Andrew Mackenzie-Wicks was luxury casting for the small role of the dancing master in Act 2, but Mackenzie-Wicks filled the role to camp
perfection. (Chelsea Opera Group)
'Andrew Mackenzie-Wicks was explosive yet spry’ Mozart Requiem (San Francisco)
Seeing Maria Stuarda the following day, one wished that the excellent tenor taking the role of Ottavio in Giovanni, Andrew Mackenzie-Wicks,
had been chosen for the tenor role of Leicester in the Donizetti’ (Grange Park Opera)
There’s something wrong with a performance when the most imposing contribution comes from a walk-on part – as happened in Saul, courtesy of Andrew Mackenzie-Wicks’s scene-stealing Witch of Endor.(Buxton Festival)
And Handel's colourful Ode for St Cecilia's Day, set to Dryden's words, produced some fine singing from Kirkby and Mackenzie Wicks whose
clear bright tenor brought out all the drama in Handel's music’. (City of Bath Bach Choir)
......he was replaced by a very good Andrew Mackenzie Wicks (Saul barbican 22nd Nov 2012)
Il Ritorno d'Ulisse (WNO)
the Suitors themselves - Iestyn Davies, Clive Bayley and Andrew
Mackenzie-Wicks - are as fine musically as they are foul dramatically (Independent)
Alcina (ENO)
'Andrew Mackenzie-Wicks sang a mellifluous strikingly intelligent Oronte ' Financial Times
Heartstopping musicality' HughCanning Sunday Times
'Andrew Mackenzie-Wicks is delightful as Oronte' Music OMH.com
'Andrew Mackenzie-Wicks made a musical, verbally incisive Oronte' Rodney Milnes Opera Magazine
'Andrew Mackenzie-Wicks gives a lesson in Handel singing' What's on
'Andrew Mackenzie-Wicks made his mark' Daily Telegraph
Turn of the Screw
“Andrew Mackenzie-Wicks makes Quint both perverse and sexually glamorous.” Tom Sutcliffe. Evening Standard
“...as Quint, Andrew Mackenzie-Wicks gets an authentically eerie edge to the voice. His keening melismas are quite sufficient to scare the wits out of this listener at least.” Nick Kimberley. Independent
Andrew Wicks plays the role less sensuously than Paul Nilon in Cardiff, but he is the more stylish Britten tenor.” Hugh Canning, Sunday Times
“Andrew Mackenzie-Wicks sang the insinuating melismas with sweet, seductive tone.” Rodney Milnes. The Times
Hercules
Andrew Mackenzie-Wicks lavishes a virile, strong-voiced tenor on Hyllus.
Andrew Mackenzie-Wicks was good as Hyllus SundayTelegraph
Stylistically the best performances come from Andrew
Mackenzie-Wicks as their son Hyllus and especially Gillian Keith as Iole Sunday Times
Rake’s Progress
“Andrew Wicks was in good strong voice as the hero.” The Times
“Andrew Mackenzie-Wicks was in perfect voice. His stage presence in a reactive role providing a sturdy centre for the drama.” TheStage
Cenerentola
Andrew Mackenzie-Wicks gave a particularly memorable performance Opera Magazine
The Prince had a lovely musical way with the sentimental lines. Times
Barber of Seville
“The performance was dominated by Andrew Mackenzie-Wicks as Almaviva. He has a real tenor leger voice and he handles it with skill; he put the text across without any apparent effort, and played comedy, never overdoing it. He was especially good as Don Alonso.” Opera Magazine
Cosi fan Tutte
“Andrew Wicks delivered Ferrando’s Un’aura amorosa like an angel.” Independent
“Un’ aura amorosa was both affecting and evenly sung.” Times
Don Giovanni
“Exquisitely musical.” Sunday Times
Magic Flute
“Fine singing from Andrew Wicks, a forthright and sensitively portrayed Tamino.” Opera magazine
Don Pasquale
“Mr Wick’s ringing tenor is the stuff Donizetti ( and other belcanto operas ) is made of. Lyrical with well placed attack and support, an
impeccably controlled tessitura, ardent..” Belfast newsletter
Gondoliers
“Andew Mackenzie-Wicks displayed genuine comic talent as well as singing crisply.” The Times
Other
"Ben Davies (Ubalde) and Andrew Mackenzie-Wicks (Danish Knight) were both exceptional vocally"
Rodney Milnes, Opera Magazine, October 2006
.
