Warren Mok
Tenor
Press Reviews
Ariadne auf Naxos by Strauss
Il Giornale
"Bravi gli altri interpreti, con un lode particolare alla voce potente di Warren Mok (Bacchus)." (Click here to see full review.)
(The other interpreters were capable, with a special praise to the powerful voice of Warren Mok (Bacchus).)
Robert le Diable by Meyerbeer
Opera Magazine, John Steane
"The Robert, Warren Mok, is interesting, possibly phenomenal. Mok has the range, the fluency, the staying power and the weight of a genuine heroic tenor for Meyerbeer. It is also a voice for many colors, sometimes soft and veiled, then incisively forward, taking the high notes mostly with a straight tenor edge but sometimes with a well-placed head voice. Such a combination is not too common these days."
Il Trovatore by Verdi
Opera Magazine, Ronald Crichton
"Mok does commendably, and brings to Manrique a greater refinement of manner than one expects in a role not infrequently given to bull-necked tenors out to knock them flat with 'Di quella pira'."
Opera Magazine, Fernando Battaglia
"Warren Mok is a hard-working singer with a fine voice, and he was able to tackle and conquer the title role, free from the dangerous demands on the top register enshrined in Italian performance practice."
Roma by Massenet
Opera Magazine, Richard Fairs
Warren Mok makes a fine job of it. His Lentulus has easily the liveliest vocal personality of the cast.
Don Carlo by Verdi
(Latvian National Opera, Riga Opera Festival)
Opera News, George Loomis
"Warren Mok offered a hot-tempered, vibrant account of the title role."
La Traviata
(Macau International Music Festival)
Opera Magazine, Joanna Lee
"Mok was utterly convincing in the role, his singing consistently superb."
Les Huguenots by Meyerbeer
Opera Magazine, George Loomis
"Warren Mok seems to have modeled his performance on that of La Scala's Raoul and the late Franco Corelli, and comes amazingly close to the ideal. Suffice it to say that Mok has a ringing, rather baritonal timbre and pours forth tone generously. His Raoul is a visceral experience not least for its secure, expansive high notes. Paired with the fine Valentine of Annalisa Raspagliosi, he helps make the grand duo in Act 4 the opera's rightful high point."