Press

Interviews

 

adam smith on france 2

 

Forum Opera: Adam Smith - "I think Pinkerton is really in love"

 

scherzo: “The most important thing is to sing what makes you feel comfortable and good”

 

Operawire: Q & A: Adam Smith on Gounod’s ‘Roméo et Juliette’ & His Washington National Opera Debut

 

Marie Claire: “The British tenor that the whole opera world is talking about”

 

Operawire: Q & A - English Tenor Adam Smith on Finding & Following His Own Voice

 

BHMagazino: “Adam SMith: The Next Best Thing”

 

Operaversum: IN CONVERSATION WITH ADAM SMITH: "IN THE END EACH ARTIST HAS TO DECIDE WHAT THEY ARE THERE FOR, ON THE STAGE."

 

Reviews 

 

“...one hears however how much his Radamès is indebted to Franco Corelii whom he recently admitted to having taken as a model , valiant and homogeneous, bold in the risks he takes to try by lightening the emission to offer a tender counterpoint to the virility of the warrior.”

- Forum Opera

  • “...on entend cependant combien son Radamès est redevable à Franco Corelii qu’il avouait récemment avoir pris pour modèle, vaillant et homogène, hardi par les risques qu’il prend pour tenter en allégeant l’émission d’offrir un tendre contrepoint à la virilité du guerrier.”

 

“Adam Smith displays ample, sonorous range as Radamès. A tenor of lirico-spinto essence, his high notes are frank, piercing and proudly delivered... Adam Smith and his partner Joyce El-Khoury form a very attractive and, above all, credible stage couple.”

- Olyrix

  • “Adam Smith déploie des moyens amples et sonores en Radamès. Ténor d’essence lirico-spinto, il dispose d’aigus francs et dardés, fièrement émis... Adam Smith forme avec sa partenaire Joyce El-Khoury un couple scénique fort séduisant et surtout crédible.”

 

“Adam Smith's Radamès has a pleasant projection and timbre.”

- Diapason

  • “le Radamès d'Adam Smith a pour lui une projection et un timbre plaisants”

 

“Tenor Adam Smith strikes from the outset with his array of nuances, suitable for both expansion and subtlety. The construction of his phrases satisfies with a foraged immensity and a horizon specific to the beliefs of this somewhat rigid protagonist, while the voice is never short of emotion, thanks to a watery and tender timbre.”

- Opera Online

  • “Le ténor Adam Smith frappe d’emblée par son attirail de nuances, propre aussi bien à l’expansion qu’à la demi-mesure. La construction de la phrase satisfait une immensité butinée et un horizon propres aux croyances de ce protagoniste un peu rigide, alors que la voix n’est jamais à court d’émotion, grâce à un timbre aqueux et tendre.”

 

“...also for his debut, tenor Adam Smith is no less convincing in the role of Radamès, which he assumes with bravery, courage and a certain dose of tenderness, beginning in Act I with a magnificent " Celeste Aïda ", showing off his solar timbre with perfectly held piercing high notes.”

- Res Musica

  • “...pour ses débuts également, le ténor Adam Smith n'est pas moins convaincant dans le rôle de Radamès qu'il assume avec bravoure, vaillance et une certaine dose de tendresse, entamé à l'acte I par un magnifique « Celeste Aïda », faisant valoir son timbre solaire aux aigus dardés parfaitement tenus.”

 

“...revelation of the evening”

- Bachtrack

 

“The tenor Adam Smith, who has an open, wide…impressive emission, was able to sustain this tremendous part with ease with sonorous high notes and all the half-voices required by Gounod. He was much applauded…”

- Opera Click

  • “Il tenore Adam Smith, che ha un’emissione aperta, larga…tuttavia d'effetto, è riuscito a sostenere con facilità questa parte tremenda con acuti sonori e tutte le mezze voci richieste da Gounod. È stato molto applaudito, tanto quanto la Feola…”

 

“...lyric power and the vocal peaks blazed and burned with full-bodied richness."

-Opera Today

 

“Another real surprise is the British tenor Adam Smith, who is making his debut at the Hamburg State Opera - and with a role that seems to be tailor-made for him.”

