|BAVARTIAN STATE OPERA MUNICH - JANUARY 2010
|John Treleaven mastered the gruelling title role with great commitment. The Rome narration was accomplished at the end with astounding expertise and intensity.
|Münchner Merkur & tz
| 'John Treleaven mastered this difficult part with profound highs and lows, played the fiery minstrel and the penitent sinner with complete commitment of voice and body.
The Rome narration, in which he was able to fully demonstrate his heroic tenor and interpretive talent was extremely moving. Time and time again his perfect phrasing is striking.'
Der Neue Merker
|GREEK NATIONAL THEATRE ATHENS - JANUARY 2009
|'The “singing-actor” John Treleaven was freely able to act out the part of the knight of Venus. One seldom sees such variable reactions to the blandishment of Venus. The lover of the Goddess of Love wavered between attraction, ecstatic devotion, joyful minstrel song, wanderlust with a guilty conscience and ultimately, the energetic decision to return to the upper world. This also came across in his voice. As the singer had no vocal problems with the part, the dramatic highlights in Acts 2 and 3, right up to the frenzied outburst at the end of the Rome narration naturally remained extremely captivating. '
|Der Neue Merker
|GRAZ OPERA HOUSE - SEPTEMBER 2008
|'John Treleaven did what all sensible singers do in such cases: He sang Tannhäuser evenly throughout with astounding lyrical beauty in the Venus scene and in Acts 2 and 3 with his characteristic emphasis. With his sovereign technique he soars above all, increasing further in strength in “Erbarm dich mein”, and even in his high metal notes still encompasses deeply moving tones.'
|Der Neue Merker
|'With tenoral metal, youthfully bright timbre and enormous activated energy reserves in the Rome narration, John Treleaven as the eponymous hero heads a top class cast.'
|'Treleavens genuine Heldentenor, i.e. the baritonal depths and brighter middle register through to easily reached top notes, has a great ability for variation, power of expression and reserves which makes the Rome narration one of the highlights of the performance.'
|'John Treleaven acquitted himself admirably in the song contest and in the Rome narration attained the expected stature with clear metal high tones.'
|'John Treleaven in the title role guarantees the highest Wagnerian delights.'
|'John Treleaven as Tannhäuser is confident in the high notes and expressive.'
|'John Treleaven repeatedly relies on the radiance of his voice.'
|'John Treleaven in the title role: “excellent.”'
|VEREINIGTE BÜHNEN GRAZ - SEPTEMBER 2008
|'John Treleaven in the title role: "excellent" '
|'In the Rome Narrative John Treleaven is heard in peak-form.'
|'With tenoral metal, young-bright Timbre and enormous reserves of strength in the Rome Narration John Treleaven as the title hero leads a top class ensemble.'
|HAMBURGISCHE STAATSOPER - DECEMBER 2007
John Treleavens gripping Tannhäuser
‘On the male side, the evening belonged to John Treleaven. He not only achieved the feat of singing the difficult main part harmoniously throughout, but with or even in spite of this effortless way of singing set artistic highlight upon highlight and thought of countless new minutiae for the role. „O Königin, Göttin, lasst mich zieh’n“ (O Queen, Goddess, let me go!) was already a powerful expression of deepest despair. During his renewed encounter with the fellow minstrels and with Elizabeth, we were able to perceive the feelings of guilt he bore from his stay with the Goddess of Love by the way he sang and by his body language. His facial expression during the song contest renderings of his fellow minstrels was absolutely delectable. New to me: a Tannhäuser who after his avowal „Zieht hin, zieht in den Berg der Venus ein!“ (fare hence, fare hence into the Venusberg!) is so consumed by his successful provocation that he laughs out loud several times, while general outrage prevails in the background, before he realises what he has just done. Moreover, Treleaven is one of the few Heldentenors who have no problem with the high notes of “Erbarm dich mein” (Have mercy on me!). A haunting tale of Rome was followed by such a painfully intense “Heilige Elisabeth, bitte für mich!”, (Holy Elizabeth, pray for me!) that the inner drama actually finds its conclusion here.’
Der Neue Merker 01/2008
|TANNHÄUSER - HAMBURGISCHE STAATSOPER - MAY 2007
|'John Treleaven gave us an excellent performance with powerful high notes especially in the dramatic scenes of his role, also a convincing portrayal.'
|Der Neue Merker
|NANCY APRIL 2002
|With the necessary inexhaustible reserves, clear high notes and a timbre, that pleases...
|HAMBURG STATE OPERA 2002
Treleaven, who a week ago sang the role for the very first time, was
vocally supremely good as Tannhäuser. In taking over this role, the
sheer staying power of his tenor, equally good in all registers, both
in his powerful, lyrical, poetic phrases and his impressive heroic tones,
conclusively conquered the Wagnerian Olympus. The narrative of the “Romerzählung“
was magnificent - full of despairing intensity, the high point of which
is a powerful and painfully cynical papal curse.
Der Neue Merker
|…and the moving Tannhäuser was ideally cast with John Treleaven.
|Wagner’s Tannhäuser is no new musical territory for John Treleaven: the British tenor showed his skills in scenic presence and vocal stamina. Treleaven has worked much on his voice in the past years. His tenor voice has developed into a sumptuously flowing, round instrument that allows him to balance his timbre with intensity and precise intonation.
|John Treleaven’s tenor grows from act to act in colour and richness.
|…with a courageous Tannhäuser (John Treleaven)