Macbeth (2023)

“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!”

Kaspar Sannemann – Zürich: „Macbeth“, Giuseppe Verdi


Euronews – Musica Article & Film (2023)

Read the article by clicking the link below

Andrea Buring – Meet the next generation of Opera singers striving for stage stardom

euronews.culture musica

Jakob Lenz (2022)

“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…”

Elodie Olson-Coons – A haunting Jakob Lenz in Zurich


Gianni Schicchi (2021)

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

Benjamin Poore – Royal Academy Opera 2021 Review: L’heure espagnole/Gianni Schicchi


CD: The Pillar of the Cloud

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

Alexandra Coghlan - The Pillar of the Cloud


Choir & Harp: Choral music with the queen of instruments

“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.”

© Patrick Maxwell - Ensemble: Joyful Combinations

Classical Music Daily, July 3rd 2019

Carmen (2019) for CUOS

‘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.’

Varsity Theatre - Carmen Review

Varsity, March 7th 2019

“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.”

Rosa Price - Review: Carmen

The Cambridge Student, February 22nd 2019

A Sketch of Show Time (2017)

“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.”

Andreas Janssen - REVIEW

Oxford Opening Night, November 3rd 2017

“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.”

Alice McVeigh - A Great Start

Ensemble, November 6th 2017

Albert Herring (2016)

‘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.’

Bessie Yuill - Review

Cherwell, November 12th 2016

The Rape of Lucretia (2016)

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

Leah Broad - Review: The Rape of Lucretia

Oxford Culture Review, March 4th 2016

‘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.’

Yolanda Shamash and Hoagy Cunningham - The Rape of Lucretia - A Joint Review

Oxford Student, March 4th 2016

Iolanthe (2015)

‘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’

Heather Kay - Gilbert and Sullivan’s Iolanthe

Daily Info, March 12th 2015