Der Rosenkavalier‚ Opera North
Musical Opinion (November 2002)

'Conal Coad played a fine Ochs‚ obviously relishing the part’s opportunities for buffoonery.'

Der Rosenkavalier‚ Opera North
Darlington & Stockton Times (October 2002)

'Conal Coad produced a brilliantly bucolic and mannerless Baron Ochs.'

Der Rosenkavalier‚ Opera North
Guardian (October 2002)

'The bluff‚ blundering Ochs‚ sung by Conal Coad‚ is given a good deal of nuance‚ making his awfulness even more cringingly funny.'

Der Rosenkavalier‚ Opera North
Ilkley Gazete (October 2002)

'Australian bass Conal Coad‚ previously a memorable Opera North Falstaff‚makes the role of the coarse‚ philandering Baron Ochs very much his own.'

Der Rosenkavalier‚ Opera North
The Machester Charivari (October 2002)

'The Australian Conal Coad as the superbly sung and acted Baron Ochs.'

Der Rosenkavalier‚ Opera North
Yorkshire Post (October 2002)

'His acting could not be improved‚ creating the humour of the situation while still remembering that he is a Baron.'

Marriage of Figaro‚ Opera Australia
The Bulletin (January 2002)

'So accustomed are OA audiences to Conal Coad’s talents that we are in danger of taking them for granted‚ or of supposing that comedy must be easier than tragedy. The truth is that the company could simplify its auditions by putting this question to their would-be principals; if you cannot match Mr Coad’s vocal and dramatic abilities‚ are you sure that you have chosen the right career?
As Dr Bartolo‚ Coad integrates singing with gestures so that the ludicrous is at once funny and touching. His bass touches bottom as surely as it does our hearts.'

Falstaff‚ New Zealand Opera 
Capital Times (November 2001)

'Falstaff is a personal triumph for Conal Coad. He dominates the stage‚ alternately wheedling‚ bullying‚ wooing and blustering‚ and all the while singing with the utmost musicality‚ with a voice which meets every challenge. What more could you ask?'

Falstaff‚ New Zealand Opera
National Business Review (November 2001)

'Conal Coad as Falstaff is magnificent‚ creating a character who dominates the stage through the performance. The part can be played for its buffoonery but Coad has tempered that aspect with other dimensions. His Falstaff is repellent for his treatment of others and his grossness but he is sympathetic for his brazenness and cheerfulness and ultimately his honesty and his acceptance of life. He conveys these qualities as a flawless singing bully‚ comedian and gentleman‚ the roles flowing cleverly together. His voice captured the wit‚ sensuousness and gallantry of the man‚ all tinged with brutality and pomposity. It is his fine acting ability that cements the character. He gives the role dignity at all times even in the scene where he enters Alice Ford’s house slipping and slithering around.'

Falstaff‚ New Zealand Opera 
New Zealand Herald (November 2001)

'It is this essentially human quality‚ with an edge of sadness‚ that Conal Coad brings so magnificently to NBR New Zealand Opera’s fast-paced production of Verdi’s final masterpiece. Strutting around the stage like an overconfident cockerel with a very large paunch‚ Coad looked and sounded as if the part was crafted for him. His sense of comic timing was impeccable‚ a leer here (particularly down the front of Dame Quickly’s highly revealing bodice)‚ a snigger there when attempting to woo Alice Ford. And yet his sense of pathos was just as real‚ especially when feeling sorry for himself after being thrown unceremoniously into the Thames in a clothes basket.'

Falstaff‚ New Zealand Opera 
New Zealand Herald (November 2001)

'As a bonus they can feast their ears on one of the most beautiful voices New Zealand has produced – Conal Coad. Move over Bryn Terfel‚ this is bass/baritone singing at its very best.'

Falstaff‚ New Zealand Opera
The Listener (November 2001)

'Conal Coad is quite wonderful‚ awake to every nuance and gesture‚ never a mere buffoon but a lovable rogue‚ foolish but still plausible as a lover and unfailingly beautiful of voice.'

L’elisir d’amore‚ Opera Australia
Melbourne Sun Herald (May 2001)

'Such was Conal Coad’s oily bonhomie that in many ways he stole the show. His is a true buffo voice‚ and the demanding ’patter songs’ slipped off his tongue effortlessly.'

L’elisir d’amore‚ Opera Australia
The Bulletin (May 2001)

'... the panache with which the buffo Conal Coad would lift his Act Two realization of the role to a mastery of self-deception...'

Midsummer Nights Dream‚ Napoli, Italy
La Republica (February 2001)

'The loveable rogue Bottom of Conal Coad (but what professionalism was displayed behind that roguishness).'

Midsummer Nights Dream‚ Opera Australia
Sydney Morning Herald (July 2000)

'In Conal Coad‚ Opera Australia has found its best‚ most complete interpreter of Bottom ever. He has a natural sense of comedy...and a bass voice that is able to represent in operatic terms his complete domination of the group of amateur actors organised by Quince.'

Capriccio‚ Opera Australia
Australian Financial Review (May 2000)

'...his amiable bass was a delight from go to whoa.'

Capriccio‚ Opera Australia
The Bulletin (May 2000)

'Conal Coad explodes with his fury aria‚ all the more effective because his depiction of the vulgar impresario had been restrained.'

Falstaff‚ Opera North
Spectator (February 2000)

'Conal Coad is as fine a Falstaff as I have seen‚ maintaining a dignity that many performers of the role are eager to eject. He is not too obese either‚ as verdi instructed. Without a big voice‚ he enunciates and projects superbly.'

Falstaff‚ Opera North
Sunday Telegraph (February 2000)

'The title role is now sung by the New Zealand bass Conal Coad‚ and very good he is too...He has all the notes with enough expression (not over-done‚ thank goodness)‚ and his diction and acting are admirable.'

Falstaff‚ Opera North
Yorkshire Post (February 2000)

'Coad’s voice is a very beautiful instrument that is used with the utmost intelligence.'

Falstaff‚ Opera North
Times (January 2000)

'...vocal weight contributes to Conal Coad’s heartwarming impersonation... This loveable creature’s big third-act monologue is hugely touching.'