treleaven manages to maintain our delight in him while recognising his more chauvinistic tendencies. His death and abandonment seem quite fitting, and this Siegfried is better sung than I would dare hope, as strong at the end as at the start.
|Siegfried, John Treleaven,……..produced some exciting high notes and stylish phrasing………he gets through a massive role with his dignity intact.
|Treleaven’s scene with the Rhine-Daughters is most moving.
|Independent on Sunday
|John Treleaven as Siegfried is heroic.
|What’s On in London
|Treleaven sings with great conviction.
|CHICAGO - MARCH 2005
brought zest and boundless energy to Wagner's tale of betrayal, murderous
treachery and redemption. Tall and handsome, Treleaven cut the kind
of appealing figure Wagner envisaged for his impetuous young hero, Siegfried.
Tenors who combine youthful good looks with the vocal heft to project
Siegfried's sustained melodic lines over Wagner's huge orchestra are
rare commodities, Treleaven managed that near-impossible task well.
He was ultimately a charming, sympathetically human Siegfried.
|Chicago Sun Times
Treleaven was simply amazing. Of the very few Wagnerians who can sing this punishing role, how many do so as tirelessly or play the gullible hero with such sparky exuberance? ........ he sang superbly, sounding nearly as fresh at the end of a very long evening as he did in the beginning.
|British tenor John Treleaven handled Siegfried admirably, with vocal power, physicality and just the right measure of naivete.
John Treleaven's lovable Siegfried......the tall British tenor was a handsome, robust Siegfried, brimming with both intelligent curiosity and rough, teen high spirits. Miraculously he had vocal power to spare for Siegfried's final, celestial love duet with Brunnhilde. At its best, his is a huge, heroic but still lustrous tenor.
|Chicago Sun Times
was the major discovery of the 2003 revival of August Everding's 1996
production and the British tenor proved his earlier success was no fluke.
Siegfried evolves from a dumb jock to a knowing and passionate hero.
Treleaven conveyed that evolution convincingly through the power and
stamina of his singing, and also the natural ease with which he propelled
his tall, beefy body around the stage.
His healthy, open sound and perpetual boyish grin told you a lot about this impulsive hero-in-training who, in the best fairy-tale tradition, slays the dragon, grabs the gold and wins the slumbering maiden.
|John Treleaven was a magnificent Siegfried with an heroic voice and an unbelievable top. Again he surprised us, not only with his high C's in the Götterdämmerung. He is a living example of a singing-actor and portrayed a powerfully emotional transition from a boy thirsty for knowledge to an all-knowing hero. The intensity and depth of his interactions with the strong Mime of David Cangelosi was one of the highlights of this Ring and showed what potential lies in the often underestimated first Act of Siegfried.
Der Neue Merker
|John Treleaven was the outstanding singer/actor in Siegfried and Götterdämmerung. One has the impression that his heldentenor has meanwhile even more gold in the high notes than before. His reserves seemed inexhaustible at the end of Siegfried, and no one singing now can equal his high C in the Rhein scene in Götterdämmerung. Great lyricism and generous legato are the hallmarks of his “Seliger Öde und Sonniger Höh’”. Add to all this his charismatic acting, which make him always a sympathetic and, because of his stature, a noble and therefore credible impersonation of Siegfried.
Der Neue Merker
|BARCELONA - MAY 2004
|John Treleaven who is now written in the history of the new Liceo as Tristan and as the Hero of the Tetralogie concluded brilliantly in his great and many facetted portrayal.
The public were enthrilled by the star cast. John Treleaven ..... succeeded with excellent top notes and great vocal power.
|La Vanguardia, 25.5.04
|John Treleaven finished his youthful Siegfried with shining tones.
|El Periodico de Cataluya, 25.5.04
|John Treleaven gave his lyrical Siegfried absolutely the right measure and a masterfully portrayed death.
TOKYO - 2003/04
|Mr. Treleaven who sang the part of SIEGFRIED in the New National Theatre fascinated the audience with his smooth and flexible voice that ranges from lyric beauty to heroic splendour and with his intellectual action, with a deep insight into the essence of the role which also reflected the producer Keith Warner's intention in a masterly way .
|Yomiuri, April 2003
John Treleaven as Siegfried in Götterdämmerung is excellent in his heroic vocal strength and lyrical expression.
|Yomiuri, April 2004
|On April the first, John Treleaven was simply at his best and embodied a vigorous and youthful Siegfried.
ZURICH - MAY 2002
|John Treleaven as Siegfried is a worthy successor to the late Gösta Winbergh. Treleaven possesses a secure voice with a clear timbre that let him rise to the demands of the role without difficulty. More to the point, he phrases musically, sings with style, and his diction is truly impeccable.
|Der Neue Merker
.... and we find only praise for a Siegfried-tenor who not only stepped in at short notice for the deceased Gösta Winbergh, but who can move so masterfully from muted, visionary lyricism to ecstatic triumphalism. No-one else has done this for a long time . He met the extreme demands of the role with brio and a great measure of success: John Treleaven.
|John Treleaven sings Siegfried entirely in the tradition of Wolfgang Windgassen: his relatively high-timbred tenor offers the essential cutting brilliance in the upper register - even to the high C.
John Treleaven has one of those voices that one can underestimate at first - the sound is not huge, but that effortlessly and heroically prove their worth in the end. The narrative passages in Act 3 were masterful and moving.
|John Treleaven, on the unexpected death of Gösta Winbergh who was to have sung Siegfried, found his feet in the role with increasing confidence after a restrained and cautious beginning - quite understandable in such a demanding marathon. The way he coped with the demands of the production, his mastery of the fine detail of the music together with his excellent diction made him far more than a first-class stand-in for the role. P.S. John Treleaven, was a valiant Siegfried, devoid of false heroics.
|Tumultuous celebration of the singers, conductor and orchestra.
CHEMNITZ - APRIL 2000
|John Treleaven, glowing with élan both as actor and singer, triumphed as Siegfried right through to his shattering farewell: “Brünnhilde, helige Braut.“
The production was careful to make every word tell. And this goal was assured with a Siegfried like young Treleaven, who came to us originally from Cornwall. Effortlessly, faultlessly, he sang the part with true Italian elegance.
|The death of Siegfried was unforgettable. A powerful yet exquisite voice: John Treleaven as Siegfried.
After five and a half hour show, the audience in Chemnitz began a celebration, singling out John Treleaven who sang Siegfried.
|....and John Treleaven‘s brilliantly sung Siegfried.
|Neues Deutschland, Berlin
|John Treleaven‘s Siegfried has power with effortless high notes. He sang the Waldvogel Narrative with unimaginable suppleness.