“Jochanaan was luxuriously sung by Swedish baritone Peter Mattei, and his unique, resin-like sound was ideal for his pronouncements and curses. His presence, too, is gigantic.” Salome/Metropolitan Opera 2025
Robert Levine/Bachtrack - 04 May 2025
“Peter Mattei, in luxury casting as the prophet, embodies purity and divine connection with his glowing white form as he sings of his spiritual desires and destiny.” Salome/Metropolitan Opera 2025
Susan Hall /SlippedDisc - April 30, 2025
“Peter Mattei thundered as Jochanaan, sight unseen. Placing him in the pit, rather than amplification, created the volume and force. Mattei’s Jochanaan was cadaverously thin and ashen white as the fearsome and fearless prophet who berates Herodius and bewitches her daughter. It’s a one-dimensional role to which Mattei brings his characteristic nuance as a singer and actor.” Salome/Metropolitan Opera 2025
Rick Perdian/New York Classical Review - Wed Apr 30, 2025
"In the role of Starbuck, baritone Peter Mattei was in splendid form, vocally and dramatically, offering a convincing and melodiously voiced portrayal of the pragmatic and religious first mate who represents the voice of reason as he attempts to keep his captain’s maniacal obsession in check. The penultimate scene, where Ahab reveals his vulnerability to Starbuck and they together recall their homes, families and shared regrets, was the most moving in the whole opera." - Moby-Dick/Metropolitan Opera 2025
Susan Stempleski/Bachtrack - March 12, 2025
"With confident diction and a velvety, refined baritone voice, with flawless timing in facial expressions and gestures, his interpretation of the Count's aria was the captivating highlight of the evening." Le nozze di Figaro/ Bayerische Staatsoper 2025
Phillip Richter/Bachtrack - January 21, 2025
“Baritone Peter Mattei, in his role debut as Wozzeck, sang every note with ravishing tone and a Lieder expert’s sense of proportion.” – Wozzeck/Metropolitan Opera
James Jorden/Observer - December 30 2019
“In the title role, Mattei had a vocal magnitude that gave Wozzeck tragic stature that’s hard to come by in a character who is a psychological time bomb.” - Wozzeck/Metropolitan Opera
David Patrick Stearns/The Philadelphia Inquirer – December 28 2019
“Peter Mattei can seemingly thrive in just about any lead role, and his Giovanni is one of his best creations—charismatic and repulsive, energetic and pathetic. His rich, firm baritone can tackle the dynamic thrill of the champagne aria, but sounds just as at home in the seductive melody of “Deh vieni a la finestra,” with a legato voice like molten chocolate. Even the recitatives come to life in Mattei’s performance, as he gives them color and precise intention. He is a treasure onstage, no matter what he’s singing.”
Eric C. Simpson/New York Classical review – April 05 2019
“Surely the centerpiece of this performance, though, is Peter Mattei as the tormented Grail King Amfortas. It is this character’s moral failing (and his subsequent tortured and unending remorse) that drives this story, and, strangely enough, the sheer sensual beauty of Mattei’s baritone made the tragedy almost unbearably touching. Even his wildest screams of pain never turned ugly, communicating the insight that even the most abased of creatures is still human, still cherishable.
Mattei’s performance, one of the strongest I’ve ever seen in the theater…” Amfortas/Parsifal/Metroplitan Opera
James Jorden/Observer – June 02 2018
“Mattei must be a contender for the most beautiful baritone voice. His is such a handsome, noble sound, with honeyed delivery of long phrases. His Onegin is arrogant and thoughtless; when he pulls up a chair before delivering his rejection to Tatyana, it is not for her, but for him to rest his coat upon.” – Eugen Onegin/National Opéra de Paris
Mark Pullinger/Backtrack - May 17 2017
"Finally, we can only bow to Peter Mattei’s Šiškov, a poignant and extraordinary performer full of musicality. His story in the last act, led by a virile, powerful and large voice, is tense and captivating from beginning to end. – Šiškov/From the House of the Dead/National Opéra de Paris"
Par Laurent Amourette/Classic Agenda - November 21 2017
"Och när Peter Mattei i rollen som den olycklige Shishkov sjunger sin 20 minuter långa och dramatiska monolog i slutet av föreställningen – i dialog med Janaceks suggestiva musik - då kan jag inte låta bli att tänka på konstens kraft. Ett sådant vitalt och välljudande konstnärligt samarbete som det som serverades på La Scala i går kväll är verkligen något att glädjas åt." Janacek From the house of the dead Teatro alla Scala 2010
Kerstin Berggren, SR Kulturnytt den 1 mars 2010
“The rich beauty of Mattei’s baritone was audible right from the start of “Gute Nacht,” booming out with an instrument of burgundy color and full body, but also smooth and flexible, with the slightest hint of smoke. On the last verse he flashed a pianissimo without losing any of his tone or focus. Mattei is the rare singer who has both a rich, burning chest voice and a vibrant top, and is able to achieve a full range of dynamic expression and color on every note in between.” – Winterreise/Carnegie Hall
New York Classical review/Eric C. Simpson – February 01 2002
