King Priam, ETO, 2014

“Roderick Earle, as Priam, leads an ensemble performance of rare conviction, with Grant Doyle’s Hector, Nicholas Sharratt’s Paris, Charne Rochford’s Achilles, and Adrian Dwyer’s Hermes all outstanding.” ****
Michael Church, The Independent, 18th February

“Best is Nicholas Sharratt, whose poised singing and acting put Paris’s dilemmas rather than Priam’s at the centre of the drama.”
Rupert Christiansen, The Telegraph, 17th February

“The cast is terrific…Nicholas Sharratt’s ringing Paris and Grant Doyle’s noble Hector both transcend the unfortunate costumes they’re obliged to wear.”
What’s on stage, Mark Valencia, 17th February

“Nicholas Sharratt brought something of this youthful enthusiasm to his portrayal of Paris as an adult, managing to overcome an unfortunate costume involving a pair of orange loon pants! Sharratt gave the feeling that Paris had never quite grown up, and sang Paris’s music with a vividness and a nice bright sense of line.”
Robert Hugill, Opera Today, 21st February

“Nicholas Sharratt was likewise splendid as ‘playboy’ (Priam’s own term) Paris, narcissistic vainglory and compelling attraction two sides of the same coin.”
Mark Berry, Seenandheard, 15th February

“‘Unnerving and seductive … Adrian Dwyer as Hermes and Nicholas Sharratt as Paris in King Priam.’
Both the complex narrative and the tricky debates about determinism and free will are presented with great clarity. Conway views the opera as being as much about sex as war: the scenes between Nicholas Sharratt’s glamour-boy Paris and Niamh Kelly’s self-assured Helen…are palpably erotic.” ****
Tim Ashley, The Guardian, 15th February

“Lyric tenor Nicholas Sharratt committed his familiar musicality to the sheer intensity of febrile Paris…”
David Nice, The arts desk, 14th February

“Among a uniformly strong cast there are memorable standouts – Roderick Earle’s dignified, conflicted Priam, Camilla Roberts’ impassioned Andromache, Grant Doyle’s bold Hector, Nicholas Sharratt’s wilful, uneasy Paris, Charne Rochford’s fierce Achilles. The work of the chorus, too, is finely focused. The result is an exceptional achievement, not to be missed as it tours widely this spring.” ****
George Hall, The Stage, 18th February