“Throughout, Nick Pritchard made his now customary fluent and sympathetic contribution as the Evangelist; he surely is one of the best young tenors singing today.”
— Stephen Pritchard, The Observer - Christmas Oratorio, London, 2023
“Singing from memory, Nick Pritchard’s Evangelist, in the finest account of the role I’ve heard live, drew us through the narrative with extraordinary vividness, alert to every shift in mood and verbal inflection.”
— Tim Ashley, The Guardian - St. John Passion, London, 2023
“Put simply, there’s a gorgeous sweetness to Pritchard’s voice that knocked me for six.”
— Simon Thompson, The Arts Desk - Edinburgh Festival Recital, 2023
“And once again he’s (John Eliot Gardiner) struck gold in his Evangelist. In the English tradition of light, lyrical tenors, Nick Pritchard is consummately involved and involving”
— Paul Riley, BBC Music Magazine - St John Passion, Deutsche Grammophon, 2022
“Nick Pritchard’s Evangelist is compelling”
— Jonathan Freeman-Attwood, Gramophone Magazine, St John Passion, Deutsche Grammophon, 2022
“Nick Pritchard’s Evangelist, a miracle of expressive phrasing and clear enunciation. His is a voice with a future.”
— Geoff Brown, The Times - St John Passion, Deutsche Grammophon, 2022
“(...) Together with a number of solid vocal performances. Tenor Nick Pritchard was the pick of these, his Oronte a masterclass in characterisation and death-defying breath control.”
— Mark Valencia, Bachtrack - Alcina, Opera North, 2022
“She [Fflur Wyn] and Nick Pritchard’s Oronte provided the most touching performances of the evening”
— Martin Kettle, The Guardian - Alcina, Opera North, 2022
“Tenor Nick Pritchard (...) stops hearts and time with a ravishing Un momento di contento.”
— Alexandra Coghlan, The Telegraph - Alcina, Opera North, 2022
“It’s Nick Pritchard, however, who holds the centre. Operatic without affectation, weighing every word, movement and articulation with care, his Evangelist is wonderfully humane – part of the crowd who demand blood, even as he pities them. There are echoes of James Gilchrist here and, when the time comes, it looks like Pritchard is ready to step into the older tenor’s shoes as the great English Evangelist of his generation.”
— Alexandra Coghlan, iNews - St. John Passion, Oxford, 2021
“The outstanding soloist, however, was Nick Pritchard’s eloquent narrator, sung with a range of colour and incisive delivery of the text that vouchsafes his pace as the go-to Evangelist of the day.”
— Hugh Canning, The Sunday Times - St. John Passion, Oxford, 2021
“British tenor Nick Pritchard stands out with his subtle and malleable voice and luminous top notes, as shown in his recitative in the cantata, Sehet, wir gehn hinauf gen Jerusalem BWV 159.”
— Emmanuel Bernier, Le Soleil - Bach Cantatas, Quebec City, 2020
“The exceptional Evangelist Nick Pritchard sung entirely from memory and exhibited a great mastery of German with exquisite diction, as well as silky timbre across the whole range, magnificent stage presence, subtle narrative while being at the same time remarkably expressive; it was without doubt the best vocal performance of the evening”
— Mario Guada, Codalario.com - St. John Passion, Madrid, 2019
“Tamino is met here with grace and a warm lyricism by Nick Pritchard”
— Michael Dungan, The Irish Times - Die Zauberflöte, Dublin, 2019
“The tenor is the best thing in the show...Pritchard, as the Male Chorus never leaves the stage, and is alive to every flicker of subtext in his taxing role”
— Mark Valencia, WhatsOnStage - The Rape of Lucretia, London 2018
“Nick Pritchard’s Ferrando phrased an airy ‘Un aura amorosa’... He is a natural Mozartian”
— Hugh Canning, Opera Magazine - Cosí fan tutte, London, 2018
“Among the engaging soloists, Nick Pritchard was especially impressive, singing Acis with sweetness and power”
— Richard Morrison, The Times - Acis and Galatea, London, 2018