Mustafa in L’Italiana in Algeri with Florentine Opera

“The acceptance of Peter Strummer’s Mustafa was effortless. His bass voice mixed the great weight of Mustafa’s imagined dignity with the buoyant lightness of his actual flightiness. His acting was a clinic in buffo style, loaded with neatly timed business big enough to be legible but small enough to stay within the frame. No bug-eyed bluster, just fleeting, expressive reaction to the confusion around and within the character.” (Milwaukee Journal)

Don Pasquale with Central City OperaDon-Pasquale-1

“Peter Strummer has perfected Don Pasquale, the ideal role for his grand sense of character and his rich baritone. He is the lovable old gentleman who in a crisis of advanced years determines he will take a young wife. In the prologue, before he had even sung a note, he established himself firmly and lovingly with the audience. Hardly a reticent performer, he plays Pasquale to the teeth.” (Rocky Mountain News)

“In the title role, Peter Strummer played the male analogue of a spinster, set in his ways and prone to impatience – a portrayal belied by his warm, firm, agile, obviously younger voice.” (Opera News)

“There could hardly be a better Pasquale than Peter Strummer, long the company’s main master of comic roles.” (Daily Camera)

“Baritone Peter Strummer plays a crusty, easily deceived Don Pasquale, projecting a humanness into the part.” (The Mountain Ear)

Fra Melitone in La Forza Del DestinoFra-Melitone

Canadian Opera Company

“Peter Strummer looked and sounded perfectly in character, his Brother Melitone earthy and mercurial.” (Toronto Sun)

“Peter Strummer made a great hit as Fra Melitone, singing the role, honestly, but also bringing out all its comedy.” (The Spectator)

“Peter Strummer as Faninal was one of the highlights of the production, projecting clearly and confidently, and characterizing vividly.” (The Spectator)

Washington Opera

“Peter Strummer as Fra Melitone gave a balanced performance, blending musicality with a fine sense of comedy.” (Opera Canada)

“Peter Strummer is an agile and aggressive Melitone with all the right musical accents.” (Opera News)

L’Opéra de Montréal

“Outstanding was Peter Strummer as Faninal, whose voice tended to raspiness but equally to eloquence. So convincing was his performance that one sympathized with his plight when his intended son-in-law was publicly humiliated and discredited.” (Opera Magazine)

Santa Fe Opera

“Peter Strummer made an agreeably fatuous Faninal.” (Opera Magazine)

Opera Colorado

“Bass Peter Strummer’s fussily detailed Faninal proved consistently amusing.” (Opera News)

“Peter Strummer’s Faninal impressed with solid singing and restrained fopishness.” (Rocky Mountain News)

Cincinnati Opera

“Peter Strummer hit the mark as Sophie’s father, from clenched teeth anger to tenderness.” (The Cincinnati Post)

Leporello in Don Giovanni with Edmonton Opera

“Peter Strummer’s Leporello is a wonderful foil, acting and singing with comic brio.” (The Globe and Mail)

“Strummer brought a wonderfully sly humor to the role of Leporello, wringing all the salacious fun out of his recitation of his master’s amorous conquests in “Madamina! il catalogo.” (Tulsa World)

The Music Master in Ariadne auf Naxos with Florentine Opera

“Peter Strummer was the endearing essence of frustration as the Music Master.” (Opera News)

Bartolo in Le Nozze di Figaro with Baltimore Opera Company

“The men sang well – notably Peter Strummer as Bartolo.” (The Washington Post)


Sacristan in Tosca

Opera Lyra Ottawa

“Peter Strummer was a superb Sacristan – vocally assured, dramatically agile, and able to blend the opera’s few moments of levity with the sense of menace that underlay everything else.” (Ottawa Citizen)

Canadian Opera Company

“Peter Strummer’s Sacristan was a model in giving a supporting role maximum impact.” (The Toronto Sun)

Kecal in Bartered Bride with Washington Opera

“… the young Austrian approached the role with welcome security throughout his range, a genuine trill, a chuckle in his eye and a Zero Mostel-like leer on his face.” (The Baltimore Sun)

“[T]he best voices and the most effective acting must be credited to the two comic characters, Peter Strummer as the marriage broker Kecal and [Vasek].” (The Washington Post)

“[T]he brightest stars of the evening were baritone Peter Strummer as Kecal, the marriage broker and [Vasek]. Bombastic, cocky, comically self-assured, Mr. Strummer’s character kept the plot in motion.” (The Washington Times)

“Kecal, the marriage broker, was artfully done by bass-baritone Peter Strummer. Strummer’s light touch was particularly appropriate for this manipulative gentleman.” (The Gazette)

“Peter Strummer makes a delightful marriage broker.” (The Philadelphia Inquirer)


Dr. Bartolo in Il Barbiere di Siviglia with L’Opéra de Montréal

“Bass-baritone Peter Strummer was a worthy adversary as Dr. Bartolo, a deep-toned and able vocal actor.” (Gazette)

“Peter Strummer is a delightfully pompous Dr. Bartolo…” (A&E Classical)

“Peter Strummer was a convincing Bartolo, with his testiness and just the right amount of boorishness… he was a pleasure to listen to.” (Press-Republic)

“Happily, Braun’s Figaro in this production is well matched by Dr. Bartolo, also splendidly sung and acted by the impressive bass-baritone Peter Strummer.” (The Suburban)

Don Magnifico in La Cenerentola

Calgary Opera

Don-Magnifico_La-Cenerentola“With his strong voice and great stage presence, Strummer commands your attention with his antics and natural acting ability. Demonstrative and fluid movements made his performance of the wicked stepfather most enjoyable to watch.” (FFWD)

“The Calgary Opera bounced back with a sparkling and witty production of Rossini’s La Cenerentola. The production was greatly helped by the outstanding performance of Peter Strummer, a veteran basso steeped in the Italian buffo tradition, whose every move as Don Magnifico served to enhance the comic drive and pacing of the show.” (Opera Canada)

Teatro de la Zarzuela, Madrid

“…the Viennese Peter Strummer, as Don Magnifico, did honor to the name of his character…” (El Pais)

Alberich in Das Rheingold with L’Opéra de Montréal

“The hero of the concert was incontestably Peter Strummer, as treacherous and mocking as one could hope for as Alberich. His voice and gestures when cursing the gods were worthy of a staged version more than a concert adaptation.” (La Presse)

“Peter Strummer brought a flash to the sluggish character of Alberich and his curses after the ring was taken from him were of such fury that our blood, like that of the gods, ran cold.” (Le Devoir)

Geronte in Manon Lescaut

Opera Pacific

“Peter Strummer contributed a believable, nicely complex Geronte.” (Los Angeles Times)

L’Opéra de Montréal

“… while Peter Strummer as Geronte transformed the rather stereotypical role of the spurned older lover into a living, breathing character.” (Michael Van Duzer)

De Brétigny in Manon with Florentine Opera

“Peter Strummer made an observant fox of the roue de Brétigny, and thus showed how to make a secondary character intriguing.” (Journal Sentinel)


Additional Reviews Available Upon Request