"Ben Kerslake’s Alfredo was ardently convincing . . . he produced splendid singing for the Brindisi and for the rest of the performance. He looks the part too and was particularly impressive during the card game." Review of La Traviata by Verdi for Seen and Heard International (July 2010) by Bill Kenny
"Ben Kerslake had real leading-man charisma." Review of The Pearl Fishers by Bizet for The Tamworth Herald (May 2010)
"Ben Kerslake took the Domine Deus head on, the clear voice ringing out thrillingly in the style of a true Italian tenor, in a performance which Rossini himself would surely have applauded." Review of Petite Messe Solennelle by Rossini for The Perthshire Advertiser (March 2010) by Sigurd Scott
"Ben Kerslake as Nadir delivered a finely-tuned friendship duet (the famous one)." Review of The Pearl Fishers by Bizet for South Wales Argus (February 2010) by Nigel Jarrett
"[Ben Kerslake is] a singer that is not only completely reliable and professional but also really adds something to the atmosphere at anthems time with his own individual style and performance." Roddy Scott from Red Sky at Night Limited (November 2009)
"Ben Kerslake, tenor, whose ringing tones made the most of Haydn's melodies." Review of Handel's The Creation for Strathearn Herald & Perthshire Advertiser (March 2009)
"Ben Kerslake as their supporter Don Basilio, the slimy, foppish music-master, reveals a wonderfully resonant tenor voice." Review of The Marriage of Figaro for Radio Woodbridge (July 2008)
“His winning combination of easy charm and sure feel for the Englishness required in his tone (despite being an Aussie) make Ben Kerslake an ideal Hugh. His top notes are nicely in place and he boasts sure-fire diction, but he can also call on a gentler lyricism, as when lamenting his fate in the stocks.” Review of Hugh the Drover for Opera (December 2007) andYork Press (October 2007) by Martin Dreyer
"Having also duetted stylishly with the baritone in Bizet's 'Pearl Fishers' duet, he [Ben Kerslake] came into his own in a big aria from act two of Verdi's 'La Traviata,' despatching the concluding cabaletta with all the machismo it requires." Review of 'Opera Gala' by Geoffrey Kinder in the Wharfedale Observer (3 May 2007)
“The key part of Rodolfo is sung by Ben Kerslake, an Australian tenor with a voice that rings through the high notes seemingly without effort . . . with beautiful responses from Rodolfo. His despairing last cry is from the heart of a changed man.” Review of La Bohème at the Chipping Norton Theatre (May 2004) by George Hummer
“ . . . splendid singing and characterisations of tenor Ben Kerslake as the King.” Review of The Burning Fiery Furnace for The Australian (May 2002) by Vincent Plush
“Ben Kerslake’s tenor had good quality and expressed the distance and ambivalence of his role.” Review of Going Into Shadows in Opera-Opera (November 2001) by Patricia Kelly
