“But everyone was put in the shade by the Samoan tenor Pene Pati as the yearning, confused and increasingly desperate Faust. He showed an extraordinary gift for producing a golden thread of sound that can swell without strain to magnificence, and his lyrical line was perfectly rounded in a way that reminded me of great French tenors of old. The agonising moment when he called out Marguerite’s name in despair simply wrung the heart, and is still echoing in my ear.”

“Pene Pati’s Orombello has a sunny tone, full of lyricism and elegance…”

“Pene Pati was the best {of the opera} because his instrument is of the highest quality, his vocal freshness falls in love, and he also has a presence and bonhomie that they transmit, and that the audience appreciates and immediately connects with him. His aura reminds us on more than one occasion of the remembered Pavarotti, for his scenic smile and his generous means.”

“Speechless, dreamy diction and purity of tone combining to bewitch us.”

“The sweet-toned elegance and sense of line he brings to the Duke (Rigoletto) in the opening tracks is matched with rollicking vigour when he gets to ​‘Possente amor’…Whether as Donizetti’s Nemorino or Massenet’s Des Grieux, Pati gives heartfelt accounts, and in the weightier assignment of Arnold (Guillaume Tell) he brings plangency of tone.”

“The result, let’s say it straight away, is exemplary…[the programme] reveals diction as perfect in French as in Italian, as well as a charm in the phrasing and an irresistible infectiousness…In Meyerbeer and Godard, two rarities are served with just the right amount of sensitivity, avoiding tipping into sentimentality.”

“His Duca has as much panache as style, with a high-flying ​‘La donna è mobile’…We also find a Roméo with sunny romanticism, whose cavatina is crowned with a heady mezza voce.”

“Pene Pati seems to be made to sing the French repertoire. The mastery of the language is quite astounding. And, perhaps above all, the style is there.”

“Pati immediately scores with his high-placed and open sound, with a naturally sunny vocal hue. But in the recitative alone he impresses with his attention to the text and his phrasing…they immediately mark Pati out as a performer of sensitivity…As well as the bravura numbers, there is an innate sense of style and elegance at work here.”

“Pene Pati is a fast rising lyric tenor no longer on the brink but in the midst of a major career. Pati is at the top of his game, equipped with a sizeable voice that rises easily above the staff with no sign of strain, his technique is impeccable and so is his command of French, Italian and Russian.”

“Roméo is embodied by Pene Pati, the Samoan tenor who caused a sensation here last year as Percy in Anna Bolena, and to whom we are attached from the start with his sincere and beautiful timbre. His diction was superlative.”

“This Roméo and Juliette couple is close to ideal…Pene Pati takes great care over the composer’s dynamics which others neglect. What is the use of the orchestra preparing the final pianissimo of ​“Ah, leve-toi, soleil” if the tenor sings a fortissimo? Pene Pati offers us the pianissimo, kneeling, and it’s a delight…But when his fortissimo comes, in the rage of the Act III duel, it delights us just as much.”

“He proved to us from the first moment that he has everything to be a tenor we will continue to hear about for the next twenty years. The voice is powerful and equal throughout the range, but he’s not all about volume! He is a sensitive, sympathetic and intelligent artist.”

“Pati’s voice bloomed open with fresh urgency and power. He brought the house down.”

“The pain of the text was palpable in ​“Non t’amo piu” and his high notes were electrifying…you could only marvel at the expressive quality and control of his softest phrases, which could effortlessly transition to a stunning climax. His impassioned ​“Core n’grato” was rich, powerful and from the heart.”

“We can only say that he must be the most exceptional tenor discovery in the last ten years”

“Unquestionably the stars of the show are the young New Zealanders Amina Edris and Pene Pati, as Adina and Nemorino. These are two tremendously exciting young singers with rich, expressive stage personalities…Pati’s striking, powerful voice put his stamp on Una furtive lagrima, making it sound fresh and tender.”

“Pati, born for the beauties of bel canto, spins an effortless ​‘Una furtiva lagrima’”

“His ​“La donna è mobile” revealed a gleaming tenor with effortless high notes. No wonder he has an array of awards and prizes that would be the envy of any young opera singer.”

“tenor Pene Pati showed off a warm, powerful voice in a selection from Donizetti’s unfinished opera Il Duca d’Alba. It was a good choice, with plenty of the high notes where Pene has such thrilling squillo.”

“Tenor Pene Pati made his San Francisco Opera debut as the Duke of Mantua…[he] was an absolute revelation. He has a sweet, honeyed timbre and his top notes appear to be effortless. His phrasing, expression and breath control are superb”

“For sheer tonal pleasure, Pati’s Duke made a connection. His tenor was buttery and suavely delivered.”

“Pati in a sumptuous, broad-beamed account of Verdi’s ​“Quando le sere al placido” from Luisa Miller.”

“runner-up was the New Zealander Pene Pati; in ​‘Tomba degli avi miei’ from Lucia di Lammermoor his tone floated beautifully, and he has thrust and passion to spare at the top”

“New Zealander Darren Pene Pati was the one with the special tenor voice. Unsurprisingly, he took the audience prize for male singer.”

“First up was Pene Pati, a New Zealander who boasts a lithe and radiant tone, deep theatrical instincts and plenty of charisma…In the final scene from Donizetti’s Lucia di Lammermoor, he gave a full-throated, suavely phrased performance, replete with ardour and elegance and driving to a thrilling, perfectly placed high note.”