Turiddu (Cavalleria Rusticana) - Boston Lyric Opera

Jeffrey Gantz, Boston Globe

‘The singing is fine, in particular from Diegel and Arrey, big and easy and fully in character’

Turiddu (Cavalleria Rusticana) - Boston Lyric Opera

Laura Stanfield Prichard, classical-scene.com

“Tenor Adam Diegel began subtly with Turiddu’s “offstage” siciliana, here performed from the center of the darkened upstage orchestra, facing conductor a well-lighted David Angus at far stage left. His interpretation of the central bad boy (dressed in royal blue) started quietly but gained force and momentum after the powerful church scene and first two duets. His bright, ringing tone worthily partnered local favorite Michelle Johnson (a Grand Prize Winner of the Metropolitan Opera National Council Auditions), whose Santuzza (in bright yellow) dominated every duet she sang. While Johnson sang at her best works of the evening,“And I loved him” and “I am damned” laments, Diegel finally grabbed the spotlight during his drinking song, although he chose to interpret the piece as a series of very short, separated phrases, giving it a breathless, sectional lightness.“

Pinkerton (Madame Butterfly) - Lithuanian National Opera

Polina Lyapustina, operawire.com

Adam Diegel is one of the most experienced Pinkertons in the US. And what I noticed first about him was not his bright and shimmering lyric tenor (which was just perfect for Pinkerton), but how good his tall and young he looked alongside the tiny Sandra Janušaitė, who was looking up to him. It made for a convincing dynamic in the opera. The tenor dominated in the first act, his high notes ringing clearly and strongly. He seemed to know all the pitfalls to avoid and definitely sounded too good for his supporters, waiting for his bride to come. His rendition was so involved in love duet, framing his little Butterfly in his arms, changing so naturally from a man in love to a playboy and back. His interpretation of “Addio, fiorito asil” was just perfect. With flowers in shaking hands, he sang it with all his heart. His legatos were powerful and clean. That was a rare performance of this aria when we could see Pinkerton not only regret his actions deeply, but realize how weak and unworthy he is in his life.

Froh (Das Rheingold) - The Metropolitan Opera

John Sherer, hypoallergenic.com

Particularly outstanding vocals were delivered by Jamie Barton (Fricka) and Adam Diegel (Froh)

Froh (Das Rheingold) - The Metropolitan Opera

Anthony Tommasini, nytimes.com

Adam Diegel and Michael Todd Simpson, as the gods Froh and Donner....the three Rhinemaidens: All sang strongly

Froh (Das Rheingold) - The Metropolitan Opera

Eric C. Simpson, newyorkclassicalreview.com

Adam Diegel’s heroic, ringing tenor and martial bearing made him an ideal Froh

La Bohème (Rodolfo) - Piedmont Opera

Peter Perret, CVNC.org

Her lover, the poet Rodolfo, was sung by tenor Adam Diegel, whose clear voice was well matched to Mimi’s. His first act aria, "Che gelida manina," was superb, as was the duet with Mimi in the third act....

Carmen (Don Jose) - Mill City Summer Opera

Rob Hubbard, Twincities.com

Adam Diegel lent his rich Italianate tenor to a transfixing duet with her and made a second-act aria of desperate love deeply involving

Tenor ( Verdi Requiem) - Spokane Symphony

Larry Lapidus, Spokesman.com

"The most famous solo part in Verdi’s Requiem is the “Ingemisco,” assigned to the tenor, and here, and throughout the work, Diegel’s strength and purity of his singing, as, seemingly without effort, he produced a flood of golden tone"

Carmen (Don Jose) - PortOpera

Christopher Hyde, MaineClassicalBeat.com

Tenor Adam Diegel, as Don José, has just the right mixture of passion and conventionality as the deeply divided anti-hero.

Carmen (Don Jose) - San Francicso Opera

Janos Gereben, San Francisco Classical Voice

Diegel sang Don José’s customarily lyrical moments with some of the same ardor and edge he showed during his confrontations with Carmen, Zuniga, and Escamillo. Making his local debut, Diegel showed much promise for a wider range of roles.

Carmen (Don Jose) - San Francicso Opera

Joshua Kosman, San Francicso Chronicle

Adam Diegel’s turn on Saturday showed promise, particularly during the spotlight confrontational moments and the “Flower Song” of Act 2

Carmen (Don Jose) - Arizona Opera

Kincaid Rabb, The Daily Wildcat

Adam Diegel’s performance as Don José, the soldier who falls in love with Carmen, was captivating and deeply conflicted between the allure of his lover and the responsibility of his station. Diegel’s portrayal of Don José profoundly developed and progressed with the character when he is both loved and betrayed by Carmen, giving a transcendent quality to the development of the character.

