Reviews for Opera San Jose's Production of "L'Elisir D'Amore":

"The most well-deployed voice, however, belongs to Flowers, a resonant, through-the-mask lyric tenor possessed of that enigmatic ear-catching quality that the Italians call squillo. He also sports a completely brakeless passage to head voice, allowing him to slip into suddenly soft, high tones for effects both comic and poignant; the latter is highlighted in Nemorino's plaintive song of hope, "Una furtiva lagrima" ("A furtive tear"). Flowers adorns the cadenza at the end of the famed aria with lovely silences..."  Michael Vaughn, San Jose Metro.

Reviews for West Bay Opera’s Production “Pikovaya Dama”:

“...the excelent singing by the entire cast is capped with a remarkable lead performance by tenor Adam Flowers...Flowers is a case of the right talent meeting the right role. As Russian Army officer Gherman, an addicted gambler, he faces a challenge: He is in all seven scenes of the opera. Throughout, he never loses power or focus. His tenor voice is remarkable in its expressive nuances and fluidity. One might say it's shading is a combination of the dramatic and the lyrical. And it doesn't hurt, either, that he is a good-looking guy loaded with acting talent.” Keith Kreitman, Oakland Tribune

“Adam Flowers sings the role of Gherman admirably…His finest moment is at the top of Act III: Alone in his barracks, he is visited by the Countess's Ghost, who finally reveals her secret. Flowers reaction, both physically and vocally, is chilling.” Kevin Kirby, Palo Alto Weekly

Reviews for Opera San Jose's Production of "Madama Butterfly":

"Adam Flowers, whose ardent des Grieux was a highlight of OSJ's recent Manon, was even more impressive as Pinkerton, his voice sweet and resilient, with a satisfying ping to the high notes. He cut a handsome figure onstage, capturing Pinkerton's arrogant selfishness as well as the boyish charm that makes Butterfly fall for him."  Andrew Farach-Colton, Opera News.

"They booed Adam Flowers at Opera San José on Saturday night, one of three key validations the audience gave the opening-night performance...Why did they hate him? Because he was convincingly heinous as the naval officer Pinkerton... Flowers, a sweet-voiced tenor, nearly steals the show..."  Colin Seymour, San Jose Mercury News.

For Opera San Jose's Production of "Manon":

"Sweet-voiced Adam Flowers was equally impressive, conveying both des Grieux's impulsive ardor and his devotion to Manon through singing that seemed to come straight from the heart... Flowers sang in excellent French."  Andrew Farach-Colton, Opera News.

"...Adam Flowers' Chevalier des Grieux, Manon's besotted lover, whose full tenor voice grew stronger and richer as the acts passed."  Keith Kreitman, Oakland Tribune.

"As [Manon's] lover, the chevalier des Grieux, Adam Flowers gave an intense, committed performance. This young tenor has made great strides in both vocal development and stage presence since his first appearance with Opera San Jose. The role of des Grieux has, in the middle of a very lyric role, one heavy dramatic aria that is the downfall of many a tenor who can otherwise handle the role well. In that aria, 'Ah fuyez douce image', Flowers acquitted himself well, negotiating the high notes with unstinting power and building the intensity...he used his lyric instrument to stronger advantage, and was alone among the principals to consistently shade his singing with a dynamic range from piano to forte."  Kelly Snyder, Concertonet.

As Don Jose in Opera San Jose’s “Carmen”

“Tenor Adam Flowers, in the role of the poor wretch, is an accomplished singer who can float up to falsetto range or punch notes with power.” Richard Scheinin, San Jose Mercury News

“Boyish and sweet-faced, Flowers is a sensitive, clear-voiced singer who brought endearing qualities to this taxing role. His “Flower Song” in Act II was passionate and nicely nuanced…” Kip Cranna, San Francisco Classical Voice

“The Oscar has to go to Adam Flowers for his portrayal of the ardent, soon rejected lover, Don José…in watching Flowers on opening night, one was reminded of the glory days when Franco Corelli tore up the scenery…” Perrisimo Abbas, Piedmont Post 

Reviews for Opera San Jose’s Production of “The Flying Dutchman”:

“As Erik, Adam Flowers has never sounded better. He was able to project his tenor to match the power of the lower register singers without straining or losing a rounded timbre in the effort.” Keith Kreitman, Oakland Tribune

“Adam Flowers has a hefty tenor voice with a lyric quality which rode smoothly on top of Wagner's heavy orchestration. He gave a most appealing portrayal, making some onlookers feel sorry that his love was so completely unrequited.” Maria Nockin, Opera Japonica 

Adam Flowers’ Erik was one of the best I heard anywhere – a lyric tenor but with a powerful edge.” Janos Gereben, San Francisco Classical Voice

The sweet-voiced Adam Flowers invested Erik with Schubertian Pathos…”  Heather Hadlock, San Francisco Classical Voice

Reviews for Ferrando in Rimrock Opera’s “Cosi fan tutte”

“Flowers’ expressive face brought down the house just by raising an eyebrow, and his vocal range was incredible.” Jaci Webb, Billings Gazette

Reviews for Macduff in West Bay Opera’s “Macbeth”:

"...tenor Adam Flowers (Macduff) exhibited admirable Italianate ping and phrasing…" Jason Victor Sarinus, Opera News

As Manrico in Opera San Jose’s “Il Trovatore”

“[Flowers’] delivered a strong, blazing account of “Di quella pira”, in which moments of tenderness and heroic fury alternated tellingly.” Joshua Kosman, San Francisco Chronicle

As Tybalt in Hawaii Opera Theater's "Romeo et Juliette"

"I hated to see Tybalt die. Tenor Adam Flowers is so good that you want him there longer." Valeria Wenderoth, Honolulu Star-Bulletin

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