And in the work’s most intensely and ravishingly beautiful movement, the Agnus Dei, the only word that suffices to describe the effect of Anthony Dean Griffey’s inspired singing is “sublime.” – – Bernard Jacobson, Seattle Times

In the fall Mr. Griffey returns to Houston Grand Opera for Alfred in Johann Strauss’ delightful operetta Die Fledermaus. The cast includes Liam Bonner as Gabriel Eisenstein, Wendy Bryn Harmer as Rosalinde, Laura Claycomb as Adele, Susan Graham as Prince Orlovsky and Samuel Schultz as Dr. Falke. Performances will be on October 25 and 27, November 2, 8 and 10.

Canadian Opera Company

“American tenor Anthony Dean Griffey, standing in for an indisposed Ben Heppner, was magnificent, ably walking a tightrope strung taught between unlikeability and vulnerability and capturing the full breadth of emotion that Britten embeds in the vocal part.”

John Terauds, Canadian Opera Company, October 5, 2013

“And then we have Anthony Dean Griffey, whose Grimes isn’t just a stunning piece of singing, with crystal-clear pianissimos and rafter-shaking fortissimos, but is a complex piece of acting as well, never asking for our pity, but painfully earning it by the final curtain.”

Richard Ouzounian, Toronto Star, October 6, 2013

Carnegie Hall

“Nov. 22, David Robertson will conduct the St. Louis Symphony Orchestra and Chorus in a concert performance of “Peter Grimes” at Stern Auditorium, starring the tenor Anthony Dean Griffey in what has become his signature role. He brings uninhibited dramatic intensity and a distinctive voice, at once lyrical and powerful, to his portrayal of Grimes, a hulking, isolated fisherman in a small Suffolk coastal village in England, part poetic dreamer, part dangerous misfit. Mr. Griffey sang the role to acclaim in the director John Doyle’s production that the Met introduced in 2008. This summer he again excelled as Grimes in a semi-staged performance of the opera at the Aspen Music Festival.”

Anthony Tommasini, The New York Times, September 8, 2013

Aspen Music Festival

“Tenor Anthony Dean Griffey in the title role sang his notoriously difficult music with purity and a kind of sincerity that made Grimes, desperate for a chance to prove his worth, a thoroughly believable split personality, at once blissfully ignorant of the social stigma he suffers and brutally resentful of the pain it causes him. He was transfixing in his big moments, such as the Act 1 aria “The Great Bear and Pleiades,” which introduces his psyche, and his Act 3 final scene, a classic operatic mad scene in which snatches of music come back to haunt him. There was no crooning, no musical cheating, just a flow of magnificently nuanced sound.”

Harvey Steiman, The Aspen Times, July 28, 2013

Seattle Symphony

“And in the work’s most intensely and ravishingly beautiful movement, the Agnus Dei, the only word that suffices to describe the effect of Anthony Dean Griffey’s inspired singing is “sublime.” There was, too, in his sheer relish of the text, a clarity and insight akin to the verbal acuity that Peter Pears, and in our own time Ian Bostridge, have lavished on it.

In this movement — a gentle yet pungently ironic juxtaposition of Owen with the liturgy — the delicate tone Morlot drew from chorus and orchestra provided a perfect surround for Griffey’s melting solo.”

Bernard Jacobson, The Seattle Times, June 14, 2013

Opera News - February 2008LONE VOICE: Anthony Dean Griffey stars in the Met’s new Peter Grimes

In 1998, Anthony Dean Griffey’s career was jump-started with a single performance of Peter Grimesat the Met. This month, he returns to the company to take on Grimes again – this time, in a brand-new Met production of Britten’s masterpiece, directed by John Doyle. The tenor talks to DAVID SHENGOLD.

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Collegiate Chorale, New York, NY

“The baritone Håkan Hagegård, with the unenviable task of taking the Luxon role, sang strongly and made a good fit with the tenor Anthony Dean Griffey, plangent in tone.”

James R. Oestreich, The New York Times, November 13, 2004

“Tenor Anthony Dean Griffey, expert in Britten’s works, looked to be close to tears at times, a pained look on his face, eyes squinting into shadows. He had Britten’s cadence down perfectly, and he sang beautifully and emotionally.”

Ronald Blum, Associated Press, November 12, 2004

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Zankel Hall/Carnegie Hall

“The American tenor Anthony Dean Griffey brings an unusual combination of vocal qualities to his artistry. Though in its color and character, his voice is a light lyric tenor, he sings with a power associated with heftier tenor voices. What matters most to him, though, is communicating. Surely that’s why he decided to sing an entire program in English for his New York recital debut at Zankel Hall on Saturday night. Among the many impressive qualities Mr. Griffey displayed on this important night, his clear and natural diction offered a model to his American colleagues of how to sing in English.

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Washington National Opera

“Tenor Anthony Dean Griffey, the sole carryover from the premiere, sang with empathy, intensity and immaculate diction as Mitch.”

Tim Page, The Washington Post, May 17, 2004

“Beautifully nuanced singing and incisive acting made Peggy Kriha Dye (Stella) and Anthony Dean Griffey (Mitch) remarkably sympathetic.”

Tim Smith, Baltimore Sun, May 17, 2004

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Recording | Albany Records

“The plum roles are those of George and Lennie, and both are excellently done.”
“Anthony Dean Griffey’s Lennie is a finely-tuned account, entering entirely into the character’s limited world and succeeding in making the inarticulate articulate. It’s a masterpiece of characterization, superbly sung.”

George Hall, Opera, April 2004

“Anthony Dean Griffey’s Lennie seems to emanate from a whole other realm. The character is undoubtedly Floyd’s most successful creation here. Because of his childlike nature, Lennie lives at a degree of distance from ordinary discourse, which makes the quasi-poetic text seem apt. Griffey’s pure, clear tenor is a perfect correlative for Lennie’s innocence, and he’s so temperamentally suited that he hardly seems to be ‘acting’ at all. Griffey never steps outside the role to tell us about Lennie, never forces the pathos – he simply embodies the character’s fatal unknowingness. It’s a masterly portrayal, and the one element of this recording that makes Of Mice and Men seem truly stage-worthy.”

Fred Cohn, Opera News, May 2004

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