Press

“Und dieser ließ wahrlich aufhorchen. Noch nie habe ich die wenigen Phrasen des Malcolm so überzeugend und mitreißend wahrgenommen wie gestern Abend: Maximilian Lawrie ist zurzeit noch Mitglied im IOS – es wird sich lohnen, seine weitere Entwicklung im Auge (und im Ohr) zu behalten!”

Read the article by clicking the link below

“Overall, the members of the IOS really got a chance to shine: Maximilian Lawrie did excellent work with the tremendous vocal challenge of the role of Kaufmann…”

“Lawrie is a powerful singer, full of ardor and daring in the upper reaches…”

“The extended opener Lead, kindly light is nicely paced and calibrated for drama, with an outstanding solo from tenor Maximilian Lawrie…”

“The soloists were both of consistently excellent quality, which helped to create a concert of evident confidence… The young vocal soloist Maximilian Lawrie was on fine form throughout the concert, and his mature tone carried the choir sonorously… The highlight of the programme was however certainly Britten’s 8 Folk Song Arrangements from 1976, which let the two soloists show their technical virtuosity to a new degree. Tenor Lawrie relished his part with masterly technique and control, while Jenny Broome accompanied with elegance. The first, Lord! I married me a wife, was expertly crafted, and the elegiac nature of much of the works was sumptuously performed… the mix of tenor and harp was a brilliant combination that fitted the well chosen programme of music that the sun-blessed Oxford audience enjoyed.”

‘Another great musical highlight of this opera was Maximilian Lawrie as Don José… the musicality and ease with which he performed the demanding role of Don José was extraordinary. The final scene of the opera, in which between Don José and Carmen the drama comes to a spectacular end and love and violence become intertwined (a scene for which stage management deserves proper credit as well), was breathtakingly beautiful and defied all expectations one could possibly have… The semi-amorous dialogue between Don José and Micaëla (Anna-Luise Wagner) was not only extremely beautifully sung by both parties, but also got a rolling laugh from the audience due to a well-timed reference to Don José’s mother… Overall, this production of Carmen guaranteed a great night of musical entertainment of the highest level. The exceptional leading roles were the main attraction, they brought both the music and the story with all its emotional intricacies to life.’

“Maximilian Lawrie sang strongly and displayed an unforced, sweet timbre, with ringing top notes. He gave a truly lovely rendition of Jose’s aria… the final confrontation between Carmen and José showed each singer at their best, connected to their character and to each other.”

“The star of the night, however, was Maximilian Lawrie, who delivers an overwhelming performance in the third and sixth scene. His character does not require many words to express love; repeating the word ‘why?’ for five times grants him a powerful and mystifying effect.”

“He was well-matched in the big, bold and bountifully gifted Maximilian Lawrie (Gerstl). Another singer certain of future success, Gerstl scooped the acting prize (at least on the night I attended). His tenor is as notable for its variety of tone colour as for its luminous quality.”

‘Maximilian Lawrie shines as the title character Albert, his clear discomfort at the enforced, emasculating title of May King building until it manifests in a captivating outburst that exhibits his outstanding voice at its best.’

‘Particularly impressive were Lawrie and Nurse as the choruses, who hold the opera together with their continual narration.’

‘When they switched between the two it was really effective for me, and one moment in which the male chorus (Maximilian Lawrie) whispered Lucretia’s name encouragingly into Tarquinius’ ear, was particularly haunting and beautiful.’

‘Other notable and welcome new additions to the OUGSS pool of talent include: Max Lawrie, whose effortless rendition of Lord Tolloller was a delight to the ears’