Carmen (Don Jose) - Arizona Opera

Maria Nockin, OperaToday.com

Adam Diegel was a rough-edged and dramatic Don José whose burnished, virile sound rang free throughout the auditorium. He delivered his lines with dramatic conviction and his acting conveyed considerable emotional impact. - See more at: http://www.operatoday.com/content/2016/02/arizona_opera_p.php#sthash.P1wX537l.dpuf

Pinkerton (Madame Butterfly) - Opera San Antonio

Jasmina Wellinghoff, San Antonio Arts

While everyone loves Butterfly, the role of Pinkerton, the caddish American Navy officer who sees the world as his oyster, is more difficult to pull off because the character is so unappealing. He is meant to represent the American attitude toward other cultures at that time, disrespectful, condescending and utterly self-centered and Diegal portrays him convincingly and has a great tenor voice.

Pinkerton (Madame Butterfly) - Opera San Antonio

David Hendricks, San Antonio Express News

Tenor Adam Diegel had the difficult task of trying to show character growth in Act III from the boastful jerk that Lieutenant Pinkerton seems to be in the first act. Diegel was convincing in his remorse, though, his voice sturdy and assured.

Tosca (Cavaradossi) - PortOpera

Allan Kozinn, Port Press Herald

But once the score got underway in earnest – with Cavaradossi’s first big aria, “Recondita armonia,” about his love for Tosca – the performance began to fall into place. Diegel nailed that aria in a reading that made short work of its technical challenges (most notably its climactic high B-flat) and provided a quick overview of Cavaradossi’s emotional makeup. From there, Diegel’s portrayal took flight. His exchanges with Angelotti and Scarpia were believably heroic, and his last big aria, “E lucevan le stelle,” sung when he knows he is about to die, was as wrenching an account (complete with a Caruso-esque “tear” in the final bars) as you’ll hear

Pinkerton (Madame Butterfly) - Perth International Arts Festival

Humprey Bower, Daily Review

American tenor Adam Diegel was a more than adequate foil as the insouciant Pinkerton, with a huge voice and height to match, looming over his child-bride; but also capable of vocal and physical tenderness, which only added to the tragedy

Pinkerton (Madame Butterfly) - Atlanta Opera

Stephanie Adrian, Opera News

Adam Diegel, his Pinkerton, deployed a penetrating, highly-placed tenor voice that was riveting to hear.

Nabucco (Ismaele) - Opera Philadelphia

Gale Martin, Bachtrack.com

However, the male voice that most intrigued me belonged to tenor Adam Diegel who sang the role of Ismaele, the secret love of an Assyrian princess. He had power, he had ping, and I would surely love to see him in a bigger role like Cavaradossi or Don José very, very soon.

Nabucco (Ismaele) - Opera Philadelphia

David Patrick Stearns, Inquirer Music Critic (philly.com)

"The best singer onstage was tenor Adam Diegel as Ismaele; too bad his role was relatively brief"

Nabucco (Ismaele) - Opera Phildelphia

Lewis Whittingham, concertonet.com

"Fluid tenor Adam Diegel turns in a robust performance as the valiant Ismaele"

Madame San Gene - Festival de Radio France et Montpellier

Victoria Okada, redmusica.com

"It should first of all mention the magnificent performance of Adam Diegel in Lefebvre, through a broad and powerful voice (in the first act, only his voice was fully audible above the orchestra), comfortable in all tessitura, and with a compelling sense of drama"

Madame San Gene - Festival de Radio France et Montpellier

Yvan Beuvard, forumopera.com

Adam Diegel beautifully embodies Lefebvre. Upon the first act, we know that the American tenor will be one of the revelations of this production. The show always seems easy, perfectly controlled, generous without apparent effort. The timbre is rich and vocal line a model of its kind" - Translated from the French tex

Carmen - Handa Opera on Sydney Harbour (Opera Australia)

Irina Dunn, thetelegraph.com.au

"American tenor Adam Diegel's portrayal of the rejected Don Jose was intensely powerful"

Carmen - English National Opera

Fiona Maddocks, theguardian.com

The American Adam Diegel as José, tall and sturdy, looked the part of Carmen's latest love victim and conveyed perfectly the pent-up anger of a feckless man who – we know from the original Merimée novel, but not the libretto – has already committed a murder.....Diegel rose to the challenges of Acts III and IV.

Carmen - English National Opera

William Hartson

This part was excellently sung by Adam Diegel, but only in the final act, when he and Carmen are alone on stage, unhampered by randy soldiers or posturing pimps, are the two leading roles free to dominate the action as they should. And they do it wonderfully

Madama Butterfly - Arizona Opera

Donald J. Behnke, Green Valley News

"Adam Diegel, in his Arizona Opera debut, was an exception. His youthful, powerful Pinkerton was outstanding with a tenor strength and quality to fill the house with those beautiful, memorable Puccini melodies."

Madama Butterfly - Arizona Opera

Christian Dalzon, concerto.net

"Opposite Shu-Ying Li is tenor Adam Diegel. His clarion, lyric voice has a sparkling timbre and the portrayal of the thoughtless American officer meets the expectations of the part. He sings the Act 1 love duet with sincerity and commitment. One of the best musical moments of the evening."

