Morgan Library Recital Hall
New York City

Five Singers are on my watch list… Matthew Swensen … already engaged by Oper Frankfurt, sang Il Barbiere di Siviglia’s “Ecco ridente in cielo,” with ease, beautiful sound and impeccable musicianship.

- Seen and heard international

Morgan Library Recital Hall
New York City

Matthew Swensen sported a ringing leggiero sound in an easy, flowing account of Il Barbiere di Siviglia’s “Ecco ridente in cielo,”

- New York Classical Review

Opernhaus Frankfurt
Die Lustige Witwe

Matthew Swensen as Camille de Rosillon, who is infatuated with Valencienne, was excellently done and with a lot of melting in his voice (also with very classy highnotes.)


Opernhaus Frankfurt
die zauberflöte

“Matthew Swensen, in his ensemble debut, was a powerful yet beautifully sung Tamino.”

- Frankfurt neue presse

Augsburger Allgemeine
Handel Messiah

“Matthew Swensen's weightlessly softly styled tenor was made for the fluid, far-reaching melodies of melismas and elaborate modulations of recitatives and arias.”

Augsburg Allgemeine Feature: Weihe, Wonne, Wehmut

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Augsburg Allgemeine:
Christmas Oratorio

“Crowning the solo arias: bright, clear, rich in overtone, Matthew Swensen distinguished himself in “Frohe Hirten”, along with Petra Schiessels on the flute, and in “ich will nur Dir zu ehren…” he impressed with his smooth coloratura in an excellent agreement with Peter Riehms and Alexander Möcks virtuous solo violins.”

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Concert with Simphonieorchester Basel

"The second part of the concert was devoted to Mozart with the participation of Matthew Swensen and his enchanting, warm and softly floating tenor voice as well as his excellent technique. Both, in Belmonte’s aria, 'Ich baue ganz auf deine Stärke” and in the concert aria KV 431."

— Badische Zeitung: 


Münchner Merker:

"Der Junge Mozart Konzert" with Bayerische Rundfunk

"Beim Sonntagskonzert des Münchner Rundfunkorchesters zum Thema „Der junge Mozart“ darf also Sopranistin Regula Mühlemann den neckischen, koloraturen- und höhensicheren Weltgeist geben, während sich Mezzo Wallis Giunta als Gerechtigkeit mit etwas viel Aplomb offenkundig bei Rossini glaubt und Guanqun Yu (Sopran) die Barmherzigkeit im handgebremsten Diven-Modus absolviert. Sehr heterogen das alles. Sehr wirkungsvoll aber auch – der unbekümmerte Jungkomponist schickte seine Solisten gern über ausgedehnte Hindernisstrecken.

Die Tenöre Stefan Sbonnik (Christ), vor allem Matthew Swensen (Christgeist) erledigen ihre Aufgaben mit Noblesse – und sind da ganz beim Dirigenten Alessandro De Marchi. Der Experte für Historisches ist ja kein Sturmdränger, sondern einer, der freundlich zum durchlüfteten, atmenden Klangbild einlädt.”

European Debut
Oper Basel:

“Matthew Swensen vom Opernstudio verkörpert mit seiner hellen, koloraturen freudigen stimme den in manchen Aufführungen gestrichenen Aufidio. (Matthew Swensen of the opera studio, embodied with his bright, joyfully coloratura voice , embodies the Aufidio, which has been cut in some performances.)


“Auch der nur fur das stimmgleichgewichtig notige weite mann unter so ielen frauen im origional: di halfte kastraten) silla-freund aufidio, wird mit dem moppeligen, frisch-tönenden Matthew Swensen wirkungsvoll in Szene gesetzt. (Even the only man, who is only necessary for balancing voices, among so many women (in the original: the half castrati) Silla’s friend Aufidio, is effectively staged with the colorful, fresh-toned Matthew Swensen. 

“Mais la chanteuse s’avere une excellente recrue de operastudio, tout comme le tres bon aufidio de Matthew Swensen. (But the singing is excellent from the ‘rookie’ … the very good Aufidio of Matthew Swensen.)”


“The young tenor Matthew Swensen, as the confidant to Lucio Silla... was a very talented addition to the stage.

-Badische Zeitung



Juilliard Opera: 


“Matthew Swensen and Nicolette Mavroleon, as Bill and Tina, had a naturalistic affinity, at once intimate and delicately at odds—like a real married couple; at first, they sang with the sweet tones of a Disney prince and princess, but soon they became either expertly defensive (him) or excellently nagging (her). ”

— Opera News

“Matthew Swensen’s Bill is a refreshing and surprise creation: he manages the unexpected twists in his character’s development with ease. Where others might falter in the role, Swensen’s commitment to the drama allows the audience to not only believe the veracity of this character, but to also follow him on a rather shocking journey.”

— Parterre Box

“Bill (tenor Matthew Swensen) and Tina (Nicolette Mavreon) are sort of like Figaro and Susanna for the aluminum age without that couple’s gift of brains. They are a longtime couple trying to restart their marriage with an ill-advised vacation. Mr. Swensen showed superb comic timing, building to a slow boil at the nagging of Ms. Mavroleon.
— Superconductor

“One enjoyed clean negotiation of “veddy” British high tenor writing by Matthew Swensen’s orientation-pliable Bill.”

— Gay City News

Juilliard Opera: Mamelles de Tiresias

“As Le Couf / Le Fils, Matthew Swensen sounded uncannily french, every syllable of the text delightful to hear.”

- Opera News