Tenor Anthony Dean Griffey produced large and gleaming tone and displayed subtle musical and verbal intelligence. He is an altogether exceptional artist.” – Boston Globe

“The shimmering tremolo under Griffey’s tender ‘Move him into the sun’ created an otherworldly stillness during the Lacrimosa, as did his pleading ‘Dona nobis pacem’ like a fading apparition.”

The Kansas City Star

“Anthony Dean Griffey was a superb Obadiah, performing the great aria ‘If with all your hearts’ with lyrical beauty and warmth.”

The Enquirer

“ASO revives Verdi’s “Requiem” in honor of Robert Shaw with masterful performance . . .

The four esteemed soloists made for a well-matched quartet. More precisely, Moore’s liquid soprano with Cano’s mahogany-hued mezzo voice, and Griffey’s bright, empyrean tenor with Stark’s reedy stentorian bass. Three of them — Moore, Griffey and Stark — are all returning artists to the Symphony Hall stage with recent ASO performances to their credit.

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Anthony received incredible praise for the reprisal of his role as Mitch in Previn’s A Streetcar Named Desire at L.A. Opera:

“His character’s gaucheries provided a bit of necessary levity for this dramatic piece and his resonant tenor sound rang out with burnished colors.”
Maria Nockin – Opera Today

“L.A. Opera has found a believable cast with . . . Anthony Dean Griffey’s affectingly vulnerable Mitch . . .”
Mark Swed – Los Angeles Times

“Anthony Dean Griffey, reprising his role as Mitch from the 1998 world premiere, is obviously at one with the character of the repressed mama’s boy . . . Beautifully sung and acted, Griffey’s Mitch was an endearing portrait of a good-hearted, but very lonely, man.”
Opera Warhorses

“Griffey, meanwhile, makes a superb Mitch, cementing his stature of one of the finest singing character actors in American opera (Peter GrimesOf Mice and Men).”
Myron Meisel – The Hollywood Reporter

“Griffey made a terrific Mitch, charismatically earnest and boyish and forcefully sculpting his phrases with clear enunciation of the words.”
Timothy Mangan – Orange County Register

Houston Grand Opera

 “Wendy Bryn Harmer and Anthony Dean Griffey – playing Rosalinde, the story’s heroine, and Alfredo, a paramour from her past – fit in especially well. They sang with gusto during their solo turns, such as in Rosalinde’s Hungarian-style showpiece in Act 2 and Alfredo’s Italian-opera outbursts. But their complement to the orchestra’s stylishness came in ensembles, especially when they were together and their deft, cozy singing revealed their conspiratorial urges.”

Steven Brown, Houston Chronicle, October 30, 2013

“The amazing transformation of Anthony Dean Griffey from a shocking, eerie Peter Grimes to the virile, incessant and truly funny Alfredo is great to see.”

Marcus Karl Maroney, Concertonet.com, November 5, 2013

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

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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