“...the one consistent element of Tulsa Opera’s ‘The Barber of Seville’ is the quality of the singing. The production features two performers who more or less own the roles they sing — Sarah Coburn as Rosina and Peter Strummer as Dr. Bartolo — along with equally solid performers Aaron Blake as Count Almaviva and Steven LeBrie as Figaro.”
“Peter Strummer’s droll Sacristan ... was completely endearing. Announcing his arrival onstage with several healthy sneezes, he was a natural in this comic role. His bass-baritone made E sempre lava! a breath of fresh air before the drama to come.”
“As the Sacristan, Peter Strummer expertly provided comic relief.”
Baltimore Opera
“Peter Strummer’s Sacristan stood out for its vivid musical theatrical character.”
Baltimore Opera
“Early on, Peter Strummer threatens to steal the show in the speaking role of the Major-Domo, relishing his power to inflict misery.”
Ariadne auf Naxos, Dallas Opera
“Daland (bass-baritone Peter Strummer) was flawless with vocal strength to spare.”
Der Fliegende Holländer
“Peter Strummer sang Sulpice with eloquence, terrific diction and fine comic timing.”
La Fille du Regiment, Michigan Opera Theatre
“Bass-baritone Peter Strummer, was an imposing Badger.”
The Cunning Little Vixen
“The veteran character bass-baritone Peter Strummer did two excellent turns, double cast as the landlord Benoit and Musetta’s rich goat of an escort, Alcindoro.”
La Bohème, San Francisco Opera
“Peter Strummer performed the role of Alberich with a sense of painful and tragic alienation, yet gaining a deep sense of pity for his plight meaning that both his acting, and his singing was faultless.”
Das Rheingold, New Orleans Opera
“Peter Strummer’s Alberich was a complicated character who moved from frustration, to triumph, to defeat.”
Das Rheingold, New Orleans Opera
“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
“Peter Strummer’s Pasquale is delightful as the old bugger, with a rich, articulate voice to go with the bad rug and even worse temper.”
Don Pasquale, Opera Lyra Ottawa
“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
“American bass-baritone Peter Strummer brought out the warmth and paternal concern in Sergeant Sulpice.”
La Fille du Régiment, Opera Ontario
“The veteran American bass-baritone Peter Strummer made a genially extroverted Sergeant Sulpice.”
La Fille du Régiment, Opera Ontario
“Peter Strummer’s voice was resonant in the role of Sergeant Sulpice. Of husky build, no one could dispute his commanding presence. The singing lesson and his character’s intentions toward the marquise amply displayed his comic assuredness.”
La Fille du Régiment, Opera Ontario
“Among the smaller roles, Peter Strummer stood out for his robust comic vigor as the Sacristan.”
Tosca, San Francisco Opera
“Peter Strummer was a dream of a Mustafa, with an aptly brassy bass-baritone and plenty of agility.”
L'Italiana in Algeri, Lyric Opera of Kansas City
“Peter Strummer, powerful baritone and hilarious Bartolo brought down the house.”
““Peter Strummer, puissant baryton et hilarant Bartolo faisant crouler la salle.”