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

Opéra National de Paris – Bastille

“The American tenor Anthony Dean Griffey made one of the truly remarkable debuts here in the title role. While his voice doesn’t quite have the amplitude of Ben Heppner (who did the part here in 2001), Griffey’s vocal qualities wed perfectly with those needed by Grimes.”

Jacques Doucelin, Le Figaro, January 30, 2004

“The ensemble of singers was uniformly excellent, but Anthony Dean Griffey stood out from the rest with his beautifully nuanced performance.”

Assia Rabinowitz, Le Figaro, January 27, 2004

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London Symphony Orchestra

“Anthony Dean Griffey sang with majesty and authority.”

Alex Russell,, November 2003

New York City Opera 

“It’s impossible to imagine a more affecting and nuanced portrayal of the slow-witted, itinerant ranch-hand Lennie than that offered by tenor Anthony Dean Griffey. Griffey, who first mesmerized audiences in the role five years ago, wholly embodied Lennie’s curious character – from his hunched shoulders, shuffling gait and fidgeting hands to the sudden shifts of expression on his often-bewildered face. Griffey’s Lennie was so utterly unaware of his strength and unaccountable for his actions that even Steinbeck would have been impressed. The emotional intensity of Griffey’s dramatic performance was coupled with an equally expressive vocal reading. His lithe lyric tenor was tender in its high notes and impassioned in the lower register, all the while possessing the perfect degree of stylistic simplicity for the role.”

Stacey Kors, Newsday (New York), October 17, 2003

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Glimmerglass Opera

“Best of all, Anthony Dean Griffey as Schweik gently but firmly commands the stage every minute, both through the appealing emotional tug of his plangent tenor and the wide-eyed, lovably
innocent character he creates.”

Peter G. Davis, New York Magazine, August 25, 2003

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London Symphony Orchestra

“What is undeniable is that Fleming and Gilfry put over this appealing music magnificently, as do Janice Watson and Anthony Dean Griffey.”

Richard Morrison, The Times (London), June 26, 2003

“Anthony Dean Griffey was moving and slightly disturbing as Mitch, starting out with Oliver Hardy-bumptiousness and ending in confused rage and frustration. Somehow, the beauty of his voice made his roughness all the more poignant rather than deracinating it.”

H.E. Elsom,, June 25, 2003

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Florentine Opera

“Anthony Dean Griffey, as Lennie, led the strong cast. This tenor combines power, clarity and beauty from top to bottom. Griffey’s effortless, float-away tenor was an apt foil for the weighty, burly bass
of Ron Nelman’s George.”

Tom Strini, Milwaukee Journal Sentinel, March 9, 2003

Highpoint Community Concert Association

“Tenor Anthony Dean Griffey and pianist Warren Jones are at the pinnacle of success in the world of classical music; they returned to their North Carolina home for a concert Friday night.” “One of Griffey’s gifts is a magnificent stage presence; this was evident throughout the evening. His vocal ability is top?notch. Beautiful phrasing, gorgeous tone, especially in the middle register, and the ability to sing dramatically and tenderly in the same phrase is evidence of his artistry. Another great strength is his ability to genuinely convey heartfelt emotion. His English diction is splendid; one hardly needed the printed texts.”

Tim Lindeman, News & Record (Greensboro, NC), January 12, 2003

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

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