Seen and Heard, International
"Ward’s voice recalls that of Pears and Langridge in its distinctiveness; he could be a useful and much needed Britten exponent in the future. Good legato breathing supported the emotional flow of Massenet’s En ferment les yeux (Manon) Little outward emotion was displayed in Schubert’s Im Fruhling; instead the text, voice and sense of variation carried all the inner meaning most convincingly."

The British Theatre Guide
"Ward’s Ottavio was a revelation, scarcely relying on gesture or expression, he simply uncovered the great wells of music that Mozart’s music gifts to the character. Direct, pure and clear, his arias were the perfect demonstration that when you get it all right, singing is acting."

Classical Source
"Of the two tenors, Adrian Ward sang with attractive lightish tone. I am always struck by a singer’s sensitivity, and in ‘Enferment les yeux’ (Manon) he produced more of it than many ‘big names’ that I have heard. In Schubert’s ‘Im Frühling’ he was fresh-toned and effervescent."

Chicago Tribune
"The best singing came from Adrian Ward, a lyric tenor of abundant promise, clear and dulcet of sound, caring of words and music."
Ravinia Festival - Steans Institute, Chicago.

Musical Pointers
"Adrian Ward's Horace was a sheer delight of intelligent portrayal"
La Colombe at the Guildhall School

"Finally we heard another tenor Adrian Ward, who is already well known to London audiences. Another highly musical performer, with a repertoire that is expanding rapidly"
Serena Fenwick (Kathleen Ferrier Final)

"Adrian Ward was the youngest singer on the platform, but already he is showing signs of a star tenor: good looks, a voice that is secure throughout the range, plus outstanding musicianship. His choice of Un’aura amorosa (Cosi fan tutte) was a good one and he presented it with palpable seductive charm."