Mackenzie-Wicks was surprisingly moving as Phoebus in the seasons masque, but also in great panto-Dame
form as Mopsa,(concertonet.com)
the tenor solo in the Et incarnatus (and was
incarnate of the holy ghost), coming in a heartfelt reading by Andrew
Mackenzie-Wicks, the accompanying oboe melody, winningly expressive
perfection. (Chelsea Opera Group)
'Andrew Mackenzie-Wicks was explosive yet spry’ Mozart Requiem (San Francisco)
Seeing Maria Stuarda the following day, one wished that the excellent tenor taking the role of Ottavio in Giovanni, Andrew Mackenzie-Wicks,
had been chosen for the tenor role of Leicester in the Donizetti’ (Grange Park Opera)
There’s something wrong with a performance when the most imposing contribution comes from a walk-on part – as happened in Saul, courtesy of Andrew Mackenzie-Wicks’s scene-stealing Witch of Endor.(Buxton Festival)
And Handel's colourful Ode for St Cecilia's Day, set to Dryden's words, produced some fine singing from Kirkby and Mackenzie Wicks whose
clear bright tenor brought out all the drama in Handel's music’. (City of Bath Bach Choir)
......he was replaced by a very good Andrew Mackenzie Wicks (Saul barbican 22nd Nov 2012)
Il Ritorno d'Ulisse (WNO)
the Suitors themselves - Iestyn Davies, Clive Bayley and Andrew
Mackenzie-Wicks - are as fine musically as they are foul dramatically (Independent)
Alcina (ENO)
'Andrew Mackenzie-Wicks sang a mellifluous strikingly intelligent Oronte ' Financial Times
Heartstopping musicality' HughCanning Sunday Times
'Andrew Mackenzie-Wicks is delightful as Oronte' Music OMH.com
'Andrew Mackenzie-Wicks made a musical, verbally incisive Oronte' Rodney Milnes Opera Magazine
'Andrew Mackenzie-Wicks gives a lesson in Handel singing' What's on
'Andrew Mackenzie-Wicks made his mark' Daily Telegraph
Turn of the Screw
“Andrew Mackenzie-Wicks makes Quint both perverse and sexually glamorous.” Tom Sutcliffe. Evening Standard
“...as Quint, Andrew Mackenzie-Wicks gets an authentically eerie edge to the voice. His keening melismas are quite sufficient to scare the wits out of this listener at least.” Nick Kimberley. Independent
Andrew Wicks plays the role less sensuously than Paul Nilon in Cardiff, but he is the more stylish Britten tenor.” Hugh Canning, Sunday Times
“Andrew Mackenzie-Wicks sang the insinuating melismas with sweet, seductive tone.” Rodney Milnes. The Times
Hercules
Andrew Mackenzie-Wicks lavishes a virile, strong-voiced tenor on Hyllus.
Andrew Mackenzie-Wicks was good as Hyllus SundayTelegraph
Stylistically the best performances come from Andrew
Mackenzie-Wicks as their son Hyllus and especially Gillian Keith as Iole Sunday Times
Rake’s Progress
“Andrew Wicks was in good strong voice as the hero.” The Times
“Andrew Mackenzie-Wicks was in perfect voice. His stage presence in a reactive role providing a sturdy centre for the drama.” TheStage
Cenerentola
Andrew Mackenzie-Wicks gave a particularly memorable performance Opera Magazine
The Prince had a lovely musical way with the sentimental lines. Times
Barber of Seville
“The performance was dominated by Andrew Mackenzie-Wicks as Almaviva. He has a real tenor leger voice and he handles it with skill; he put the text across without any apparent effort, and played comedy, never overdoing it. He was especially good as Don Alonso.” Opera Magazine
Cosi fan Tutte
“Andrew Wicks delivered Ferrando’s Un’aura amorosa like an angel.” Independent
“Un’ aura amorosa was both affecting and evenly sung.” Times
Don Giovanni
“Exquisitely musical.” Sunday Times
Magic Flute
“Fine singing from Andrew Wicks, a forthright and sensitively portrayed Tamino.” Opera magazine
Don Pasquale
“Mr Wick’s ringing tenor is the stuff Donizetti ( and other belcanto operas ) is made of. Lyrical with well placed attack and support, an
impeccably controlled tessitura, ardent..” Belfast newsletter
Gondoliers
“Andew Mackenzie-Wicks displayed genuine comic talent as well as singing crisply.” The Times
Other
"Ben Davies (Ubalde) and Andrew Mackenzie-Wicks (Danish Knight) were both exceptional vocally"
Rodney Milnes, Opera Magazine, October 2006
.
Mackenzie-Wicks was surprisingly moving as Phoebus in the seasons masque, but also in great panto-Dame
form as Mopsa,(concertonet.com)
the tenor solo in the Et incarnatus (and was
incarnate of the holy ghost), coming in a heartfelt reading by Andrew
Mackenzie-Wicks, the accompanying oboe melody, winningly expressive