wagner TRISTAN UND ISOLDE / glyndebourne opera

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"The role of the young sailor and shepherd were played by English/Indian tenor Caspar Singh who impressed me with his sweet, lyric tenor voice, imbued as it was with a wonderful timbre and clarity."
Mike Hardy, Operawire (2 August 2024)

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"Caspar Singh gets the first act off to a memorable start with his thrillingly sung Young Sailor’s Song, later doubling as the Shepherd who, in the final act, brings Kurwenal reports of any sign of Isolde’s ship arriving."
George Hall, The Stage (30 July 2024)

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britten A MIDSUMMER NIGHT'S DREAM / garsington opera

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"Caspar Singh and James Newby could hardly be bettered as Lysander and Demetrius."
Richard Fairman, Financial Times (17 June 2024)

"Caspar Singh's vital Lysander draws energy from his lithe tenor"
George Hall, The Stage (17 June 2024)

"The four lovers were all very good too, the pick of this particular evening the Lysander of Caspar Singh"
Roy Westbrook, Bachtrack (17 June 2024)

"The quartet of lovers — Caspar Singh’s Lysander, Camilla Harris’s Helena, James Newby’s Demetrius and Stephanie Wake-Edwards’s Hermia - are superb"
Neil Fisher, The Times (17 June 2024)

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"Caspar Singh and James Newby both displayed fine voices as Lysander and Demetrius"
Mark Pullinger, Opera Now (18 June 2024)

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handel HERCULES / komische oper berlin

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"Tenor Caspar Singh gave a stylistically flawless portrayal as an intrinsically shy son of strong-willed parents."
Zenaida des Aubris, Bachtrack (6 March 2024)

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"Ensemblemitglied am Theater Hagen, und der wunderbare britische Tenor Caspar Singh haben sowohl stilistisch einwandfrei als auch darstellerisch glaubwürdig die reifsten und gesanglich mitreißenden Leistungen des Abends geboten. Ioles „My father! Ah! methinks I see“, „My breast with tender pity swells“, Hyllus „Let not fame the tidings spread“ und das Duett der beiden am Ende des dritten Akts waren Gustostückerln an feinst gestaltetem Barockgesang. Die beiden sollte man sich merken."
"Ensemble member at the Hagen Theater and wonderful British tenor Caspar Singh offered the most mature and vocally rousing performances of the evening, both stylistically flawless and convincingly acted. Iole’s “My father! Uh! methinks I see”, “My breast with tender pity swells”, Hyllus' “Let not fame the tidings spread” and the duet between the two at the end of the third act were delicacies of finely crafted baroque singing. You should remember both of them."
Dr. Ingobert Waltenberger, Online Merker (4 March 2024)

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"Sein Sohn Hyllus wird von Caspar Singh mit kräftigem Tenor und sicherer Stimmführung verkörpert und gibt der vom Stück her eher blassen Figur Format."
"His son Hyllus is played by Caspar Singh with a strong tenor and confident vocal delivery and gives format to the character, who is rather pale in the play."
Peter Sommeregger, klassik-begeistert.de (4 March 2024)

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"Als recht schwächlichen, ganz im Schatten des Vaters dahin kümmernden Sohn Hyllus hatte die Regie die Tenorpartie angelegt, die Caspar Sing anvertraut war. ... Das Ensemblemitglied, das in dieser Saison noch in diversen Partien zu erleben ist, entledigte sich seiner Aufgabe mit Anstand und Können."
"The director had assigned the tenor role to Caspar Sing as the rather weak son Hyllus, who was completely in the shadow of his father. ... The ensemble member, who can still be seen in various roles this season, carried out his task with grace and skill."
Ingrid Wanja, Der Opernfreund (4 March 2024)

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britten A MIDSUMMER NIGHT'S DREAM / glyndebourne festival

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"When anger erupts among the drugged lovers (an excellent quartet of Caspar Singh, Rachael Wilson, Samuel Dale Johnson and Lauren Fagan), there is an alarming degree of vitriol in their voices and body language."

