Nozze di Figaro
Photo by Helen Tansey – Sundari Photography
Pacific Opera Victoria
Andrew Tees, in the title role, was the star of the evening. Not only was he in excellent voice, but he displayed a most engaging sense of zany comedy.
Opera Canada
Andrew Tees as Figaro seems born for comedy. He uses his size to full bumbling effect.
Vancouver Island Newsgroup
Tees shines when he lampoons Cherubino’s fate in the aria Non piu andrai,his impressive baritone is no non-sense.
Victoria Times Colonist
Andrew Tees finds just the right balance between subservience and defiance with his Figaro, his voice is confident and rich, like a jolt of espresso
CBC Radio
Opera Ontario
Andrew Tees’ rich baritone underpinned the infectious good humour of his Figaro.
Opera Canada
Tall and imposing with a warm stage persona, Tees possesses a fine baritone which he uses with taste and the requisite style
The Whole Note
Opera Kitchener
Andrew Tees, as the broad, barrelling Figaro, nailed the affable lead with his rich, caramel-textured baritone.
Carmen
Winnipeg Opera
Andrew Tees’s Escamillo could not have been better characterized… was brought to life by the baritone to great effect.
Winnipeg Free Press
Opera York
But the most memorable performances of the evening belonged to baritone Andrew Tees (Escamill0)… gifted with excellent voices and impressive stage presences
Opera Canada
Pagliacci
Edmonton Opera
The love scene with Silvio (Andrew Tees) was simply vividly staged without a single false gesture, and Tees proved a very promising young baritone.
Opera Canada
Rape of Lucretia
Canadian Opera Company
As the beastly Tarquinius baritone Andrew Tees bring both a magnificent instrument and an impressive presence to the role.
Toronto Sun
Andrew Tees as Tarquinius has a full-bodied baritone and acting moves that make him a solid symbol of evil.
Toronto Star
Tees makes the rapist, Tarquinius, believably intoxicated with manic, manly action and likely to regard consideration as a troubling weakness.
National Post
As the rapist Tarquinius, Andrew Tees was the perfect embodiment of elegant slimy evil.
Globe and Mail
Richard Margison at Roy Thomson Hall
Robust baritone Andrew Tees made an effective partner for Margison in soul-stirring exchanges from Don Carlo.
Globe and Mail
Aldeburgh Connection
Only Tees scored top marks for his voice, bringing rich and poignant expression to “Will Ye Go to the Indies”, Highland Mary” and “Ca’ the Yowes”. He sang deep into the key ensuring warmth was never lost.
Toronto Star
Barber of Seville
Opera York
Baritone Andrew Tees made and enjoyable bear like Figaro who best embodied the opera’s spirit of fun
Opera Canada
Andrew Tees as the Barber cut a fine figure with his tall frame and expressive hands. With his warm baritone he warmed all the ladies’ hearts.
Echo Germanico
Billy Budd
Canadian Opera Company
Andrew Tees brings quite a range to Donald, who first appears as the ship’s clown but is deeply concerned about the tension between Billy and Claggart Stage Door
Fanciulla del West
Canadian Opera Company
Andrew Tees, as Sonora, almost steals the show
Classical 96 review
Giulio Cesare – Opera McGill
As the evil Tolomeo, bass Andrew Tees demonstrated astonishing vocal and dramatic mastery of the baroque style
Scena Musicale
La Boheme
Opera York
Top vocal honours go to Andrew Tees (Marcello) his rich baritone rang out thrillingly
Opera Canada
Andrew Tees as Marcello has become a crowd pleaser no matter which role he sings. He engages the audience with a flamboyant style of acting and a warm and rich baritone.
Iolanthe
Toronto Operetta Theater
Last to appear, but not least, is Andrew Tees as Private Willis. It’s a real pleasure to hear his big song “When All Night Long a Chap Remains” sung in Tees’ rich operatic baritone.
Christopher Hoile Stage Door
Andrew Tees nails perfectly the politically astute Beefeater’s solo that begins Act II
Toronto Star
Saul
Grand River Chorus
The rich deep bass of Andrew Tees was perfectly suited to his role, with strong characterization of Saul’s different moods
Brantford Expositor