- Operaversum

  • “Eine echte Überraschung ist auch der britische Tenor Adam Smith, der an diesem Abend zum ersten Mal an der Staatsoper Hamburg sein Hausdebüt gibt - und zwar mit einer Rolle, die ihm auf Maß geschneidert zu sein scheint.schicksalhaften Lebens abgegriffen werden. Als Mario Cavaradossi erweckt er einen Charakter zum Leben, bei dem alle Facetten eines schicksalhaften Lebens abgegriffen werden. Adam Smith hat Tiefgang, er hat Substanz in seiner mehr als authentischen Interpretation dieser Rolle. Lebt er sie, fühlt er sie, ist sie in ihm so gereift und gewachsen, dass er sich vielleicht sogar schon mit ihr verwachsen fühlt? Jede Gefühlsregung, ob beim verliebten Tête-à-Tête mit Tosca oder kurz vor seinem bitteren Ende im dritten Akt, packt einen ganz gewaltig. Adam Smith ist ein wunderbarer Schauspieler, charakterstark und so dermaßen überzeugend, dass man sein Leid förmlich nachspüren kann. Phänomenal ist insbesondere seine tiefberührende Interpretation von "E lucevan le stelle", eine Arie, die mittlerweile mit einem Tenor in Verbindung gebracht wird, für den sie als "Signature-Arie" gilt. Genau diese Arie ist für viele Tenöre schwer zu erreichen, schwer zu greifen. Jedwede Interpretation muss daher meistens einem Vorbild standhalten, was unübertrefflich und daher kaum erreichbar scheint. Adam Smith hingegen findet seine eigene "Version", mit der er sich diese Arie zu eigen macht. Tief versenkt er sich dabei in sein Leid, verzweifelt immer mehr am Leben und an sich selbst und erträgt dennoch sein Schicksal mit stoischer Aufmüpfigkeit. Ob er schon verrückt geworden ist. Seine Stimme jedenfalls schwankt zwischen Hoffnung, abgrundtiefer Verzweiflung und Resignation.Dabei setzt er gekonnt dynamische Akzente und bringt seine Stimme insbesondere in den intensiven "diminuendi" zu klangvoller Blüte. Es sind auch bei Smith die leisen Töne, die Substanz und Farbenreichtum verströmen und seine Stimme zum Strahlen bringen.”

 

“Smith’s Romeo, meanwhile, is a heavy pour of passions. His tenor is beautifully suited to Gounod’s arguably Romeo-centric take on the tale — possessing enough authority to anchor the opera, and enough fragility that you fear the whole thing might snap in half. Disbelief didn’t stand a chance against their duets, which often strayed into the magical, especially the long goodbye of “O nuit divine je t’implore” and the final farewell of “Salut! Tombeau sombre et silencieux!”

- Washington Post

 

“Young and fearless”

-Financial Times

 

“The vocal power in this cast is to be found in the British tenor Adam Smith as Pinkerton. The voice is its major asset, brilliant and sonorous, in the treble thunderous and with a well-established breath. A lyric tenor undeniably at ease in the great repertoire of Puccini...”

- Olyrix

  • “La puissance vocale, dans cette distribution est à chercher du côté du ténor britannique

    Adam Smith en Pinkerton. La voix est son atout majeur, brillante et sonore, aux aigus tonitruants et au souffle bien installé. Un ténor lyrique incontestablement à l’aise dans le grand répertoire de Puccini, qui, s’il satisfait pleinement du côté vocal...”

 

“Next to him, the English tenor Adam Smith showed flashes of artistic greatness, with phrasing and high-class lines, and a warm voice rich in resonances and harmonics… dedicated and resounding performance.”

— Scherzo

  • “A su lado, el tenor inglés Adam Smith mostró destellos de grandeza artística, con fraseo y filados de alcurnia, y una voz cálida y rica en resonancias y armónicos…entregada y rotunda interpretación.”

 

“Adam Smith’s commanding tenor displayed that rich Italianate color Puccini demands for his dashing Lieutenant Pinkerton [...] Smith created a compelling, seamless dramatic arc from the bravado of his first meeting with his Japanese geisha, to authentic ardor as they consummate their marriage, to intense remorse when he returns to Nagasaki three years later to face the tragedy he has brought on Cio-Cio-San.”

- San Diego Story

 

“Adam Smith, made an equally remarkable company debut. With more raw wattage in vocal power… the English tenor gave a performance marked by daring ease in the top range. He sang with endless strength, capable of delicate softness, especially matching with Feola on their four exquisite duets, but with no strain in the several high Bs of the Cavatina “Ah! lève-toi, soleil!”

