Camille Saint-Saëns: The yellow prince/ss
(The Liszt Academy of Music, 2015)

“From the outset of his career, this talented artist has played the borderline of a lyrical and character tenor, he gives his all and his best when bringing to life failed and/or flawed characters due to their infirmities – and now less than a month after playing Tom Rakewell in The Rake’s Progress, he is luxuriating in a role seemingly made just for him.  He brings to life Kornélis’ passion that grows into intoxication without extremes, but with almost frightening authenticity.”
Gábor Bóka

“Instead of the traditional opium and eastern elixirs, Péter Balczó simply walked onto the stage and shot himself with heroin: this unorthodox opera retains its strength to the end, this is no small role in shaping the great acting of Balczó” . . . “Péter Balczó excelled in his role of Kornélis, his singing was at once sensitive, confident and thoughtful.” 
Máté Csabai

Gaetano Donizetti: L'elisir d'amore
(Erkel Theatre, 2014)

"For this it was essential to have a surging voice and flowing spirited tenor that was delivered in the person of Peter Balczo. What I like in his performance is that he dares to be determined in harmony with his role of an uncertain, helpless peasant, but without falling into the tenor’s own morbidity. He doesn’t want to be like every off the cuff, irresistible, macho personality. It’s played, so that by the end of the performance you are really in love…”
Bóta Gábor

Giuseppe Verdi: Falstaff
(Hungarian State Opera, 2013)

“The Opera management was nearly put in the insane asylum, precisely during the final rehearsal, with an incapacitated Peter Balczo in the supporting role of Fenton, but owing to the singer’s vocal and musical abilities, and despite a plastered foot, he finished out the evening elevating his character to a major player – not undeservedly.”
Görömbey G. Szilárd
Verdi: Traviata
(Hungarian State Opera, 2013)

“The Russian soprano’s partner was Péter Balczó who played again his successful role. His physical and vocal skills are ideal for this role, the interpretation of the melancholic and longing young man as well as of the offended, furious lover are both authentic.”
Károly Fülöp


Giacomo Puccini: Madama Butterfly
(Csokonai Theatre of Debrecen, 2012)

“….and we also have the tenor, Péter Balczó. The dimensions of the theatre in Debrecen are ideal for his skills, and he provides us with the most powerful musical impression of the performance, to tell the truth a bit grossly: normally one can’t hear such a good tenor in Debrecen. Probably it’s not a question of voice but the natural way of singing, there’s no trace of the mannered, obsolete opera singing style, Péter Balczó doesn’t want to expose his voice, he does not sing because his task is to sing, but because in this way the expression is natural, dynamic and appropriate.”
Miklós Fáy


Giacomo Puccini: La bohème
(Csokonai Theatre of Debrecen, 2012)

“...Peter Balczó's 'Poet' is close to perfection. His Italian-style tenor is naturally blooming, his singing is classy, his acting skills are rapidly evolving. The way his solitary figure remains all alone on stage makes the end truly heartbreaking...”


Gounod: Roméo et Juliette
(Slovene National Theatre Maribor, 2011)

‘...Peter Balczo risked a lot when he accepted this role, but let me add immediately that he exceeded my expectations and truly conquered the stage. His voice has matured and intensified a lot in the past 2 years and he has now proven that he will be capable of singing the most important roles in the future...’
Balázs Csák


Ruggero Leoncavallo: Pagliacci
(Miskolc National Theatre, 2011)

‘...Peter Balczo delivers his excellent Beppe Arlecchino serenade with a Mozartian delicacy, not to mention that his characteristic stage presence and singing make his performance extremely authentic all the way...’
Gábor Bóka


Giuseppe Verdi: Traviata
(Szeged National Theatre, 2010)

‘...Peter Balczo, who debuted as Alfredo, deserved the second place, especially since he improved tremendously since last year. At last, a lyrical tenor who is not enamoured of his own voice and is phrasing intelligently and musically...’
Zsolt Hollósi

‘...He proved in the Finals that not only can he deliver exceedingly well the aria, but he can also perform the role in a very high standard. This role suits him a lot and he presented the audience with many a great moment. He sang Alfredo’s rarely performed and quite difficult cabaletta (O mio rimorso), with a high C at the end of it. The young Hungarian tenor gave a memorable acting performance as well; his scene with Violetta in act II was one of the true highlights of the show. It is safe to assume that Peter Balczo is a promising member of the young opera generation of today and we should consider him as a serious singer in the future...’
Balázs Csák
‘...The greatest surprise of all is Peter Balczo’s Alfredo. At last, here’s a tenor, who, in spite of being a little shorter than usual, is not obese and is capable of performing the gymnastics asked for by the director AND singing at the same time. And how does he sing! It is almost unnoticeable when he draws a breath, he’s phrasing elegantly and he uses all the range of the dynamic scale. And he does all that with perfect consistency and blazing....’
Lajos Heiner

‘...Peter Balczo also gave an excellent performance, his Alfredo came off as a modern young man and, thanks to his slightly theatrical stage presence, he presented the said aria of act II with a confident phrasing...’
Ferenc László


Imre Kálmán: The Csárdás Princess
(Szeged National Theatre, 2010)

‘...Saturday’s show was more powerful, thanks to the performers. Peter Balczo as Edwin was a real romantic lead at last, he sang passionately and with ease...’
Zsolt Hollósi

‘....Peter Balczo as Edwin: great voice, great presence. His ’with or without you’ relationship with the female lead was passionate without unnecessary affectedness...’
Tamás Jászay


Ferenc Lehár: The Land of Smiles
(Miskolc National Theatre, 2010)

‘....Peter Balczo followed every thought of Sou-Chong faithfully, but in a way that he managed to keep the necessarily stiff and reserved mask of the protagonist and also could let the situations tell the story themselves. He puts a tremendous amount of energy into this stiffness, which, in this way, becomes breezy and consistent and persists throughout the songs that Balczo delivers clearly, accurately and, most importantly, beautifully...’ ‘… the interesting music of Lehar shines through the orchestra in the same way as Balczo’s performance and the story itself…'
István Ugrai


M. Ravel: L’Heure Espagnole  / B. Martinů: Alexandre bis
Theater Biel Solothurn, Switzerland, 2009)

’…Oscar, the bicycle instructor played by Peter Balczo is yet a very skilful sketch, but he manages to elevate his Gonzalve, a lover completely conceited by his own genius, to be the true protagonist of the performance…’
Tamás Jászay

’…Peter Balczo, who enjoys wide national popularity in Hungary as the member of the operatic trio, Adagio, is set up very convincingly as the poetic lover (Oscar / Gonzalve). The tenor of the theatre of Debrecen is mainly performing character roles nowadays, but his vocal abilities make him perfectly suited to perform Mozart’s characters as well…’
László Nagy Péterfi

’…Peter Balczo impersonates two very similar characters in the operas, but Ravel’s work gives him more space to develop it. Gonzalve, the rhymester, is a character with great potential in it, which can only be realized to its fullest by someone with a comic vein. Balczo managed to do just that; his exaggerated, parodic gestures and his look filled with obtuseness, foolishness and suspicion are among the most memorable moments of the evening. Oscar, the tenor character in Alexandre bis is a simpler case: he is a shy young man, a less parodic and less individualized character, but Peter Balczo solves this task perfectly as well. His voice is more of a character tenor, than of a lyric one, therefore some moments of the Ravel piece lose some of their vocal beauty. However, they gain a lot in turn by the comic way of the performance…’
Bóka Gábor

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