“Ikbal Khan directs the same composer’s The Wild Man of the West Indies on a starkly evocative set by Florence de Mare, with fine performances by Nicholas Sharratt, Njabulo Madlala, and Peter Braithwaite.” Michael Church, The Independent, 16 March 2015

“Nicholas Sharratt copes very skilfully with the technical demands of his showpiece tenor aria…” Rupert Christiensen, The Telegraph, 13 March 2015

“Cardenio’s brother Fernando was taken by Nicholas Sharratt who sang with a fluent tenorino, floating up to his high notes in a manner similar to Gregory Kunde in younger days or Stuart Burrows. With a softly produced acuto at the end of ‘Ah, dammi, o ciel pietoso’, this was an elegant performance that was very pleasurable to listen to.”     Llŷr Carvana, Opera Britannia

“There’s a smoothly lyrical Fernando from tenor Nicholas Sharratt.”                                                                       Clare Colvin, Sunday Express, 22 March 2015

“Nicholas Sharratt’s Fernando is superbly uppity and elegant”                                                                             Tim Ashley, The Guardian, 13 March 2015

“Sharratt’s clear and unforced top notes shone out.”                                                                                              Hilary Glover, planetHugill, 2 April 2015

“The tenor role of the brother Fernando was superbly sung by Nicholas Sharratt, showing resonances with L’elisir d’amore, which Donizetti composed less than a year earlier.”        Mark Ronan, 13 March 2015

“An opera with only six principals needs to be very carefully cast, and it has been…Is the excellent Nicholas Sharratt’s high register less than ideally rounded for Donizetti’s cruel lyric tenor writing for his brother, Fernando? Does Sally Silver sound a mite too spinto for Eleonora, the long-lost missus? Perhaps so in each case, but they’re still a pleasure to hear.”       Mark Valencia, Whatsonstage, 13 March 2015

“tenor Nicholas Sharratt was a confident Fernando with forceful projection: he hit the high notes too”  Claire Seymour, Opera Today, 12 April 2015

“Nicholas Sharratt put his lyrical, cultivated tenor to excellent use in Fernando’s music – he has a show-stopping aria in Act Two – and his courtly bearing neatly exposed what Cardenio had become.” Peter Reed, classical source, 12 March 2015

“…with the exception of Fernando’s Act II aria (nicely sung by Nicholas Sharratt).”  Alexandra Coghlan, theartsdesk, 13 march 2015

 “As Fernando, Nicholas Sharratt’s tenor is piercingly clear as he hovers between committing fully to his role as saviour of his brother and giving the whole lot up as a bad job.”  Gary Naylor, broadway world, 13 March 2015

“Nicholas Sharratt’s attractive light tenor – perfect for Donizetti – displayed a tendency to lunge at high notes, but it’s an instrument with much potential.”                 Mark Pullinger, bachtrack, 13 march 2015