In Opera San Jose’s Production of L’Elisir D’Amore:
“The most well-deployed voice, however, belongs to Flowers, a resonant, through-the-mask lyric tenor possessed of that enigmatic ear-catching quality that the Italians call squillo. He also sports a completely brakeless passage to head voice, allowing him to slip into suddenly soft, high tones for effects both comic and poignant; the latter is highlighted in Nemorino’s plaintive song of hope, “Una furtiva lagrima” (“A furtive tear”). Flowers adorns the cadenza at the end of the famed aria with lovely silences…”
Michael Vaughn, San Jose Metro
In West Bay Opera’s Production Pikovaya Dama:
“…the excelent singing by the entire cast is capped with a remarkable lead performance by tenor Adam Flowers…Flowers is a case of the right talent meeting the right role. As Russian Army officer Gherman, an addicted gambler, he faces a challenge: He is in all seven scenes of the opera. Throughout, he never loses power or focus. His tenor voice is remarkable in its expressive nuances and fluidity. One might say its shading is a combination of the dramatic and the lyrical. And it doesn’t hurt, either, that he is a good-looking guy loaded with acting talent.”
Keith Kreitman, Oakland Tribune
In Opera San Jose’s Production of Madama Butterfly:
“Adam Flowers, whose ardent des Grieux was a highlight of OSJ’s recent Manon, was even more impressive as Pinkerton, his voice sweet and resilient, with a satisfying ping to the high notes. He cut a handsome figure onstage, capturing Pinkerton’s arrogant selfishness as well as the boyish charm that makes Butterfly fall for him.”
Andrew Farach-Colton, Opera News
In Opera San Jose’s Production of Manon:
“As [Manon’s] lover, the chevalier des Grieux, Adam Flowers gave an intense, committed performance. This young tenor has made great strides in both vocal development and stage presence since his first appearance with Opera San Jose. The role of des Grieux has, in the middle of a very lyric role, one heavy dramatic aria that is the downfall of many a tenor who can otherwise handle the role well. In that aria, ‘Ah fuyez douce image’, Flowers acquitted himself well, negotiating the high notes with unstinting power and building the intensity…he used his lyric instrument to stronger advantage, and was alone among the principals to consistently shade his singing with a dynamic range from piano to forte.”
Kelly Snyder, Concertonet
In Hillbarn Theatre’s Production of Sweet Charity:
“Vidal is played by Adam Flowers, an actual opera singer, who demonstrates some fabulous pipes on “Too Many Tomorrows.””
John Orr, Regarding Arts
In Opera San Jose’s Production of The Flying Dutchman:
“As Erik, Adam Flowers has never sounded better. He was able to project his tenor to match the power of the lower register singers without straining or losing a rounded timbre in the effort.”
Keith Kreitman, Oakland Tribune
In Hawaii Opera Theatre’s Production of Romeo et Juliette:
“I hated to see Tybalt die. Tenor Adam Flowers is so good that you want him there longer.”
Valeria Wenderoth, Honolulu Star-Bulletin
As a Music Together™ teacher:
“It’s my favorite 45 minutes with my daughter all week.”
“His silly socks and shirts always make me smile 🙂 ”
“He makes everyone feel welcome and knows just how to interact with kids of all ages.”
“He is so genuinely enthusiastic and silly and welcoming. I always look forward to attending his class as he is not only great with kids but also personable to us adults.”
“Thanks for being so patient, kind, and caring to all the little ones.”
Families of Sing Dance Play Marin
