“…A stunning voice, packed with nuance and colour in its tone.” Opera Now
In The Press
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“Shelvey engages movingly with the psychologically conflicted Orestes, who has murdered his mother in revenge for his father Agamemnon. Rafferty could do with a little more strength at the top of his attractive tenor, but he and Shelvey draw one of the most moving portrayals of a loving gay couple one could see on any stage”
“Danny Shelvey was a name that was new to me and his experience extends from classic opera repertoire with Glyndebourne and Scottish Opera, to contemporary opera including Phil Venables' The Faggots and their Friends Between Revolutions. Tall and personable, he had an ideal physique for the hero yet this was combined with a sense of musical style that made Orestes' somewhat stiff depiction in the opera into something emotionally engaging. There was a personal intensity to Shelvey's depiction of Orestes' struggles with the Furies, never resorting to grand guignol. Simply, I loved the way he sang Gluck's music and like Chiejina's depiction of Iphigenia, there was something stylish yet compelling here.”
Planet hugill
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“As Silvio, Danny Shelvey appeared as another highlight with a stunning voice, packed with nuance and colour in its tone.”
Opera Now
“The ETO pagliacci featured some strong characterisations, notably from…Danny Shelvey as Silvio.”
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“The Luiz of Dan Shelvey was outstanding”
“Mention must be made of the singing of Dan Shelvey. A grand voice.”
“Luis is sung beautifully by an imposing Dan Shelvey”
Opera scene
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“Dan Shelvey’s matinee idol Baldr (singing lines shaped as elegantly as the creases in his immaculate trousers)”
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“Ulisse, sung by Daniel Shelvey, possesses a warmly resonant baritone that was well suited to our hero – clear, distinct diction and a velvety tone allowed the audience to hang on every word.”
“…a stunning voice, packed with
nuance and colour in its tone.”
OPERA NOW
-
“Shelvey engages movingly with the psychologically conflicted Orestes, who has murdered his mother in revenge for his father Agamemnon. Rafferty could do with a little more strength at the top of his attractive tenor, but he and Shelvey draw one of the most moving portrayals of a loving gay couple one could see on any stage”
“Danny Shelvey was a name that was new to me and his experience extends from classic opera repertoire with Glyndebourne and Scottish Opera, to contemporary opera including Phil Venables' The Faggots and their Friends Between Revolutions. Tall and personable, he had an ideal physique for the hero yet this was combined with a sense of musical style that made Orestes' somewhat stiff depiction in the opera into something emotionally engaging. There was a personal intensity to Shelvey's depiction of Orestes' struggles with the Furies, never resorting to grand guignol. Simply, I loved the way he sang Gluck's music and like Chiejina's depiction of Iphigenia, there was something stylish yet compelling here.”
Planet hugill
-
“As Silvio, Danny Shelvey appeared as another highlight with a stunning voice, packed with nuance and colour in its tone.”
Opera Now
“The ETO pagliacci featured some strong characterisations, notably from…Danny Shelvey as Silvio.”
-
“The Luiz of Dan Shelvey was outstanding”
“Mention must be made of the singing of Dan Shelvey. A grand voice.”
“Luis is sung beautifully by an imposing Dan Shelvey”
Opera scene
-
“Dan Shelvey’s matinee idol Baldr (singing lines shaped as elegantly as the creases in his immaculate trousers)”
-
“Ulisse, sung by Daniel Shelvey, possesses a warmly resonant baritone that was well suited to our hero – clear, distinct diction and a velvety tone allowed the audience to hang on every word.”