- Washington Classical Review

 

“...his voice displayed a beguiling radiance, with a timbre reminiscent of freshly forged steel, the colors of which were confluent on the surface. In the love duet in the first act, he was an equal partner to Ailyn Pérez in terms of vocal volume, and in the second act he emitted his Vittoria into the audience with an exceptionally long breath.”

- Klassik begeistert

  • “Schon bei der Eingangsarie Recondita armonia zeigte seine Stimme eine betörende Strahlkraft, die vom Timbre her an frisch geschmiedeten, an der Oberfläche farblich konfluierenden Stahl erinnert. Im Liebesduett im ersten Akt war er Ailyn Pérez vom Stimmvolumen her ein gleichwertiger Partner und mit ausgesprochen langem Atem emittierte er sein Vittoria im zweiten Akt ins Publikum.”

 

“The English tenor Adam Smith played the Prince. He is an excellent lyrical-spinto tenor, who progresses naturally in the high range, thanks to good technique, without great efforts.”

— Ritmo

  • “El tenor inglés Adam Smith encarnó al Príncipe. Se trata de un excelente tenor lírico-spinto, que progresa de forma natural en las gamas aéreas gracias a una buena técnica, sin grandes esfuerzos.”

 

“...the powerful tenor of Adam Smith as Romeo.  Feola and Smith sang the closing moments of the opera with feeling and passion.”

- Broadway World

 

“The surprise of the evening to me was just how good tenor Adam Smith was who played Romeo; he was an outstanding pairing with Ms. Feola. He proved to be a pure voiced tenor with excellent vocal power and a strong stage presence. I wanted to hit replay on their duet on the balcony late in Part One, a scene where the beautiful couple also displayed youthful agility scaling the wall. It was not the only time I wanted to hit replay for their arias and duets.”

- Opera Gene

 

“...distinctive phrasing and a somewhat sharp timbre…his assured rendition of the marvellous aria Lucevan le Stelle, in which the doomed artist bids farewell to life, draws massive applause from the audience.”

- Detskuduse

 

"...Adam Smith's ardent vocality and his high notes deployed with fiery ease”

- Le Monde

  • “...la vocalité ardente d’Adam Smith et ses aigus déployés avec une fougueuse facilité”

 

“Smith meanwhile makes a tremendous Cavaradossi, his arias gloriously phrased, his way with words often immaculate, and his high notes thrillingly sustained…”

- The Guardian

 

"clear, emotionally charged high notes"

-ResMusica

  • “aigus clairs et chargé d’émotions”

 

“The tenor Adam Smith, who was highly acclaimed in France in the role of Hoffmann at the Opéra de Bordeaux in 2019, deploys in Boris a spinto tenor voice with luminous high notes and accomplished valour, projecting himself in the hall with ease and constant ardour. His athleticism and bearing are highlighted when he takes Katia (his wife) in his arms during their amorous encounters.”

- Olyrix

  • “Le ténor Adam Smith, fort remarqué en France dans le rôle d’Hoffmann à l’Opéra de Bordeaux en 2019, déploie en Boris une voix de ténor spinto aux aigus lumineux et d’une vaillance accomplie, se projetant en salle avec facilité et une ardeur constante. Son jeu et port athlétiques sont mis en évidence lorsqu’il enlève Katia (son épouse à la ville) dans ses bras lors de leurs rencontres amoureuses.”

 

“The British tenor Adam Smith is a sensation in the title role. He has all the necessary assets for Hoffmann: he has the youth, ardor and physical beauty, in addition to excellent French, with a particularly charming tone and a technique already accomplished for his thirty-two years.”

-Opera Online

 

“Tenor Adam Smith performed the fickle Turiddu with panache and a voice that delivered…”

-KC Independent

 

“... a racy tenor with a luminous tone and piercing high notes that never betray a speech impediment; he too shows remarkable stage presence.”

-Classique News

  • “...ténor racé au timbre lumineux et aux aigus perçants qui jamais ne trahissent un défaut d’élocution ; il fait preuve lui-aussi d’une vaillance scénique remarquable.”

 

“Adam Smith as Turiddu sang intensely, ardently and with remarkable dynamics.”

-Bachtrack

 

“The scenes with Adam Smith as Boris are obviously very believable… the tenor proves himself to be unfailingly valiant with his brilliant high notes, also endowed with dark baritone colours in the middle register.”

