+ L'italiana in Algeri, 2023

Glossa Music, CD

“A delightful contribution also comes from Alasdair Kent whose technical finesse and keen ear for variation place this Lindoro at the forefront of the tenore di grazia fach in the 21st century. The voice has both the softness and the substance to melt the tone of long-sustained lines into quasi evanescent finishes. In the cavatina of “Languir per una bella,” for instance, the rubati together with the filature on “tormento” and “possa” are nothing short of superb.”
OperaWire

“Australian born Alasdair Kent sports a beautiful tenore di grazia, singing with great care for nuances and also has the coloratura capacity for elegant embellishments and in his cavatina at the beginning of the second act (CD 2 tr. 4) also rips off a perfect trill."
MusicWeb International

+ Symphonic Suite 'Gloriana', 2022

Prospero Records, CD

"..tenor Alasdair Kent sing[s] the ‘Lute Song’ with beguiling lyricism.”
Classical Music, BBC Music Magazine

“..Alasdair Kent is responsible for pure pleasure in the 'Lute Song'..”
Klassik Heute

+ Il Barbiere di Siviglia, 2022

The Dallas Opera, March 2022

"..matched by Australian tenor Alasdair Kent with a brighter but substantial and attractive tone quality as Rosina’s lover Almaviva”
Onstage NTX

“Kent’s lyrical tone was graceful and light, equal to the tasks demanded by the score. His heady mix near the top of the register gave Almaviva’s many high C’s a welcome youthful character, as in the opening aria, “Ecco ridente in cielo.” Tender and lithe, the amorous serenade “Se il mio nome saper voi bramate”—where he first pines for Rosina—was affectionately delivered on the breath, which set nicely against minimal guitar accompaniment. Kent also displayed versatility, both vocally and in his acting, as the character transitions humorously through a number of disguises. As a drunken soldier, he was brash and bracing, and as the prickly music instructor Alonso, Kent employed a nasal placement that was just the right amount of grating.”
Texas Classical Review

"Alasdair Kent’s compact, fresh-faced Count Almaviva is more than usually plausible in his disguise as the poor student “Lindoro..." a fine lyric tenor... he delivers the money notes.."
The Dallas Morning News

+ L'Italiana in Algeri, 2022

NTR ZaterdagMatinee, Het Concertgebouw, February 2022

"The Australian tenor Alasdair Kent garnered the first acclaim with this aria, with radiantly accentuated or, by contrast, subtly mixed top notes and a lot of technical control.”
Place de l'Opera

“Another surprise was the English tenor Alasdair Kent, a real 'lirico-leggiero' and therefore the perfect voice for Lindoro.”
Opus Klassiek

+ La Cenerentola, 2021

Opéra Orchestre National de Montpellier, December 2021

"[Don Ramiro] is played by Alasdair Kent, a tenor with both a clear and full voice, whose few passages in the head voice command admiration as much as the virtuosity of his singing. The length of breath, the articulation, the charm and the panache, are all admirable. A true Rossinian.”
Forum Opera

“Alasdair Kent lends his solar voice to Don Ramiro, portraying the role as both loving and light-hearted, then regaining all his princely character when it comes to choosing his bride.”
Opera Online

"Alasdair Kent, already enchanting in Basel and Toulon alike, plays a virtuoso on the natural charm of his voice.."
ResMusica

+ Don Giovanni, 2021

Opéra de Toulon, October 2021

"Alasdair Kent's Ottavio was the pinnacle of the cast, as exciting as his Basel Barbiere in Serebrennikov's production. Making the whole hall hold its breath in "Dalla sua pace," the tenor reproduced this enchantment with an "Il mio tesoro," of ideal breath and overflowing with musicality. An exemplary performance..”
ResMusica

"..Alasdair Kent, as Don Ottavio.. the reserve of gestures emphasizing, by contrast, a splendid vocal engagement. In his two arias, the British-Australian tenor emphasizes the beauty of his timbre, and the quality of his soft singing, sustained with relish.”
Opéra Magazine