Carmen - Glimmerglass Opera

Gale Martin, Bachtrack.com

As the man she torments, Don José, tenor Adam Diegel grows in the character with each succeeding act.....by the final act his singing soars as his jealousy rages

Fred Cohn, Opera News

"In the first two acts, Adam Diegel was a stolid Don José, but he brought a passionate demeanor to the final duet; here, too, his tenor acquired a new measure of forward thrust."


Adam Diegel, a towering, solid man, sings the role with extreme gusto. His piercingly smooth voice fills the Alice Busch Opera Theater. Pacing himself rather well in this tiring role, he gives a riveting performance"

David Abrams, Musicalcritism.com

Diegel’s voice had power to spare throughout...hitting his high notes solidly and with panache

Nabucco - Palm Beach Opera

Rex Hearn, Palm Beach Arts Paper

"American tenor Adam Diegel sang Ismaele, who fallls in love with Fenena and converts her to Judaism. Here again was a strong, heroic, powerful tenor; it’s a shame Verdi didn’t write more for Ismaele to sing. Diegel’s lyric sound is a delight to hear."

David Fleshler, South Florida Classical Review

"The gleaming, virile tenor of Adam Diegel was a highlight of the evening. Diegel, who gave a strong performance as Don José in last season’s Florida Grand Opera production of Carmen, appeared this season as Froh in the Metropolitan Opera’s new production of Das Rheingold. As Ismaele, the member of the Hebrew royal family who betrays his people for love, he brought an intense, muscular voice to his initial duet with Abigaille. Diegel also allowed an effective edge of desperation to creep into his singing as he pleaded with the Hebrews for forgiveness."

Madama Butterfly - Kentucky Opera

Charles H. Parson, Opera News

“Here too was a Pinkerton (Adam Diegel) as innocent as Butterfly, not callous at all, an enthusiastic young puppy. When Butterfly revealed that she was but fifteen, Pinkerton registered surprise, if not shock. New as well was Pinkerton's extreme deference to Sharpless, even if he did not heed the older man's warnings.....While the acting was subtly played, the singing was grand when needed, gently restrained as necessary. (Yunah) Lee and Diegel matched each other note for note, phrase for phrase, both voices mounting and combining in silver-toned ecstasy."

Das Rheingold - The Metropolitan Opera

Fred Cohn, Opera News

Adam Diegel was a spry, appealing Froh

Tosca - Glimmerglass Opera

Joanne Sydney Lessner, Opera News

"The opera became a showdown between Adam Diegel's impulsive, shaggily handsome Cavaradossi and Lester Lynch's fearsome, animalistic Scarpia...(Diegel's) spacious, Italianate tenor...he delivered a stirring "Recondita armonia" and built "E lucevan le stelle" masterfully from hushed intimacy to an unfettered cri de coeur"

Carmen - Florida Grand Opera

Greg Stepanich, Palm Beach Arts Paper

Tenor Adam Diegel was a very fine Don‭ ‬José,‭ ‬with a strong,‭ ‬cutting voice that rang out from the first notes and never let him down after that.‭ ‬His‭ ‬Flower Song was passionate and vivid,‭ ‬and he made the most of his climactic exclamation in that great aria‭ ‬- Te revoir,‭ ‬ô‭ ‬Carmen‭ ‬- showing us the vulnerable,‭ ‬ardent side of this tortured character.‭ ‬He acted well,‭ ‬too,‭ ‬doing nice work in a stylized knife fight with Escamillo and acting properly desperate in his final meeting with Carmen

Marilyn Freundlich, Miami Herald

"The role of Don Jose can be a thankless one, elbowed out of the way dramatically by Escamillo and vocally by Carmen. But the tenor Adam Diegel sang the part with such intensity that he gave the role a stature it rarely achieves on stage. Singing with a rapid but tight vibrato that maintained a firm tonal focus, he was particularly strong in his duet with Alvarez, in which he sang of his memories of home, and in La fleur que tu m'avais jetée, where he sings of Carmen's hold over him."

Bill Hirschman, Sun Sentinel

"When Adam Diegel's Don Jose croons that the flower Carmen gave him sustained him during his imprisonment, the words may be melodramatic but Diegel invests them with a passion that slices into the soul."

Robert Carreras, Opera News

"Adam Diegel, offered crisply articulated French and true dramatic-tenor thrust as Don José. His flower song set the stage for José's full submission to Carmen's fatal charms"

La bohème - Minnesota Opera

Becca Mitchell, Twin Cities Daily Planet

"Tenor Diegel exquisitely controls tender moments, but also displays a powerful voice in moments of passion."

Carmen - Madison Opera

John W. Barker, Madison Isthmus

"Adam Diegel is a lyric tenor of strength and clarity: he ably shows the evolution of Don José's jealous nature."

La bohème - Opera Omaha

Omaha World Herald

"Adam Diegel (Rodolfo) sang with beautiful Italian diction, flawless intonation and a creamy lyric tenor."