Carmen review – throws his energy into the role of José
Tenor Roger Paterson throws his energy into the role of José … it’s a full-on sound experience, with plenty to enjoy.
Carmen review – a convincing embodiment
Reduced to its central doomed trio of Carmen, Jose and Escamillio, Mary Franklin‘s translocation from 1820 Seville to 2019 London works wonders. Nothing is lost, everything is transformed… [Paterson’s] Jose is a convincing embodiment of manipulative and abusive partners – whiny, angry, defeated, pleading, violent.
La Bohème review – compelling, powerful and relevant
Paterson’s Ralph is exhilarated, raw and on the side of a savior complex in need of therapy, while Isherwood’s Mark is grandiloquent in his pain and manichean in his opinions. Both bounce off of each other with credibility, efficiency and grinding humour.
Opera in the City Festival Double Bill, Mozart and Salieri – Bridewell Theatre, London
Nick Dwyer’s soothing tones, a rich and deep voice that washes smoothly around this former swimming pool’s walls. As Mozart, his friend and target, Roger Paterson is a chipper and energetic fellow – providing clear colour and bounce to the music.
Review of Tosca at the King’s Head Theatre
…the vocal masterclass here is given by Paterson’s Cavaradossi. Paterson’s tone is rich and warm, full of loving tenderness without compromising in power or timbre. He pitches the perfect amount of vibrato to add depth to his vocal and still keep control of the melody. It’s an assured performance that is often only found after many years of practice or, in very rare cases, by individuals with a purely natural talent for mastering the profundities of the discipline. Paterson is a very special singer indeed.