“Alasdair Kent’s Don Ottavio overcomes the difficult task of interpreting this role. Normally played as a timid man, he breathes youthful strength and a finesse of spirit into Donna Anna's fiancé. In fact, his voice is fine, almost celestial, but still manages to stir the audience, with a beam of light and virile accent, in the two arias of the role. He sculpts a ribbon of sound for his lover.”
Olyrix

"A good surprise came from Alasdair Kent, who plays a sensitive Don Ottavio without ridicule and whose voice, used with impeccable musicality, is both as firm and as supple as one could desire."
Forum Opera

“The Australian tenor Alasdair Kent was another lucky draw, to whom Mozart has entrusted two arias requiring perfect legato and accomplished technical mastery. He is a refined artist, and an excellent Mozartian.”
TV83

“Alasdair Kent interprets Don Ottavio with great elegance, his tenor voice is clear and perfectly coloured.”
Première Loge

+ Deux Hommes et une Femme, 2021

Berliner Operngruppe, September 2021

“In the role of her second husband Pepé, the British-Australian tenor Alasdair Kent delighted thanks to his radiant vocal sound and genuine bel canto art, and he too played his character with full comedic commitment. Donizetti demands a truly first-class singer who can overcome the exorbitant difficulties of the role with ease. Kent achieved this effortlessly and with a lot of youthful charm.”
Kultura Extra

“Alasdair Kent as Pepé turns out to be a veritable Rossini-tenor discovery, with a great sense of dynamic finesse and effortlessly-targeted stratospheric heights.”
Klassik Magazin

“The tormented second husband finds an ideal interpreter in the Australian tenor Alasdair Kent, who perfectly masters what is probably the most demanding part of the opera.”
Klassik Begeistert

+ L'Italiana in Algeri, 2021

The Israeli Opera, July 2021

“..a great international talent… he is the ideal tenor for Rossini. Not only is his voice too beautiful to convey in words, he manages to combine balanced power along with the lightness and sweetness so much needed for bel canto singing.”
Walla! News

+ Il matrimonio segreto, 2020

Teatro Regio di Torino, January 2020

“Australian tenor Alasdair Kent sings Paolino and is able to convince one of the character’s naiveté, which makes him much more sympathetic. Vocally, this is an accomplished Rossini singer who is already making a name for himself. He is also a convincing actor who moves well on stage. He impressed in his Act II aria “Pria che in ciel spunti l’aurora” with the refinement of his style.”
ConcertoNet

“Alasdair Kent (Paolino) presented great musical gifts with a voice both limpid and possessing a fascinating enamel and phrasing detailed in nuances.”
OperaClick

+ Die Zauberflöte, 2020

Royal Opera House Muscat, January 2020

“The Three Ladies in the opening scene stated how handsome was their foundling Tamino, a Javanese Prince in purple tartan trousers, whom they rescued from a sea-serpent/monster, and this was coupled with a delightfully lyrical voice in the British-Australian tenor, Alasdair Kent. On stage for most of the ‘Singspiel’, Alasdair more than rose to the huge challenge in a vocally sustained, artistically dramatic performance. At the end of Act 1 he sang with great pathos, ‘How strong is thy magic tone’ to the Magic Flute of the title, given for protection during his three trials, played enchantingly by Stefano Bet from the pit.”
Oman Observer

“But the performances from soprano Enkeleda Kamani as Pamina and tenor Alasdair Kent brought the personalities of the two to life. Kent’s Tamino was a charismatic prince, flirtatious with Pamina in their initial interaction and playing off of Werba’s antics quite well… Kent’s singing had nuance and refinement, the infamous interval leap from B flat to G natural in the passaggio at the start of “Dies Bildnis ist bezaubernd schön” managed with suavity. In general, the singing.. was shaped quite beautifully with the tenor building his climaxes intelligently.”
Operawire

