Thousand Furs (Re:Sound at Tête-à-Tête Opera Festival)

“As for the performers, they are irrepressible, particularly Oliver Hunt, who, as the lecherous King salivating over his cowering daughter, is hilariously, almost worryingly, convincing.” see whole review here (5 stars)

Hannah Nepil, Financial Times


“...a King maddened by grief (a magnificent Oliver Hunt, who also doubles as a jester-like servant in the next palace)” see whole review here (5 stars)

Charlotte Valori, Bachtrack


King Arthur (Early Opera Company at Wigmore Hall)

George Humphreys and Oliver Hunt were their handsome-sounding bass counterparts, with Humphreys’ wit offsetting Hunt’s hauteur. The whole thing was a classy entertainment, and hugely enjoyable.”

Tim Ashley, Guardian


Der Ring des Nibelungen (Fulham Opera)

“Oliver Hunt was first a suitably aggressive Fasolt then a viciously brutal Hunding”

Margaret Davies, Opera Magazine


Bayreuth Bursary Competition Final

Oliver Hunt only had to step onstage, take a chair and sit down to establish himself completely into Hans Sachs' personality. His rendition of the Fliedermonolog perfectly reflected the cobbler-poet's swift changes of mood, and his response to the music was remarkable. Rarely for so young a bass, his mellow voice sounded perfectly at ease with this demanding music, and his singing was deeply satisfying. At the end of the aria he stood, replaced the chair at the side of the stage, and marched back on as Fasolt, a total dramatic and vocal transformation. More than in his recent performances for Fulham Opera, he was able to trace the lovelorn giant's wide ranges of mood in his first scene: pride at a job well done, joy at anticipating his winning of Freia, disbelief at Wotan's perfidy, deep disappointment and menacing fury. He was so deeply immersed into his character that when he turned to react to a taunt from Fafner, I could have sworn that a second giant stood there – and once again, his singing was a marvel.”

Katie Barnes, Wagner News


Das Rheingold (Fulham Opera)

For me, the star performers were Robert Presley as Alberich and Oliver Hunt as Fasolt...Hunt, tall and imposing, very young but already possessed of an impressive bass, created a most arresting Giant. I look forward to hearing more from him.”

Katie Barnes, Wagner News


La Périchole (Garsington Opera)

The big set pieces such as the wedding scene are hilariously done, getting plenty of laughs for Andrew Dickinson and Oliver Hunt as the drunken lawyers.”

Melanie Eskenazi, Music OMH


Die Walküre (Fulham Opera)

“Oliver Hunt’s Hunding was powerfully fierce and vocally threatening.”

Robert Mansell, Wagner News


Thelma (Surrey Opera)

Oliver Hunt's leering snuff-pusher Djaevelen brought a hint of panto to the denouement.”

Anna Picard, Independent on Sunday

Oliver Hunt’s knowingly arch style of hamming up the role of Djaevelen, “an evil being”, in fact the devil, drew vaudeville style boos at the curtain call, but this just underlined how much he had engaged with the audience.”

Bella Bartok, Inside Croydon

“Hunt’s tall figure was suitably foreboding and his singing excellent”

Katy S Austin, Bachtrack

“The token evil spirit of the story Djaevelen, portrayed charmingly by Oliver Hunt was a fun addition and with his appearance under a red spotlight gave almost a visual reference to a warming catering hotplate. His singing was bright and surely had fun with his entries and exits, sometimes climbing the set or others on all fours going under it!”

George’s Musings blog


Das Rheingold (Fulham Opera)

“Fasolt and Fafner were played as besuited business men by Oliver Hunt and John Woods, both providing some fine singing and some neat coordinated movement.”

Planet Hugill blog

“Oliver Hunt...in particularly good voice”

Opera Talent


The Abduction from the Seraglio (Surrey Opera)

“Oliver Hunt - Osmin, the chief eunuch, (a part usually played as old and stupid) brought menace to the role as well as solid bass notes in a humourous performance.”

Words and Music

“Oliver Hunt (Osmin) was a joy, having a good comedic sense.”

Croydon Advertiser


The Bear (Opera Anywhere)

“Luka, played by Oliver Hunt, almost stole the show, with his contorted movements and his sardonic comments on the behaviour of the principals.”

Oxford University Magazine

“Oliver Hunt makes the most of the comic possibilities of Luka, Popova’s servant.”

The Oxford Times


Flight (British Youth Opera)

“Oliver Hunt made a strong impression as the scary Immigration Officer”

Primi Divi blog

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Oliver Hunt      Bass