Handel: Orlando
Ryedale Festival, UK

'They are led by Robert Ogden’s Orlando, whose versatile countertenor, particularly strong in the lower range, amply reflects the hero’s volatility.'
Martin Dreyer, York Press

Glück: Orfeo
Ryedale Festival, UK

'Robert Ogden, the Orfeo, is a rare and exciting find, a counter-tenor without a trace of the outlandish hoot that afflicts some of his tribe - a singer who, on the contrary, makes the voice sound completely natural and who uses it intelligently and with great intensity. His long, agonizing scene with Bibi Heal's Euridice in the third act - the marvellously fluid mixture of recitative, arioso and duet that was Glück's great achievement - gripped us all.'
David Cairns, Opera Magazine

'Counter tenor Robert Ogden as Orpheus, soprano Bibi Heal as Eurydice and Susan Gilmore Bailey's Amore provided both dramatic strength and tonally secure projection of the words. The third act scena in which Eurydice's expression of unhappiness and Orpheus' consequent expression of loss were projected with heart-rending emotional power, particularly in Ogden's lament for his loss in the aria 'Che faro senza Euridice', which almost convinced me of the power of the counter tenor voice over today's more usual female alto - Kathleen Ferrier and Janet Baker apart, of course.'
Darlington and Stockton Times, UK

Tim Benjamin: The Rosenhan Experiment (countertenor & piano)
Radius Ensemble, South Bank Centre

'An excellent work, performed convincingly...the acting was good, maintaining the flow in what was essentially a static scenario...a memorable performance, which appealed musically, dramatically and intellectually.'
Carla Rees, MusicWeb

Cavalli: Giasone
Stadttheater Klagenfurt, Austria

'Robert Ogden achieved great dramatic ambition in the role of Delfa.'
Kleine Zeitung, Austria

Recital, Amsterdam

'The countertenor Robert Ogden, from England, stole the show.'
De Telegraaf, Amsterdam

Handel: Semele
Valletta, Malta

'Robert Ogden interpreted the roles of Athamas and Apollo with very special countertenor timbre.'
Das Opernglas, Germany

Stravinsky: The Soldier's Tale
West Green House, Hampshire

'Robert Ogden's northern-accented Soldier caught the tragedy of this wide-eyed figure who is robbed of his soul.'
The Times, London

Liebermann: Medea
Stadttheater Bern, Switzerland

'The production is enhanced by a specialist artist of the contemporary singing scene: the countertenor Robert Ogden. He sings the role of the priest's son Kreon with radiant falsetto.'
Blick, Zürich

'Robert Ogden was a well-presented Kreon'
Frankfurter Rundschau

'The sung role of Kreon suited the countertenor Robert Ogden down to the ground. Apparently without effort he eased his bright, clear voice over the melodic hurdles, so skilfully that one was hardly bothered by them.'
Der Bund, Bern

Handel: Rinaldo
Bloomsbury Theatre, London

'The Goffredo, Robert Ogden...sang a well-shaped 'Sorge nel petto'

Handel: Messiah
Ripon Cathedral

'Outstanding among highly competent soloists [was] the countertenor Robert Ogden.'
The Church Times

Opera gala
Kammeroper Schloß Rheinsberg

'The English Countertenor Robert Ogden resisted the almost paralysing coldness with a special deftness. His singing was fairytale-like.'
Märkische Allgemeine, Germany

Bach Cantatas
RNCM Concert Hall, Manchester

'Robert Ogden's beautiful countertenor...appeared to cast a gentle spell over the audience.'
Manchester Evening News