+ Il Barbiere di Siviglia, 2019

Theater Basel, October 2019

“On the musical side, there were some discoveries to experience. The young Australian tenor Alasdair Kent impressed with his assured highs and a wonderful voice. His role could not have been better filled in this production.”
Das Opernmagazin

“Alasdair Kent, as the Count Almaviva, impressed with his strong, absolutely secure-on-high and outstandingly technically-schooled tenore di grazia.”
Der Neue Merker

+ Il matrimonio segreto, 2019

Il Festival della Valle d’Itria, July 2019

“..The latter character is superbly sung by the Australian tenor Alasdair Kent, who exercises a suave, lirico-leggero tone, but with remarkable power and projection, having no trouble to pass the ramp of the vast courtyard of the Palazzo Ducale.”
Opera-Online

"Kent’s tenor is lyrical, underlined with velvet, and his phrasing is spiced with subtle nuances.”
Opera-Online

“I most enjoyed the lightness and freshness of Alasdair Kent’s tenor, which rang most sweetly in his high notes: his Paolino was disarmingly charming.”
Bachtrack

“The tenor Alasdair Kent takes on the role of Paolino with the requisite lightness.. a remarkable stage presence and a full understanding of the character.”
Il corriere musicale

“It serves to underline the vocal elegance, the phrasing and the beauty of the timbre of Alasdair Kent in the role of Paolino, accompanied equally by his physical attractiveness that rightly justified his appearing dressed only in underwear in the first scene of the opera: a harmony of physical form that appropriately enhances the harmony of sounds and love that binds the two protagonists. The perfect vocal control of this artist allowed him to exhibit a diminuendo of rare difficulty and ecstatic pleasure.”
Corriere Spettacolo

“..Paolino found the ideal interpreter in the Australian tenor Alasdair Kent thanks to the perfect scenic-vocal identification with his character: it’s impossible to know whether to admire more the bel canto merit of his enchanting timbre or his flexible scenic aptitude, enhanced by the direction that at the beginning of the work made him appear in boxers, highlighting a physicality both statuesque and ephebic.”
Il tacco d’Italia

“The young Australian tenor Alasdair Kent has a beautiful timbre, both clear and agile, as well as a well-controlled sense line: he sings his extremely beautiful aria with transport and is appreciated also for his scenic prowess..”
Connessi all’Opera

“The Paolino of Alasdair Kent seems fresh from an English university, both tender and confident, as well as being sung with beautiful musicality.”
La Salon Musical

“Pizzi demands much scenically from the tender and very charming Paolino of Alasdair Kent.. who does not fail to shine, as much for his pleasant stage presence as for the voice.. capable of intoning with grace and finesse..”
Agenda Domani

“The Paolino of Alasdair Kent is a leggero tenor, but with a readily audible lustre.”
Online Merker

+ The Thirteenth Child - Poul Ruders, 2019

Bridge Records, CD

“First heard in the music accompanying Hjarne’s funeral in the second scene of Act One, the voice of tenor Alasdair Kent is extraordinarily beautiful. In both the music for Frederic, Prince of Hauven, and the few words sung by Toke, Prince of Frohagord, Kent sings gloriously, his golden tones drawing their patina from his sparkling diction. When Frederic returns in the third scene of Act Two, the tenor persuasively expresses the prince’s yearning in his account of ‘For seven years I searched in vain.’ Later​, ​entreating the duplicitous Drokan to watch over the mute Lyra, Kent’s Frederic sings ‘Keep my beloved safe’ with tenderness and integrity that only the basest villain could betray. The brief, soaring phrases with the liberated Lyra in the opera’s final scene are projected with fearlessness and intonational accuracy. In longevity, Kent’s parts in The Thirteenth Child are not extensive, but his ringing, regal vocalism gives this performance its romantic hero.”
Voix des Arts

“As the love interest, Prince Frederic, lyric tenor Alasdair Kent has a gleaming romantic tone perfectly suited to some of Ruders’s most romantic melodies."
Fanfare Magazine