Richard Morrison, The Times (3 July 2023)

"Caspar Singh and Samuel Dale Johnson – towering over the ladies – were ardent suitors, both in noble voice"
Mark Pullinger, Bachtrack (2 July 2023)

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mozart COSI FAN TUTTE / komische oper, berlin

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"El tenor Caspar Singh como Ferrando también exhibió una voz bella y expresiva, plena de delicados colores en el aria Un’aura amorosa, generosamente fraseada y deliciosamente variada en el da capo. Singh también dominó con brillantez la cavatina Tradito, schernito, desplegando la debida expresión de agitada turbación interior."
"Tenor Caspar Singh as Ferrando exhibited a beautiful and expressive voice, full of delicate colors in the aria Un ' aura amorosa , generously phrased and delightfully varied in the da capo . Singh also brilliantly mastered the cavatina Tradito, schernito displaying the proper expression of agitated inner disturbance."
Bernd Hoppe, Scherzo (16 March 2023)

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"Concernant la distribution, Caspar Singh en Ferrando est proprement souverain, donnant à ses airs une apparente facilité digne des plus grands virtuoses. Son interprétation de l’air Un aura amorosa fut extraordinaire, sa voix transposant admirablement tous les affects demandés avec le ton juste."
"Regarding the casting, Caspar Singh is truly commanding as Ferrando, lending his arias an apparent ease worthy of the greatest virtuosos. His interpretation of the aria Un aura amorosa was extraordinary, his voice admirably implementing all the required affects with the right tone."
Gabriel Beauvallet-Bauchet, Baroquiades.com (15 March 2023)

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"Einzig der Tenor Caspar Singh als Ferrando fiel auf, vor allem mit dem außerordentlich kultivierten Vortrag seiner Arie „Un aura amorosa“"
"Only the tenor Caspar Singh as Ferrando caught the eye, especially with the extraordinarily cultivated performance of his aria "Un aura amorosa""
Dieter David Scholz, nmz online (13 March 2023)

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"Caspar Singh als Ferrando ist fantastisch"
"Caspar Singh is fantastic as Ferrando"
Kai Luehrs-Kaiser, RBB Kultur (12 March 2023)

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"Mit seinem schön geführten Tenor überzeugt Caspar Singh als Dorabellas Verlobter Ferrando, Hubert Zapior ist als Guglielmo sonor unterwegs."
"With his beautifully guided tenor, Caspar Singh is convincing as Dorabella's fiancé Ferrando."
Volker Blech, Berliner Morgenpost (12 March 2023)

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"Die Freunde Guglielmo und Ferrando werden von Hubert Zapior und Caspar Singh sehr gut gesungen, ihre jeweiligen Arien gelingen vortrefflich."
"The friends Guglielmo and Ferrando are sung very well by Hubert Zapior and Caspar Singh, their respective arias are excellent."
Peter Sommeregger, Klassik begeistert (12 March 2023)

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"Dem Ferrando gibt der junge Caspar Singh mit formschöner und verletzlicher Tenorstimme Ausdruck und Tiefe."
"The young Caspar Singh gives Ferrando expression and depth with his shapely and vulnerable tenor voice."
Achim Dombrowski, Opera Online (12 March 2023)

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wagner DER FLIEGENDE HOLLÄNDER / komische oper, berlin

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"Featuring four of the finest singers in Europe on the solos ... the marriage between musicians, choristers and soloists is truly harmonic.
Following the orchestral intro, tenor Caspar Singh opens the work of the soloists with Comfort Ye and Every Valley. Demonstrating a strong command of the music and good vocal technique, he captivates the audience with the roundness of his tone."
Ezzy LaBelle, North West End UK (7 January 2023)

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Handel MESSIAH / Royal Liverpool Philharmonic Orchestra

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"Caspar Singh ist ein wunderbar lyrischer Steuermann, mit frischem Tenor, sauberen schlanken Spitzentönen und schönen Piani."

"Caspar Singh is a wonderfully lyrical Steuermann, with a fresh tenor, clean, slender top tones and beautiful piani."

Dr. Ingobert Waltenberger, Online Merker (November 2022)

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verdi FALSTAFF / komische oper, berlin

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"Entzückend soubrettig die Nannetta von Penny Sofroniadou, und deren Liebster wird fein tenoriert vom langen Caspar Singh (hörenswert und einer der besten heute)."

"Penny Sofroniadou's Nannetta is delightfully sublime, and her lover is finely tenored by the tall Caspar Singh (well worth listening to and one of the best today)."

Schlatz, Opern- & Konzertkritik Berlin (November 2022)

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"Das war neben Caspar Singh als Fenton das vokale Highlight des Abends. Singh kommt von der Bayerischen Staatsoper, wo er erst dem Opernstudio angehörte und seit 2020/21 dem Ensemble, 2022 wechselte er an die Komische Oper. Er ist also ebenfalls neu, sieht mit seinen zwei Metern in der Kostümierung von Katrin Lea Tag aus, wie der junge Christopher Reeve in „Deathtrap“. Also perfekt. Und er singt sein Sonett mit berückendem Schmelz, auch wenn Nánási für ihn keine lyrischen Bögen spannt, auf denen dieser „canto estasiato“ zum Schmachtereignis wird. Aber da steckt offensichtlich viel Zukunftspotenzial drin."

