Lulu, Theater Bremen, 2019
Aber auch Chris Lysack beeindruckt, wie er seinen Tenor mit berstender Expressivität führt.
– Wolfgang Denker, www.nwzonline.de
Auch für die Partie des Alwa hat das Theater Bremen einen tollen Sänger engagiert, der dem Hause schon seit der Spielzeit 2014/15 verbunden ist. Tenor Chris Lysack sang die Premiere trotz Erkrankung, die man ihm nicht weiter anhörte.
– Wolfgang Wagner, www.concerti.de
Keiner der Männer Lulus kommt wirklich zu Tode, ein Sternenregen aus rotem Glitzer-Flitter muss reichen; selbst für Alwa (indisponiert, aber in der heiklen Partie gut durchhaltend: Chris Lysack), den ein Freier Lulus umbringt.
-–Klaus Kalchschmid, www.die-deutsche-buehne.de
Das Lied von der Erde, Theater für Niedersachsen/Theater Lüneburg, 2017
Between his heroic tone and ease in the highest notes, Lysack still manages to find opportunities for nuances and whimsy.
– Birgit Jürgens, Hildesheimer Allgemeine Zeitung
Baritone Timothy Sharp joined the wonderful tenor Chris Lysack… With individual timbre, restrained passion and much noticeable soul, both singers brought to their difficult parts emotional expressiveness.
– Antje Amomeit, Lüneburger Landeszeitung
La damnation de Faust, Theater Bremen, 2017
The achievements of the singers are remarkable, although of the three leading roles only Canadian tenor Chris Lysack belongs to the ensemble of the theatre Bremen. His timbre is warm, his vocal presence quite strong and surely would have been even stronger if he didn’t have to act like an impersonal - white-being.
– Anja-Rosa Thöming, The Hector Berlioz Website
Chris Lysack deploys his tenorial lyricism so cannily that he handles the challenging part with stability and agility.
– Horst Hollmann, NWZ Online
Chris Lysack, secure all the way up to the high C-sharp, plays a perpetually screwed-up person.
–Ute Schalz-Laurenze, Kreiszeitung
Die verkaufte Braut, Theater Aachen, 2016
Wonderful, how Chris Lysack embodies the young lad’s impishness… –
– Armin Kaumanns, Aachener Zeitung
His half-brother Jeník was portrayed by a theatrically very present Chris Lysack with rich timbre and impressive high notes.
– Jochen Rüth, Der Opernfreund
Chris Lysack’s tenor shines above all else in the prominent high notes, and he brings a good deal of boyish charm to the role of Jeník.
– Christoph Zimmermann, Die Online Merkur
Tannhäuser, Theater Aachen, 2016
Chris Lysack embodies a young Tannhäuser with a winning voice, singing and acting beautifully, never resorting to sheer power and rather singing and acting pleasantly, without any appearance of fatigue… The Romerzählung was magnificently shaped and was a further high point of the evening.
– Thomas Kümmel, Theater-Tipps
Lohengrin, Theater Osnabrück, 2016
Guest Chris Lysack, making his Lohengrin début in Osnabrück, comes across calmer at first than one is normally accustomed to, but makes up for it with a powerful Gralserzählung at the end.
– Osnabrücker Nachrichten
He approaches the role with obvious respect, holding himself back at first, knowing some challenges await in the third act: then he sings both a touching piano and also unleashes his bright tenor with measured power.
– Ralf Döring, Osnabrücker Zeitung
Canadian tenor Chris Lysack delivers a noteworthy role début, shortly after his Tannhäuser at the Theater Aachen. Lysack brings together lyricism and power and paces himself wisely through this role...
– Rudolph Hermes, Deropernfreund.de
Jenůfa, Theater Aachen, 2015
Chris Lysack powers through the role of Laca with a forceful, heroic tenor, even able to compete with the often (too) loud orchestra.
– Pedro Obiera, Opernnetz.de
The young Slovakian Linda Ballová handled the title role well and contributed to the [performance’s] overall success. The same applies to the half-brothers, Swede Johan Weigel (Števa) and especially to the Canadian tenor Chris Lysack in the role of Laca.
– Mirek Černý, Harmonie Online
The two brothers, Števa (Johan Weigel) and Laca (Chris Lysack) fit very harmoniously into the complicated family relationships… Lysack acts and sings outstandingly in the difficult role, very convincing in his struggle for Jenufa, his despair, and his eventual evolution to married man.
– Michael Cramer, Deropernfreund.de
Die Meistersinger von Nürnberg, Theater Bremen, 2014
Tenor Chris Lysack succeeded in a sensational début. His baritone-tinged voice was (at times even too) carefree through the long evening, such that even in the dreaded Prize Song he still had charisma and reserves.
– Markus Wilks, Opernglas magazine
As Walther von Stolzing, the young Chris Lysack earned his spurs in the great Wagnerian Heldentenor Fach – with a powerful tenor that persevered effortlessly through the first act, leaving enough in reserve for the Cobbler’s Scene and the closing Festival Scene.
– Gerhart Asche, Opernwelt Magazine
Most pleasing among all of the soloists, Chris Lysack was in dazzling form and still had reserves even in the Prize Song, presenting it with complete control.
– Wolfgang Denker, NWZ Online
Rusalka, Theater Aachen, 2013
Chris Lysack, in his first guest engagement at the theater since his concert appearance at the Chorbiennale, succeeded in the tenor role of the Prince. He produced praiseworthy tones, flawless high notes, and a great variety of expressive colors.
– Armin Kaumanns, Aachener Zeitung
Chris Lysack’s Prince, however, was ideal.
– Christoph Zimmermann, Opera magazine (UK)
Chris Lysack mastered the difficult role of the Prince with a radiant tenor, secure in the high tessitura.
– Michael Cramer, Deropernfreund.de