+ Così Fan Tutte, 2019

Lyric Opera of Kansas City, March 2019

“Alasdair sang his “Un’aura amorosa,” with natural, sweet dexterity: He has about as lovely a Mozart tenor as we have heard..”
The Independent

“Kent set himself apart with his lyrical “Un’aura amorosa,” in Act One: a sweet, light voice, growing into its maturity.”
Bachtrack

+ Così fan tutte, 2018

La Rete Lirica delle Marche, November 2018

“Alasdair Kent’s Ferrando was concentrated upon a character full of ingenuity: a stunningly beautiful tenor voice, Mozartian, with squillo, harmonics and volume all in the right places for an interpretation that was, speaking vocally, like liquid honey.”
MusiCulturA

“Alasdair Kent (Ferrando) made an excellent harmony..with his clear colours; his vocal registers afire, the awaited aria “Un’aura amorosa,” was met with tones of great passion and tenderness. It should be noted that both protagonists, Margheri and Kent, have athletic physiques, they do push-ups, push-ups, they jump here and there, they climb on rocks and balustrades, they lie on the ground and run without the voices ever being affected.”
Wanderer

“a voice of fascinating smoothness, capable of entering into the depths of your heart..”
CronachePicene

“The entire cast is an extremely high level, appreciated in particular for the timbres of the four lovers… The only non-Italian of the cast, Alasdair Kent boasts not only excellent diction but also an extremely Italianate way of phrasing, with naturalness and good sense of the words…the great success of, “Un’aura amorosa,” is due in part to these qualities. He is accurate in detail, furthermore, in the always thorny coloratura of the Act One finale.”
OperaClick

+ La Cenerentola, 2018

Portland Opera, July 2018

"Kent's performance in particular stood out for the quality of his voice. The tenor has both a power and clarity that feel effortless, and sometimes endless, on long notes."
The Oregonian/OregonLive

"Alasdair Kent’s Don Ramiro married striking good looks with delicious sound. Even on the highest notes, there was never a hint of shouting, just a reedy tone with warm sweetness and impressive agility."
San Francisco Classical Voice

+ L'Italiana in Algeri, 2018

Opéra de Toulon, April 2018

"Another voice of sunlight is that of Lindoro, the Italian slave. The role is entrusted to the young tenor Alasdair Kent, looking a fictional sailor boy straight out of a Jean-Paul Gaultier collection to an operatic soundtrack. His easiness of delivery coupled with a vocal and scenic maturity offer a beautiful contrast. In all, an astonishing journey through both stage presence and voice. His charm is truly touching. And his high notes, even to the absolute extreme, are capable of quietness approaching the most silent part of silence."
Olyrix

"Vocally, the largely-Italian cast.. is awarded a very honourable mention. Two particularly beautiful strands of voice stand out from the ensemble, that of Andrea Mastroni's Mustafà and that of Alasdair Kent as Lindoro. Both are comfortable in their roles, each displaying a valour and elegance of high, bel canto quality…"
ConcertoNet

+ Mosè in Egitto, 2018

Teatro San Carlo di Napoli, March 2018

"Different things can be said of each of the three tenors: In proportion the smaller of the parts, Mambre is highly praised, thanks to the interpretation of Alasdair Kent, for the homogeneity of his voice and his singularly clear timbre.."
Connessi all'Opera

+ L'Italiana in Algeri, 2017

Hungarian State Opera, November 2017

"The real direct hit was the performance of Alasdair Kent as Lindoro, a role that requires such an ideal Rossini tenor that it is rarely brought to life well onstage. Kent's voice is so beautiful, light and balanced, it is like listening to sunshine..its natural colours and unblemished heights crowning the production as a whole...It is a great pleasure to hear such a singer."
Opera-Világ

