“Alex Otterburn, one of Scottish Opera’s Emerging Artists last season, gave an outstanding performance as Eddy, a magnetic stage presence with a striking voice, arriving awkwardly onstage in his bright red tracksuit, eyeballing the audience in silent menace before launching into his story, exploding in a mixture of song and spoken word with generous lashings of street vernacular.”

“And there was Otterburn as Eddy: an utterly magnetic monster, spitting out the spoken text one minute, singing with an eerie, yearning sweetness and moving with an almost balletic physical agility the next. Controlled and compelling, he was described in the programme as a ​‘Scottish Opera Emerging Artist’. I’d say he’s emerged.”

“Alex Otterburn is magnetic as Eddy. The first thing he does is eyeball us in intense silence; this is a performer with serious stage presence and a voice to match. Anyone who saw Marcus Farnsworth in the role will forever have that potency etched into their retinas, but Otterburn makes it his own, cocksure, vulnerable and believable.’

“Alex Otterburn (a recent graduate from the Royal Academy of Music) gave a performance of searing intensity as Eddy, singing with blazing conviction and inhabiting his uncouth and aspiring character with complete ease.”

“suavity and ring were the hallmark of Alex Otterburn, an on-the-ball Guglielmo whose eyes filled with tears in the final scene.”

“Alex Otterburn impressed as the put-upon John Styx, a classy baritone with a lovely quality to his voice in his Song of the King of Boeotia.”

“There’s fine comedy from Alex Otterburn’s drunken Cossack Kalenik.”

“There is a firm beautiful voice in the making in Alex Otterburn, who negotiated Don Giovanni and the Count in two of the four Mozart excerpts with impressive confidence. An excellent impression — again promises good stuff for the future.”