"Wallfisch raises the onstage energy every time he appears and reminds us that this is an opera of scale."
Whatsonstage.com (Mark Valencia)
(Werther / English Touring Opera)
"The standout performance, in fact, comes from Simon Wallfisch who, with his own ringing baritone and excellent enunciation, manages to shine in the role of Albert."
musicomh.com (Sam Smith)
"As Charlotte’s betrothed, Albert, Simon Wallfisch seemed a neater fit for his role, and contributed a much needed intimation of inner unrest, doubt and tension; there was an energy and buzz every time Albert was on stage. His voice was well-supported and communicated with directness; this was a confident performance, musically and dramatically."
Opera Today (Claire Seymour)
"Simon Wallfisch’s Pelléas was a joy to hear, his long phrases, his excellent french and his commitment to a role that has defeated many a big name… a force to reckon with in this particular style as a baryton-martin."
Auditorium Magazine (Eduardo Jacobo Bennaroch)
(Pelléas et Mélisande / Grimeborn)
"Wallfischs Bariton ist das ideale Instrument für die meisten der Gesänge, die eigentlich für eine hohe Stimmlage geschrieben sind. Mit Fortschreiten des Programms bewundert man die interpretatorische Wandlungsfähigkeit des Sängers immer mehr, der in dem Pianisten einen sowohl unterstützenden wie herausfordernden Begleiter hat."
(Lyrita Records / Geoffrey Bush Songs)
Klassik Heute (Ekkehard Pluta)
"Simon Wallfisch brought a gauche, earnest energy to Pelléas that made the character painfully believable.
He has a voice tailor-made for the role."
Opera Magazine (Yehuda Shapero)
"I was impressed by the clear, confident singing of Simon Wallfisch. Every word is defined; every nuance of the melody is presented with confidence and understanding. He has mastered the sentiment and literary detail and adapts perfectly his vocal style to the various moods of each song. His voice is controlled and never strained. Wallfisch makes an ideal artist for English song recitals. Edward Rushton provides a consistently sympathetic accompaniment to all these songs." (Lyrita Records / Geoffrey Bush Songs)
MusicWeb-International (John France)
"Simon Wallfisch was excellent... he had youthful fury and lyrical sweetness...
uncommon sensuality, very good to hear..." (Performance of Ravel's Chansons Madécasses)
Financial Times (David Murray)
"Simon Wallfisch was totally immersed in the gravity of the text...
honing in on emotive words like a laser..." (Bach cantatas at King's Place)
The Telegraph (Ivan Hewett)
"Baritone Simon Wallfisch has a flexible and open sound which is ideally suited to this music..."
(Bach cantatas at King's Place)
The Independent (Michael Church)
"Wallfisch has a splendid voice, true and well-supported... [He] also has great comic timing,
but in addition Wallfisch has the looks and charisma to make him a name to watch out for."
Broadway Baby (Peter Scott-Presland)
"Wallfisch provided some stunningly beautiful singing and finely modulated phrases,
responding to Debussy's subtle music.
[He was] an ardent Pelleas. All wide-eyed innocence and beautiful tone,
Wallfisch's Pelleas was one of the most beautifully sung accounts of the role that I have come across.
Wallfisch sang with a nice even, flexible tone throughout..."
Planet Hugill (Robert Hugill)
"...thanks to an extraordinary cast. Simon Wallfisch invests Pelléas with a
wholly endearing Pierrot-like shyness."
Evening Standard (Kieron Quirke)
"The appropriately youthful Simon Wallfisch as Pelléas copes effortlessly with
Debussy's taxing baryton-martin writing and sustains his energy throughout some intensely physical acting. The vocal calibre is consistently high."
What's on stage (Mark Valencia)
"Simon Wallfisch was a delight as her unhappy lover Pelléas, singing with tone and tenderness, while conveying a tangible eroticism on stage which gave their forbidden love a profound,
and believable, sensuality."
One Stop Arts (Charlotte Valeri)
"Hinzu kam die szenische Präsenz und beachtliche schauspielerische Agilität
durch die sich vor allem Simon Wallfisch auszeichnete..."
("Added to this was the stage presence and remarkable agility in acting that was
demonstrated by Simon Wallfisch above all others...")
"Simon Wallfisch erwies sich als fröhlicher Künstler, der die Veranstaltung zugleich humorvoll moderierte…Wallfisch hat einen umfangreichen Bariton, klar und satt in der Tiefe und mühelos strahlend in der Höhe. Dazu beherrscht er die Liedgestaltung – und zwar textlich deutlich sowie ausdrucksvoll und ohne jeden Akzent..."
("Simon Wallfisch came across as a cheerful artist, at the same time presenting the concert with humour... He has a rich Baritone voice, clear and full in the lower register and effortlessly shining in the higher register. He is a master of the Lieder art form - his text was clear,
full of expression and without any hint of an accent...")
Weser Kurier (Ilse Walther)
"Wallfisch vermittelte gefühlvoll das zärtliche Anbandeln und griffen in seinem Gesang
mit einhüllender Wärme und sparsam dosierten Auszierungen stillkundig
barocke Aufführungspraktiken auf... Einfach schön."
("Wallfisch communicated with feeling, a tenderly controlled voice, with engulfing warmth and sparsely served ornaments with an innate understanding for baroque style... Simply beautiful.")
Cellesche Zeitung (Rolf-Dieter Diehl)
"Und immer betört Wallfisch mit schöner Gestaltung, weichen Höhen, eleganter Wärme..."
("And throughout, Wallfisch's beautiful presentation, gentle high notes and elegant warmth...")
Conway Hall Recital
Photos by Suzanne Schwiertz