John Longmuir plays her fiance, Don Ottavio, and a sweeter, smoother, more agreeable tenor you’ll never hear. He surprised and delighted, too, with melismatic surety.
Lloyd Bradford Skye - Daily Review
...true and bright-voiced John Longmuir is what a princely leading man should be.
Diana Simmonds - StageNoise
Tenor John Longmuir’s silky oak warmth fires Donna Anna’s fiance Don Ottavio with passionate sensitivity and a measure of hot-headedness.
Paul Selar - Herald Sun
Longmuir's vocal charisma is immediate. Dextrous, emotive and powerful, Longmuir's chameleon-like tenor can colour-match the orchestral picture with elegant masculinity, projecting with largesse on and off stage and enrapturing with an especially attractive throated zing... there's no doubting the voice's star quality.
Paul Selar - Bachtrack
The role of Ernesto is vocally taxing with a high tessitura and some challenging upper notes. Longmuir negotiated his way through the minefields creditably, ...with a clear, ringing tone.
Heather Levitson - Classical Melbourne
As the inaugural winner of the Bel Canto Award, John Longmuir is certainly fulfilling the hopes invested in him. He was so much at home in his part that he hardly looked at the score, preferring to immerse himself in the role of Grimoaldo, the usurper of King Bertarido and predatory wooer of his wife. Not only did he sing with a bright, vibrant tone and with clean agility in the many demanding coloratura passages, he was also unexpectedly affecting in his final scene of repentance and longing for the consolations of nature and sleep.
Heather Leviston - Classic Melbourne
John Longmuir sung with a beautifully polished tenor sound (floating out a melting falsetto D flat) and his martial nobility brought a black twist to Rossini’s curiously comic Cujus animam.
Rosalind Appleby - The West Australian
…blessed with a voice of considerable power and beautiful tone…
Patricia Maunder - artsHub
Holding the Lombardic throne, however, is Grimoaldo, imbued with vigour by tenor John Longmuir. A deserved winner of the 2011 Joan Sutherland and Richard Bonynge Bel Canto Award, Longmuir’s performance went a long way to cement his reputation as one of Australia’s rising stars of full-scale opera. With dexterous vocal aptitude, a warm bubbling fluidity and firm projection, Longmuir deftly captured the usurper’s deliberations over his love for Rodelinda, his betrothal to Eduige (Bertarido’s sister) and his reign over Lombardy. Longmuir’s emotively rich vocal range was evident as was his ability to sense his own limits as he expressed the sincerity of a character that questioned his own tyrannical rule. I found Longmuir’s Act 2 “Prigioniera ho l’alma in pena” and Act 3 “Pastorello d’un povero armento” notably compelling.
Paul Selar -
John Longmuir’s Don Ottavio was also no wimp. His full, round tenor, his even range and his smooth sustained phrasing conferred a noble and passionate temperament to his assertive dramatic portrayal.
Jill Comerford - GB Opera Magazine
John Longmuir and Taryn Fiebig are beautifully teamed as the lovers, Tamino and Pamina. Both are artistic singers. Longmuir’s light honeyed tenor blends superbly with Fiebig’s flawless soprano for their duets and each brings exactly the right degree ardour and lightness to their characterisations.
Bill Stephens - Arts Review
Most impressive in the singing department was John Longmuir as the young lover Fenton. He sang and acted with equal doses of passion and sweetness.
David Spicer - Stage Whispers
John Longmuir is expressive and dramatic as Grimoaldo and his “tuo drudo e mio rivale” (tr. 14) offers thrilling fullthroated singing.
Göran Forsling - MusicWeb International
Longmuir's versatile tenor was rich in tone with clear expression, all delivered with effortless charm.
Tom Pillans -
In the frequently overlooked role of Anna’s betrothed Don Ottavio, tenor John Longmuir is an absolute revelation. His gorgeous tenor voice ringing out with sterling clarity, Longmuir has a centred, impassioned focus that commands attention. In a performance filled with excellent vocals from all singers, Longmuir provides two clear vocal highlights: “Dalla sua pace la mia depende” in act one and “Il mio tesoro” from act two.
Simon Parris - Simon Parris, man in chair
Apart from deft handling of some hilarious stage business, John Longmuir sang the exacting tenor role of Narciso with considerable grace.
Heather Leviston - Classic Melbourne
Young tenor John Longmuir demonstrated the luxurious tone and effortless high notes of his supple voice. As Grimaldo, who has taken the throne from Rodelinda’s husband... rarely, if ever, glancing at the score as he sang. This effort in preparation afforded him the luxury of adding layers of expression and feeling to his vocals, greatly enhancing his performance.
Simon Parris - Simon Parris, man in Chair
John Longmuir is steadfast as Tamino, his voice building from initial fear, to concern, passion and a final ringing realisation of his quest and his love.
Carol Wimmer - Stage Whispers
John Longmuir is compelling as Don Ottavio, turning a normally flat side character into someone with a full inner and outer life. His aria sung to Donna Anna is exquisite and heartfelt.
Nicole Lee - The Guardian
The tenor John Longmuir as Ernesto who is in love with Norina, with his simply splendid Neapolitan style of voice, sent my memories plunging back to the 50’s and the glory days of the late great Mario Lanza. He had just the right touch and sense of comic timing too and his voice was lyrically luscious.
Carolyn MacDowell - The Culture Concept Circle
Burgeoning tenor John Longmuir exhibits the delicious tone of his golden voice that makes him a natural successor to David Hobson’s reign as romantic tenor lead. ...Longmuir’s middle register was strong and his characterisation of Ernesto is engagingly sincere.
Simon Parris - Simon Parris, man in Chair
John Longmuir’s Grimoaldo was one of the highlights of the evening. His tenor voice has a rich fine tone and was effortless in executing high notes.
Satoshi Kyo -
John Longmuir’s Tamino is one of only two to-die-for vocal performances: his honeyed tenor is of a quality one could listen to all day and one has a sense he could sing like that all day, too.
Llyod Bradford Skye - Skye on Stage
John Longmuir, as Don Ottavio, (who is rather elegant, dull and prim ) lets rip to display a voice of delicious velvety smoothness.
Lynne Lancaster - Sydney Arts Guide