"Ben Kerslake . . . showed why the tenor voice is so exciting in 'La donna e mobile' from Rigoletto: ringing tone, swagger and with Verdi a tremendous tune. And so it was with 'Celeste Aida' and his part in the extended excerpts from La Traviata. All earned unstinting applause." Review of 'An Evening with Verdi' Perth Concert Hall for the Perth Advertiser by Ian Stuart-Hunter (December 2018)
"The first and most striking was the tenor, Ben Kerslake, in the heroically ringing Domine Deus. If you have the notes flaunt them!" Review of Petite Messe Solenelle for the Perth Advertiser by Ian Stuart-Hunter (March 2016)
 
"The entire performance was well paced with an electrifying, yet menacing energy, the simple set was well utilised and added to the initial feelings of loss and regret from the main character, played sympathetically by Ben Kerslake." Review of Faust Buxton Opera House (March 2015)
 
"Ben Kerslake played Don Jose with great passion, and was especially effective in his Act 2 Flower song." Review of Carmen for South West Shows (July 2011) by Philip R Buttall
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"Ben Kerslake was charming and amusing in equal measure with his Dickie Bird duet providing the highlight of the evening. Well judged and expertly performed, Kerslake treated the audience to some buttery and beautifully delivered tenor singing." Review of
​ "An Evening of Gilbert & Sullivan" for Newsquest Media Group (St Alban's & Harpenden Review) (Janurary 2011) by Fleur Wright
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"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
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"Ben Kerslake had real leading-man charisma." Review of The Pearl Fishers by Bizet for The Tamworth Herald (May 2010)
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"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
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"[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 forStrathearn 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 Furnacefor 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

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