“More unexpectedly, Edwin Crossley-Mercer’s Orator leaves no one indifferent — quite the contrary. Where this character often succumbs to hieratic solemnity, the baritone imbues him with a profound humanity, an almost paternal kindness that is touching and contrasts with the abstraction of the rest of the staging. His performance, understated yet deeply felt, serves as a reminder of just how truly moving this opera can be when one stops burdening it with superfluous interpretations.”

“Meanwhile, Edwin Crossley-Mercer is anything but unmoving; on the contrary, he is deeply affecting as a benevolent and profoundly human Narrator.”

“Raymond, the immense bass of Edwin Crossley-Mercer, who was able to dominate the orchestra, and with such elegance.”

“Edwin Crossley-Mercer (Nicolás) sings the most accomplished performance, with exemplary diction and precious relief”

“Edwin Crossley-Mercer convinces the audience with his voice of resonance and cavernous depth.”

“the French bass Edwin Crossley-Mercer shines as Tirésias”

“Escamillo, the toreador, is played by Edwin Crossley-Mercer, whose voice asserts a charismatic virility. Deep, stable and imbued with authority, his tessitura brilliantly supports the figure of the male rival, here deliberately reduced to a cliché in the context of this simulation with overtones of the grotesque. If the character is deliberately stereotyped, the voice, for its part, imposes itself with accuracy and the nobility of projection.”

“On the other hand, we applaud Edwin Crossley-Mercer’s magnificent Creon without reservation. The powerfully projected voice knows how to be caressing and warm and then scathing and threatening.”

“Of the soloist trio, Lorenzo, appearing in the third part, has the largest space in the work, whose part was performed by the English-French bass Edwin Crossley-Mercer with a velvety soft, voluminous and balanced tone in the positions, with appropriate expressiveness.”

“His thick and guttural timbre unfolds with ease; imposing singing, both rich and profuse”

“In the end, it is the basses that bring mellowness: Edwin Crossley-Mercer’s majestic Hidraot”

“Edwin Crossley-Mercer gives the dark character of Hidraot all the authority it needs”

“Edwin Crossley-Mercer lends his deep timbre and unfailing support to Hidraot”

“Edwin Crossley-Mercer completed the cast with a more than solid performance incarnating the villainous Latin Lover.”

“…in excellent form, the bass-baritone Edwin Crossley-Mercer (Osiride) is just as sumptuous.”

“An elegant figure in an impeccably tailored suit, the Franco-Irish bass-baritone uses a brass timbre, homogeneous throughout the range, to declaim in the third act ​“Before leaving this shore”. Each of his interventions are brief but perfectly in place.”

“The other roles are all well-sung — especially Edwin Crossley-Mercer’s Hidraot, who flourishes in creating memorable moments in the first act…His voice is a sonorous bass-baritone to keep track of.”

“As Armide’s uncle King Hidraot, Edwin Crossley-Mercer stole the show with a magnificent display of richly-toned bass legato.”

“Edwin Crossley-Mercer as Hidraot is imposing with a sonorous and cavernous voice, offering a harmonious counterpoint to the more gallant and luminous tessitura of the knights.”

“The rest of the cast is impeccable…(Edwin Crossley-Mercer as Biterolf), with well-chosen voices for their roles… ”

“In two roles – the Mysterious Voice and Osiride – but a few lines, the Franco-Irish bass-baritone imposes a beauty of timbre and a nobility of tone acquired through his command of the French baroque repertoire.”

“As Jupiter – a fantastic Edwin Crossley-Mercer who has already played this character on several occasions with his majestic bass-baritone voice.”