in Luca Francesconi's Quartett
"Kristin Chavez and Leigh Melrose give terrifically committed and skillful performances"
Rupert Christiansen The Telegraph, 19 June 2014
"It's not a joyous show, then, but in John Fulljames's intense production I found it engrossing, especially the interaction between two brilliant singer-actors: Kirstin Chavez as the dishevelled but still competitive Merteuil; Leigh Melrose, out-sneering even John Malkovich (if such is possible) as a posturing, sardonic Valmont who has clearly crossed into insanity and a nihilism born of an inability to love the one person who understands him."
Richard Morrison The Times, 19 June 2014
"The intensity of the performances by Kirstin Chavez and Leigh Melrose - claustrophobic, heady, unfiltered - depict a pair who are intimate enough to openly parade their most deplorable features. Melrose in particular enters the role with abandon and sings with great stamina."
Edward Bhesania The Stage, 19 June 2014
in Birtwistle's Gawain and the Green Knight with the BBCSO at the Barbican
"with Leigh Melrose incandescent in the title role..."
Anna Picard The Times, 19 May 2014
"Leigh Melrose was Gawain, charting his character's personal journey from cocksure innocence to pained experience very surely"
Andrew Clements The Guardian, 18 May 2014
"In a role he created John Tomlinson remains utterly peerless, but was matched by new-to-the-title-role Leigh Melrose, with just the right amount of bravado to start and emotionally shattered to end."
Nick Breckenfield classicalsource.com, 17 May 2014
A new production directed by Carrie Cracknell and conducted by Edward Gardner
"Musically, it's astonishing. Melrose, giving the performance of a lifetime, charts Wozzeck's disintegration with unflinching veracity and an extraordinary expressive range that veers from lyrical intensity to snarl or eerie falsetto"
Tim Ashley, The Guardian, May 2013
"It's hard watching Leigh Melrose as Wozzeck, a broken man shuffling from one abuse to another, fixated only on providing for Marie and his son in troubled times. That's the other thing this opera is about - poverty and what it does to people. And the way Melrose conveys the hopelessness of uncontrollable torment through the huge dynamic range of his vocal performance is both thrilling and deeply upsetting. It may be the performance of his life."
Edward Seckerson, The Arts Desk, May 2013
"But Leigh Melrose has done nothing better than this Wozzeck, never overplaying his doltishness and singing throughout with clarity and musicality"
Rupert Christiansen, The Telegraph, May 2013
Tim Ashley, The Guardian
22 November 2012
English National Opera
"Leigh Melrose brings a striking, venal energy as Escamillo"
Richard Morrison The Times, 23 November 2012
"Leigh Melrose, at first resembling Ol' Blue Eyes in suit and hat then transforming into a macho bullfighter, was secure as Escamillo"
Fiona Maddocks, The Observer 25 November 2012
"Leigh Melrose ist mit metallischer baritonaler Energie und zunehmend strapazierfahigem Kern in der Stimme ein exzellenter Wozzeck"
Salzburger Nachrichten, May 2012
"Leigh Melrose als Sanger ist ein stimmlich strahlender durchschlagkraftiger Wozzek, als Darsteller ist er ein bemitleidenswerter und doch von Wurde und Lebenswillen erfullter Ecce Homo."
DrehPunktKultur, May 2012
Salzburg May-June 2012