Posts in Don Pasquale
"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

"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

"Coming timing is impeccable"
Bass Peter Strummer is a good Pasquale, singing all the notes smack in the middle, acting the role of the self-deluding Don with a combination of wealthy dignity and comic absurdity. His comic timing is impeccable, and he always remains sweet enough so that when Norina slaps him in Act III we, correctly, think she’s gone too far.

Don Pasquale, New York City Opera

"Perfect delight... vocally strong, acted the title role to perfection"
Of course the best staging in the world would have availed little had the singing and acting not been of the high quality it was Saturday evening. Peter Strummer’s Don Pasquale was a perfect delight. Vocally strong, he acted the title role to perfection, creating a character that was petty and foolish, to be sure, but basically decent all in all. Such three-dimensional portrayals of decrepit old men seeking young brides are rare in opera to say the least.

Don Pasquale, Opera Lyra Ottawa

"Warm, firm, agile voice"
In the title role, Peter Strummer played the male analogue of a spinster, set in his ways and prone to impatience – a portrayal belied by his warm, firm, agile, obviously younger voice.

Don Pasquale, Central City Opera