-Anaclase

  • “Les scènes avec Adam Smith dans le rôle de Boris sont évidemment très crédibles… le ténor se montre d’une vaillance à toute épreuve par ses aigus éclatants, doté également de sombres couleurs barytonales dans le médium.”

 

“As Boris Grigorievitch, Adam Smith impresses. Very seductive on the stage, he knows how to adorn his voice with brassy nuances that give the character his radiant force of attraction. One perceives in places the firepower of this voice, close to the spinto, which one would like to hear in other repertoires.”

- Forum Opera

  • “Boris Grigorievitch, Adam Smith impressionne. Très séduisant sur le plan scénique, il sait parer sa voix de nuances cuivrées qui donne au personnage une force d’attraction rayonnante. On perçoit par endroit la puissance de feu de cette voix, proche du spinto, qu’on aimerait volontiers entendre dans d’autres répertoires.”

 

“Tenor Adam Smith worked tirelessly – both musically and dramatically – to convey Luigi’s thwarted passion and subsequent despair.”

-Opera Today

 

“Boris, Adam Smith... is a splendidly valiant tenor.”

-ODB Opéra

  • “Boris, Adam Smith... est un ténor d'une splendide vaillance.”

 

"...exhibiting a male assurance combined with a seductiveness of material... endowed with an imposing volume..."

-Résonances Lyriques

  • “… exhiber une assurance mâle alliée du matérial… Doté d’un volume imposant…”

 

“Rising British tenor Adam Smith as Hoffman, with his bright, lyrically powerful voice and impressive stage presence, illuminated the darkest and most emotional aspects of his character, highlighting his fragility, his desperate need to win the woman that haunts him. It depicted an artist obsessed from beginning to end, a shadow of the proud professional he once was, a man utterly broken. With a delightful conversation.”

— Athens Voice

  • “Ο ανερχόμενος Βρετανός τενόρος Άνταμ Σμιθ στο ρόλο του Χόφμαν, με την λαμπερή, γεμάτη λυρική δύναμη φωνή του και την εντυπωσιακή σκηνική παρουσία, φώτισε τις πιο σκοτεινές και συναισθηματικές πτυχές του χαρακτήρα του, ανέδειξε την ευθραυστότητά του, την απελπισμένη ανάγκη του να κερδίσει τη γυναίκα που τον στοιχειώνει. Σκιαγράφησε έναν καλλιτέχνη εμμονικό από την αρχή ως το τέλος, σκιά του περήφανου επαγγελματία που ήταν κάποτε, έναν άνθρωπο απόλυτα συντετριμμένο. Με μια κουβέντα απολαυστικός.”

 

“Smith argued for a Hoffmann charming, fatalistic, direct, and spontaneously honest. His voice, supple, with strong centers and secure high notes, was perfectly combined with a sometimes svelte, always youthful and energetic movement on stage. This is one of his favorite roles and his preference for it was brilliantly confirmed during the performance.”

— Critic’s Point

  • “ο Smith υποστήριξε έναν Hoffmann γοητευτικό, μοιραίο, άμεσο και αυθόρμητα ειλικρινή. Η φωνή του, εύπλαστη, με δυνατά κέντρα και ασφαλείς ψηλές νότες, συνδυάστηκε άψογα με μία ενίοτε σβέλτη, πάντα νεανική και γεμάτη ενέργεια κίνηση επί σκηνής. Αυτός είναι ένας από τους αγαπημένους του ρόλους και η προτίμησή του τούτη επιβεβαιώθηκε με λαμπρό τρόπο κατά την παράσταση.”

 

"In Athens, this magical journey has the signature of the famous Polish director Krzysztof Warlikowski, while the young British tenor Adam Smith (considered the successor of many of his great colleagues in the field of world opera) and the soprano Nicole Chevalier shine on the stage."

— Blue Diary

  • “Στην Αθήνα, αυτό το μαγικό ταξίδι φέρει την υπογραφή του διάσημου Πολωνού σκηνοθέτη Krzysztof Warlikowski, ενώ ο νεαρός Βρετανός τενόρος Adam Smith (θεωρείται διάδοχος πολλών σπουδαίων συναδέλφων του στον χώρο της παγκόσμιας όπερας) και η σοπράνο Nicole Chevalier λάμπουν στη σκηνή.”

“Adam Smith is now taking on leading roles, and as Luigi he proves that he has the brilliance, stamina and presence of a top-class tenor. He is no less appealing as Rinuccio, with the same ardour and a radiant high register.”

