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

Pittsburgh Symphony

“Griffey, known for roles in opera’s A Streetcar Named Desire and Of Mice and Men, proved himself adept at orchestral song. With sharp diction, clear projection and tender expressing of the words, he illuminated the poems by such luminaries as Johnson, Tennyson, Blake and Keats. This truly is a masterful composition. I am not fond of everything Britten writes, but this work, written originally for Peter Pears, tenor, and Dennis Brain, horn, is alone certainly worth the trip to hear.”

Andrew Druckenbrod, Pittsburgh Post-Gazette, December 7, 2002

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As Guest Artist for David Daniels, Carnegie Hall

“His [David Daniel’s] performance of Benjamin Britten’s ‘Abraham and Isaac,’ for which he was joined by the wonderfully sincere tenor Anthony Dean Griffey, was a never-to-be-forgotten occasion, with Martin Katz playing piano as though the composer himself were turning his pages.”

Terry Teachout, The Washington Post, December 2, 2002

“In one point of departure from the recital norm, Mr. Daniels brought theatrical drama, and another singer, onto the stage: Anthony Dean Griffey, the tenor, joined him and his accompanist, Martin Katz, in Britten’s Canticle II: Abraham and Isaac. It was an inspired choice: the piece was lovely, and both singers performed it outstandingly, starting in the pitch-black auditorium, their backs to the audience, joining in the harmonies Britten used to limn the voice of God. Mr. Griffey was a powerful, satisfying Abraham, and Isaac’s music, written for the darker-toned mezzo Kathleen Ferrier, seemed to fit Mr. Daniels like a glove.”

Anne Midgette, The New York Times, November 28, 2002

London Symphony Orchestra

“Tenor Anthony Dean Griffey, in the role of Gerontius, was magnificent, singing raptly, sweetly, with impeccable diction, hitting the high notes squarely in their center with a sense of clarion endeavor rather than human strain.”

Tim Page, The Washington Post, November 5, 2002

“The soloists were uncommonly good and well-matched to their roles. Tenor Anthony Dean Griffey, a last-minute substitute for the ailing Stanford Olsen, stepped in seamlessly. He proved startlingly effective in the dual roles of the dying old man Gerontius, and later his questing soul. Mr. Griffey’s diction was impeccable, his grasp of the role profound.”

T.L. Ponick, The Washington Times, November 9, 2002

Lyric Opera of Chicago

“Tenor Anthony Dean Griffey scored a triumphant Lyric debut as Susannah’s avenging brother, Sam Polk, singing the part exceedingly well while playing down the character’s overtly cornpone aspects.”

John von Rhein, Chicago Tribune, October 3, 2002

“Notably Sam Polk, Susannah’s loving but ne’er-do-well drunken older brother, [was] sung by American tenor Anthony Dean Griffey. Making his Lyric debut, Griffey brought a warmly enveloping voice and unforced tenderness to the role.”

Wynne Delacoma, Chicago Sun-Times, October 3, 2002

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La Jolla Music Series

“Familiar to San Diegans who witnessed his brilliant San Diego Opera appearances as Lennie in Floyd’s Of Mice and Men (1999) and Mitch in Previn’s A Streetcar Named Desire (2000), Griffey displays a large-sized lyric voice.” “All his choices required a great deal of training and sophistication.” “Griffey was so successful with his English language songs by John Dowland and Aaron Copland, that one might want to advise the young man to actually ‘go for’ an all-English program in the future. He delivered his Dowland pieces with flawless diction, making even the songs’ antiquated vocabulary and odd syntax easy to comprehend.”

David Gregson,, March 2002

Houston Grand Opera

“Anthony Dean Griffey’s Lenny [sic.] —fidgeting, grinning, cowering and raging—is one of the most riveting impersonations that I’ve seen on any stage.”

Scott Cantrell, The Dallas Morning News, February 3, 2002

“Anthony Dean Griffey made a winningly puerile Lennie, singing with a sweet lyric tenor.”

William Albright, Opera, July 2002

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New York Philharmonic

“The texts, by several poets, including Blake, Keats and Tennyson, were in English and the tenor soloist, Anthony Dean Griffey, sang them with perfect clarity. He brought a deeply felt lyricism to his readings.”

Allan Kozinn, The New York Times, October 10, 2001

Bregenz Festival

“Anthony Dean Griffey sang Lennie. He radiated a sunny helplessness and vulnerability, singing with true Heldentenor energy and thrust yet able to achieve surprising sweetness and grace when needed. His was a great performance, which reminded me of Jon Vickers at his best.”

Horst Koegler, Opera, October 2001

“At the show’s center is the remarkable performance of tenor Anthony Dean Griffey, whose acting as Lennie is only outclassed by his sensitive singing; this is a truly world-class performance.”

Robert Levine,, July 2001

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San Francisco Symphony

“[The furiously focused Lauren Flanigan immediately impressed with powerful, radiant tone.] Anthony Dean Griffey was equally outstanding, sounding in this context like a reincarnated Fritz Wunderlich; his pure, sweet tone never failed even as he sang over a blaring orchestra.”

Jason Serinus,, June 2001

New York Philharmonic

“Griffey sang with ardent tone and a wide range of expression that was utterly compelling.”

William V. Madison, Opera News online, June 2001

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