+ L'Italiana in Algeri, 2017

Opéra Orchestre National de Montpellier, September 2017

"But the great revelation of the evening remains the role taken by Alasdair Kent, Lindoro: nobility of line and projection, high notes, a 'Languir per una bella' all immersed with subtleties like lace, as if in a dream.. This is the tenore di grazia that Rossini called for!"
ConcertoNet

"Hopeful astonishment, on the other hand, when Alasdair Kent sings 'Languir per una bella'- the timbre is captivating, the nuances are all there and the trill is impeccable."
ForumOpera

"One enjoys equally the beautiful timbre of tenore di grazia Alasdair Kent as his authentic Rossinian style, all sighs for Isabella."
Concert Classic

"..Lindoro has the voice of Alasdair Kent, voluptuous and sweet in the middle and the mixed high notes, elevated and lightened right to the border of head voice... Breath, the embodiment of the character, musicality, he wants for none."
Olyrix

"..he deploys an instrument of great clarity, and of beautiful projection."
Opera Online

+ Il viaggio a Reims, 2017

Rossini Opera Festival, August 2017

"As the self-obsessed Cavaliere Belfiore, Alasdair Kent makes you sit up and take notice. His theatrical performance ensnared.. his starry tenor scored points, with enormous shine in the high register, so that one can easily understand why Corinna feels rather attracted to the violently flirting Cavaliere Belfiore than to the always melancholy Lord Sidney. The great duet between Tassinari and Kent was a musical highlight of the performance."
Online Musik Magazin

"Alasdair Kent proved a very positive impression... His voice is steadfast, unwavering and sure, but at the same time extraordinarily sweet, and gave hope that the Rossini Opera Festival has found a new… well, better not to say and wait for events to unfold."
Pesaro Urbino 24

"As Belfiore, Alasdair Kent was exactly spot-on, fresh and brilliant.."
L'Ape musicale

+ Concert - Rossini Opera Festival, 2017

Rossini Opera Festival, July 2017

"..he conquered the audience's sympathy with an intelligent approach and a captivating interpretation... An extremely sweet voice, powerful and sure, that had no difficulty... Kent reminded of Juan Diego Florez' first appearances in Pesaro, at ROF.."
Pesaro Urbino 24

+ La pietra del paragone, 2017

Wolf Trap Opera, June 2017

"The single standout performance comes from Alasdair Kent who.. nails his Act 2 aria Quell'alme pupille with some impressively acrobatic runs."
Washington City Paper

"Alasdair Kent sounded to the bel canto born with his evenly produced tenor, refined technique and intense expressiveness."
Opera News

"Tenor Alasdair Kent displayed serious bel canto credentials as Giocondo.. with finesse in the melismatic pyrotechnics and a lyrical legato tone up to some very high notes."
Washington Classical Review

"Alasdair Kent delivered the high tenor note of the evening as Giocondo; beautiful, thrilling, and all that you hoped it would be.."
Bachtrack

"tenor Alasdair Kent.. offered some remarkable old-style vocal pyrotechnics.. swelling a note from gentle near-silence to full-throated trumpeting."
Washington Post

+ L'opera seria, 2016

Wolf Trap Opera, July 2016

"Alasdair Kent showed considerable promise as Ritornello.. there was impressive warmth in the tone, a good deal of agility in coloratura flights.."
Opera News

+ Don Procopio, 2016

Lost and Found Opera, June 2016

"The soloists were each quite remarkable...Tenor Alasdair Kent’s lyrical solo at the beginning of the second act was a moment of extraordinary beauty.."
The Australian

"the highlight came early in the form of Alasdair Kent’s wonderful Serenade.."
Limelight Magazine

+ Previous

"a tenore di grazia with a Ferrari shift of gears.."
Brooklyn Daily Eagle

“Alasdair Kent sang a perfect “Una furtiva lagrima,”.. in a haunting lyric tenor with diminuendos and swelling of tone that was pure magic.”
Brooklyn Daily Eagle

“Alasdair Kent's Count Almaviva exhibited a sweet, limber tenor and was the picture of dreamy nobility.”
Opera News