NABUCCO
Opera Queensland - Lyric Theatre - October 2007.
Opera Opera – November, 2007 issue
Reviewer: Patricia Kelly
“Ismaele was also strongly sung and portrayed by tenor Bernard Hull who gets his dramatic teeth into whatever role he is singing. ”
The Courier Mail – October 15, 2007
Reviewer: Martin Buzacott
“As the object of the women's devotion, Ismaele, tenor Bernard Hull shines. ”
Brisbane New s – October 30, 2007
Reviewer: Brett Debritz
“I was also impressed by... the intense performances of the lovers Ismaele (Bernard Hull) and Fenena (Liane Keegan). ”
LUCIA DI LAMMERMOOR
Opera Queensland - Lyric Theatre - October 2006
Opera Opera – November 2006 issue
Reviewer: David Gyger
“The supporting roles of Normanno and Alisa were filled satisfyingly by Bernard Hull and Rosina Waugh. ”
ROMEO ET JULIETTE
Opera Queensland - Lyric Theatre - May 2006
Opera Opera – June 2006 issue
Reviewer: Patricia Kelly
“The supporting teams were impressive.... the feuding teams headed by Bernard Hull (Tybalt)..... Hull also understudied Romeo. It would be interesting to see how his more centred voice and presence would have shaped up as partner to Juliet rather than her doomed cousin ”
www.stagediary.com – May 2006
Reviewer: John Henningham
“Tenor Bernard Hull and baritone Jason Barry-Smith are very effective as the hot-headed bovver boys Tybalt and Mercutio. Hull also gives the opera a fine start in his opening duet... ”
COUNT ORY
Canterbury Opera - James Hay Theatre - October 2004.
Sunday Star Times – October 24, 2004
Reviewer: Howard Livingstone
“Of the principals, Australian tenor Bernard Hull as Count Ory was outstanding in this fiendishly difficult role. He negotiated the stratospheric tessitura with apparent ease and acted his part well in his various guises.”
The Christchurch Press – October 22, 2004
Reviewer: Timothy Jones
“As the Count himself, Bernard Hull is a master comedian and a fine tenor…”
The Christchurch Star – October 27, 2004
Reviewer: Paul V Ellis
To engage Bernard Hull as Count Ory was a major coup. He demonstrated superb mastery of musical line in this facetious role.”
Opera-Opera – December 2004.
Reviewer: John Pattison
“Of the principals, Bernard Hull (Count Ory) stood out. Not only has he the vocal stamina and technique to overcome every challenge of this high tenor role but he is a born comic actor. Truss him up in a strait-jacket and I’d bet his eyes alone would still be capable of acting all others off the stage.”
OPERA UNDER THE BIG TOP
Co-Opera – Ellis Park Adelaide – May 2002.
The Advertiser – May 8 2002
Reviewer: Ewart Shaw
“…. but the highlights of the night were provided by Bernard Hull. His tenor voice is strong, tireless without being strident, and his stage presence is magnetic without being showy. His singing in the finale of I Pagliacci was convincingly anguished but in the third act of La Boheme his portrayal of Rodolfo moved the entire action on to a far greater plane of emotional impact.”
A NIGHT AT THE OPERA
Christchurch Symphony Orchestra, Christchurch City Choir, Conducted by Brian Law, featuring Dame Malvina Major, Zan McKendree-Wright and Bernard Hull - Christchurch Town Hall April 27 2002.
Christchurch Press – April 29 2002
Reviewer: Patrick Shepherd
“Bernard Hull is a tremendous singing talent with a comfortably wide range and good projection. His stage presence is eminently watchable, his singing superb.”
ROMEO et JULIETTE
State Opera of South Australia – Adelaide Festival Theatre – August 2000
The Sunday Mail – August 20 2000
Reviewer: Jackie Tracy
“The supporting cast of locals and imports is excellent with……Bernard Hull (an imperious, hot headed Tybalt) among the standouts.”
The Advertiser – August 14 2000
Reviewer: Ewart Shaw
“Bernard Hull is arrogant and aristocratic as Tybalt.”
MADAM BUTTERFLY
Coorparoo Festival of Fine Music – August 1997.
The Courier Mail – August 26, 1997
Reviewer: Patricia Kelly
“The thrilling tenor of Bernard Hull rang with all the besotted love and callous desertion that characterise Pinkerton.”
|
