"Carries the show... sure-footed physical acting"
Peter Strummer carries the show as an endearingly flummoxed Don Pasquale. His bass-baritone is expressive and full, but it is his sure-footed physical acting that brings many of the evening’s laughs, as when he arthritically suits up for his big date with youth and beauty, or later when he rolls himself onto the stage in a wheelchair, pathetically broken by his foray into married life.

Don Pasquale, New York City Opera

"Veteran basso steeped in the Italian buffo tradition"
The Calgary Opera bounced back with a sparkling and witty production of Rossini’s La Cenerentola. The production was greatly helped by the outstanding performance of Peter Strummer, a veteran basso steeped in the Italian buffo tradition, whose every move as Don Magnifico served to enhance the comic drive and pacing of the show.

La Cenerentola, Calgary Opera

"First-rank international opera comic"
Unfortunately, as with the Barber of Seville during the fall season, the singers in La Bohème failed to meet the standards required for a suitable rendering of this work by a first-rank international opera company. With two exceptions the brilliant baritone Marius Kwiecien, who sang the role of Marcello with opulent voice and vibrant stage presence, and the bass Peter Strummer in the comic roles of Benoit and Alcindoro.

La Bohème, San Francisco Opera

"Clever makeup... Strummer was brilliant"
Peter Strummer, as the aged Don who would marry to spite Ernesto, his rebellious heir and nephew, did as much as anyone could with bad-toupee and aching-back sight gags. Some clever makeup gave him a jowly, baggy-eyed, world-weary face he could work with. The Don has a lot of spoken dialogue, much of it in soliloquies and letter-reading, and Strummer was brilliant with that. His phrasing and body language made the meaning clear even through the Italian. Even in the forte-fortissimo first act, the singers displayed consistently attractive voices. Strummer, Johnson, tenor Bradley Williams (Ernesto) and baritone Mel Ulrich (Malatesta) held pitch, projected and phrased nicely throughout the evening. Pleasure was to be had in their singing.

Don Pasquale, Florentine Opera

"Booming voice and fearless buffo comedy always entertained"
Another pleasure was seeing acclaimed character bass-baritone, Peter Strummer in the title role, last heard three years ago as Dr. Bartolo during MO’s The Barber of Seville. After a few balance problems with the orchestra resolved during opening ‘Ah, un foco insolito,’ his booming voice and fearless buffo comedy always entertained.
— Holly Harris

Don Pasquale, Manitoba Opera

"Perfected Don Pasquale... established himself firmly and lovingly with the audience"
Peter Strummer has perfected Don Pasquale, the ideal role for his grand sense of character and his rich baritone. He is the lovable old gentleman who in a crisis of advanced years determines he will take a young wife. In the prologue, before he had even sung a note, he established himself firmly and lovingly with the audience. Hardly a reticent performer, he plays Pasquale to the teeth.

Don Pasquale, Central City Opera

"Acting was a clinic in buffo style"
The acceptance of Peter Strummer’s Mustafa was effortless. His bass voice mixed the great weight of Mustafa’s imagined dignity with the buoyant lightness of his actual flightiness. His acting was a clinic in buffo style, loaded with neatly timed business big enough to be legible but small enough to stay within the frame. No bug-eyed bluster, just fleeting, expressive reaction to the confusion around and within the character.

L’Italiana in Algeri, Florentine Opera