Ravel & Poulenc / Grange Park Opera

“Richard Edgar-Wilson again shone as the Son – He's an outstanding tenor.”

Rodney Milnes / Opera

Serenade for Tenor, Horn and Strings / Bergen

“Edgar-Wilson's range of tone colours was so manifold and intense that it was unnecessary to use force to underline the main points. A show of musical dramaturgy that most of us can learn from.”

Anmeldt Av Espen Selvik / Bergen, Norway

Monteverdi Vespers / St Louis Cathedral, USA (2010)

“The high point of the evening, though, was the Duo Seraphim, with Wilder and Richard Edgar-Wilson trading lines in such perfection that I swear I heard a dozen seraphim instead...  I kid you not – this was one of the most eerie and divine musical moments of my life. And some of the most exquisite singing too.”

Jeffrey Carter / Wordpress.com

Monteverdi Orfeo / The Banqueting House

“Richard Edgar-Wilson is a robust and noble Orfeo. His Possente spirto has us on the edge of our seats.”

Hilary Finch / The Times

"Everything revolves around Orfeo, and in this massive role Richard Edgar-Wilson, as fresh-faced as he was pure-sounding, excelled... In both of the big set pieces, Possente spirto and Questi i campi di Tracia, he dug emotionally deep. We felt what he felt, what Orfeo felt. It was immensely moving, as only Monteverdi this well understood can be."

Stephen Pettitt / Opera


St Matthew Passion / Apollo’s Fire, Cleveland, USA

“In the tenor arias, Richard Edgar-Wilson communicated the essence of the texts in a voice of uncommon freshness and vitality.”

Donald Rosenberg / The Plain Dealer

St Matthew Passion / Plymouth (2007)

“Richard Edgar-Wilson's Evangelist was truly inspired, communicating every word of the narrative with an earnest sincerity that proved quite emotionally overwhelming at times.”

The Plymouth Herald

St Matthew Passion / Bach Choir / Royal Festival Hall

“Richard Edgar-Wilson, with that pithy, open tenor sound so thoroughly English, sang searingly.”

Brian Hunt / The Daily Telegraph

Tamino, Die Zauberflöte / Canterbury Opera, New Zealand

“Of the major soloists, English tenor Richard Edgar-Wilson stood out. He was a splendid Tamino, dramatic, with a warm, clear voice.”

Howard Livingstone / Sunday Star Times, Christchurch

“British tenor Richard Edgar-Wilson was a boyish, yet strong Tamino, with a beautiful voice and considerable dramatic ability.”

Timothy Jones / The Press, Christchurch

Britten Saint Nicolas / Bath

“…a great performance by Richard Edgar-Wilson as the Saint, in splendid voice at the top end”.

Peter Lloyd Williams / Bath Chronicle

Quint, The Turn of the Screw / Pimlico Opera

“Richard Edgar-Wilson makes the most beautiful, open-vowelled work of art out of the ghost’s promises you could ever hope to hear.”

David Nice / The Guardian

“And Richard Edgar-Wilson made a stunning Quint, with a refinement in his melismatic farewells to the boy worthy of Peter Pears himself. An ideal Quint exploits the sympathetic ambiguity of evil. This one was a masterpiece of exploitation.”

Michael White / Independent on Sunday

“In Richard Edgar-Wilson, Pimlico Opera has a Peter Quint of quintessential Englishness, trying and tasting every graphically set word in a lightly-sprung, crisply enunciated tenor.”

Hilary Finch / The Times

The Tempter, The Prodigal Son / Perth Festival

“…brilliantly portrayed by Richard Edgar-Wilson as an amalgam of Peter Quint in The Turn of the Screw and the six messengers of death in Death in Venice. With his lucid, incisive singing, and his silver and scarlet costume, he is the star of the show.”

Conrad Wilson / The Herald

Berlioz La Damnation de Faust / Three Choirs Festival

“Richard Edgar-Wilson had to do battle with a similarly taxing solo tenor part, rising to a top C sharp, but he met the demands of this tough lyric role in style.”

Barry Millington / The Times

Ethel Smyth Mass in D / Queen Elizabeth Hall

“Richard Edgar-Wilson laid down some impressively heroic credentials with his singing of the tenor's agonised Agnus Dei.”

Stephen Pettitt / The Times

War Requiem / Ulster Orchestra

“Richard Edgar-Wilson’s attractive tenor was a real asset.”

Rathcol / Belfast Telegraph

Schubert Stabat Mater / The Malcolm Sargent Festival Choir

“Richard Edgar-Wilson’s emotive rendering of the tenor role in true Schubertian style was most memorable and he even looked Schubertian too, imbuing his solos with something of the sheer intensity and immediacy of this essentially Romantic composer.”

Jill Barlow / St. Alban’s Observer

Haydn Philemon and Baucis / Barbican Centre

“The singing is sound, that of Richard Edgar-Wilson as Aret rising to a delectable lyrical freshness.”

Paul Griffiths / The Times

Monteverdi / The English Concert, Pinnock / Wigmore Hall

“Richard Edgar-Wilson's Tancredi, smooth of voice, showed the right vulnerability among his fiery passions.”

Stephen Pettitt / The Financial Times

CD of Songs by Eric Coates

“Richard Edgar-Wilson has a delightfully natural, free-ranging and expressive tenor voice, his words coming through with complete clarity... An utterly diverting collection.”

AML / Gramophone Magazine

Warlock The Curlew / Guildford Cathedral

“Richard Edgar-Wilson’s rendering was even more intimate than the performance of The Curlew at the London College of Music’s birthday concert two days earlier. His experience of singing in resonant buildings has taught him to focus his voice directly on the audience. I have no hesitation in saying that his diction was the clearest I can remember since Wilfred Brown.”

Malcolm Rudland / Peter Warlock Society Newsletter

CD of Schubert Die Schöne Müllerin / Athene

“The singer has a youthful sound, with all the necessary ardour and a hint of recklessness, together with lovely control of line and dynamics. He has a very verbal approach and excellent diction, yet sings most musically.”

Robert Oliver / Early Music News

St John Passion / Plymouth

“There was the absolutely superb contribution from Richard Edgar-Wilson, as the Evangelist, who held the audience spellbound with every interjection and with such an expressive delivery that the meaning of each sentence was clear, even without the translation.”

Philip Buttall / Plymouth Evening Herald

CD of Howard Blake The Passion of St Mary (2010)

“Richard Edgar-Wilson (Jesus as a man) sings with an easy fluency and fine diction, displaying a beautiful high G, so soft as to make one gasp.”

Bob Briggs / MusicWeb International

CD of Boyce Odes / Hanover Band

“Richard Edgar-Wilson’s aria The captive, bound in rankling chains, should be required listening for aspiring tenors.”