"Along with Caspar Singh as Fenton, that was the vocal highlight of the evening. Singh comes from the Bavarian State Opera, where he first belonged to the opera studio and since 2020/21 to the ensemble, in 2022 he switched to the Komische Oper. So he's new too, at two meters tall in Katrin Lea Tag's costume, he looks like a young Christopher Reeve in Deathtrap. So perfect. And he sings his sonnet with enchanting mellowness, even if Nánási doesn't span any lyrical arcs for him on which this "canto estasiato" becomes an experience of languor. But there is obviously a lot of potential for the future."

Kevin Clarke, Klassik.com (October 2022)

thomas MIGNON / Bayerische Staatsoper, Munich

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“Caspar Sing als Wilhelm Meister zeigt nicht nur hier, dass er ein schönes Timbre mit weichen Piani, aber auch durchschlagenden Höhen besitzt."

"Caspar Singh as Wilhelm Meister shows not only here that he has a beautiful timbre with soft piani, but also striking highs.”

Susanne Kittel-May, Online Merker (September 2020)

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"Caspar Singh, er singt seine aberwitzige Partie ohne jede Anstrengung, ist als Wilhelm Meister ein vom Theaterleben und besonders den Künstlerinnen faszinierter Intellektueller, der genau weiß, dass er nie zum fahrenden Volk gehören wird."

"Caspar Singh, who sings his ludicrous part effortlessly, is as Wilhelm Meister an intellectual who is fascinated by theater life and especially the artists, who knows for sure that he will never belong to the travelling people."

Reinhard J. Brembeck, Süddeutsche Zeitung (September 2020)

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"Caspar Singh sieht nicht nur wie ein erste Bühnenluft schnuppernder Intellektueller aus, er singt die Musik auch mit einem für französische Opern idealen schlanken, hellen und höhensicheren Tenor."

"Caspar Singh not only looks like an intellectual who sniffs the air on stage, he also sings the music with a slim, bright tenor that is ideal for French operas."

Robert Braunmüller, Abendzeitung-München (September 2020)

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Wagner LOHENGRIN / Bayerische Staatsoper, Munich

“Lastly, the four noble Brabanters show as always the excellence of the supporting roles at the Bayerische Staatsoper, and deserve to be cited: Caspar Singh, George Virban, Oğulcan Yılmaz, Markus Suihkonen”.

Guy Cherqui, Wanderer (December 2019)
 

Handel MESSIAH / Staatstheater am Gärtnerplatz, Munich

“Worthy of highlighting is Caspar Singh. The tenor jumped in at short notice for Alexandros Tsilogiannis (who walked his part on the stage). From the orchestra pit, his smooth lyrical voice rises to every height; his words sung with conviction and clarity.”

Helmut Pitsch, Opera Online (October 2019)

“As a step-in for the indisposed Alexandros Tsilogiannis, Caspar Singh was brought from the opera studio at the Staatsoper. His astonishingly well-formed tenor, already well-developed beyond Baroque repertoire, demonstrates what a great catch the sister theater on Max-Joseph-Platz has snagged”

Markus Thiel, Münchner Merkur (October 2019)

“Tenor Alexandros Tsilogiannis has no voice so only acts his part. His voice is lent to him from the orchestra pit by Caspar Singh from the opera studio of the Bayerische Staatsoper “next door”.  It’s a pity for Tsilogiannis, but as a viewer and listener I personally think the two mastered the difficult situation perfectly”

Andreas Schmidt, Klassik begeistert (October 2019)
 

Haydn DIE SCHÖPFUNG/ Bayerische Staatsorchester

“Archangel Uriel (Caspar Singh) let the sun gently ascend with a beautiful, velvety tenor voice, “In vollem Glanze steiget jetzt die Sonne strahlend au.”

Regina Wahl-Geiger, Münchner Merkur (July 2019)
 

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Strauss CAPRICCIO / Garsington Opera

“The Italian singers, Nika Gorič (soprano) and Caspar Singh (tenor) relished the straight-faced parody of their bel canto divertissement, and offered a playful counterpart to the company’s philosophising”

Claire Seymour, Opera Today (June 2018)

“The Italian singers, in the persons of Nika Gorič and Caspar Singh, gave perfect examples of their director’s favourite art.”

Melanie Eskenazi, Music OMH (June 2018)