-Opera Online

  • “Adam Smith aborde désormais des rôles de premier plan et prouve en Luigi qu’il possède bien l’éclat, la vaillance et la prestance d’un ténor de grande classe. Il ne séduit pas moins en Rinuccio, grâce à cette même fougue et un registre aigu radieux.”

 

“The embodiment of the two lead roles by the English tenor Adam Smith (Hoffmann) and the American soprano Nicole Chevalier (Stella, Olympia, Antonia, Juliet) was a truly intoxicating experience: healthy, bright, smooth voices, technically sound singing, convincing stage presence, riveting theatrical performance!”

— Efsyn.gr

  • “Η ενσάρκωση των δύο πρωταγωνιστικών ρόλων από τον Αγγλο τενόρο Ανταμ Σμιθ (Χόφμαν) και την Αμερικανίδα υψίφωνο Νικόλ Σεβαλιέ (Στέλλα, Ολυμπία, Αντωνία, Τζουλιέτα) υπήρξε πραγματικά μεθυστική εμπειρία: υγιείς, φωτεινές, ρωμαλέες φωνές, τεχνικά άρτιο τραγούδι, πειστική σκηνική παρουσία, καθηλωτική θεατρική απόδοση!”

 

“Smith argued for a Hoffmann charming, fatalistic, direct, and spontaneously honest. His voice, supple, with strong centers and secure high notes, was perfectly combined with a sometimes svelte, always youthful and energetic movement on stage. This is one of his favorite roles and his preference for it was brilliantly confirmed during the performance.”

— Critic’s Point

  • “ο Smith υποστήριξε έναν Hoffmann γοητευτικό, μοιραίο, άμεσο και αυθόρμητα ειλικρινή. Η φωνή του, εύπλαστη, με δυνατά κέντρα και ασφαλείς ψηλές νότες, συνδυάστηκε άψογα με μία ενίοτε σβέλτη, πάντα νεανική και γεμάτη ενέργεια κίνηση επί σκηνής. Αυτός είναι ένας από τους αγαπημένους του ρόλους και η προτίμησή του τούτη επιβεβαιώθηκε με λαμπρό τρόπο κατά την παράσταση.”

 

“Rising British tenor Adam Smith as Hoffman, with his bright, lyrically powerful voice and impressive stage presence, illuminated the darkest and most emotional aspects of his character, highlighting his fragility, his desperate need to win the woman that haunts him. It depicted an artist obsessed from beginning to end, a shadow of the proud professional he once was, a man utterly broken. With a delightful conversation.”

— Athens Voice

  • “Ο ανερχόμενος Βρετανός τενόρος Άνταμ Σμιθ στο ρόλο του Χόφμαν, με την λαμπερή, γεμάτη λυρική δύναμη φωνή του και την εντυπωσιακή σκηνική παρουσία, φώτισε τις πιο σκοτεινές και συναισθηματικές πτυχές του χαρακτήρα του, ανέδειξε την ευθραυστότητά του, την απελπισμένη ανάγκη του να κερδίσει τη γυναίκα που τον στοιχειώνει. Σκιαγράφησε έναν καλλιτέχνη εμμονικό από την αρχή ως το τέλος, σκιά του περήφανου επαγγελματία που ήταν κάποτε, έναν άνθρωπο απόλυτα συντετριμμένο. Με μια κουβέντα απολαυστικός.”

 

“...the young tenor from the United Kingdom Adam Smith, with an attractive stage and vocal presence. He possesses a dramatic voice that could mature into a heroic tenor…”

— El Tiempo

  • “...el joven tenor del Reino Unido Adam Smith, de atractiva presencia escénica y vocal. Posee una voz dramática que podría madurar hacia un tenor heroico…”

 

“Briton Smith spared no resources. His voice and presence made him a convincing and convincing prince to both his beloved and the audience.”

— Levante

  • “el británico Smith no escatimó recursos. Su voz y su presencia hicieron un principe convencido y convincente tanto para su amada como para el auditorio.”

 

“... a British tenor with an easy voice in the higher register... an involved actor, he was convincing in his task…”

— Platea Magazine

  • “...tenor británico de voz fácil en el agudo... Actor implicado, fue convincente en su cometido…”

 

“...Adam Smith with a sunny voice, a beautiful timbre...”

— ABC

  • “... Adam Smith con una voz soleada, un timbre bonito…”