"Paul Reeves with his firmly produced bass tones"
Sheffield Telegraph
(Bernard Lee - Beethoven, Missa Solemnis - March 2010)


"Paul Reeves's vivid Dikoi rang true"
Opera Magazine
(Andrew Clark - Katya Kabanova, Scottish Opera on Tour - November 2009)


“Reeves demonstrated both vocal and dramatic versatility underpinned
by a solid vocal technique and impeccable diction.
Later he revealed even more tonal colour in his vocal armoury and he allowed
the humour to come bursting through in an explosion of joy! “
Oxford Times
(Nicola Lisle - St Peter's Church, Wallingford - July 2006)


“Paul Reeves contributed a weighty Sparafucile…”
Opera
(Margaret Davies – Rigoletto, Holland Park London - July 2006)


 “Somnus was sensitively sung by the promising Paul Reeves”
Review London
(Roderick Swanston – Semele, English National Opera - November 2005)


"The cast is highly impressive with Paul Reeves acting
beyond his years as the inflexible Dean."
The Stage
(Edward Bhesania - Babette's Feast, Royal Opera House - December 2004)


"The outstanding performances came from Paul Reeves and Peter Van Hulle,
they both succeeded in establishing the real characters for each role."
Opera
(Patrick O’Connor - December 2002)


"Paul Reeves’s singing was powerful, but then beautifully, gently sung."
Oxford Times
(Hugh Vickers - Verdi Requiem - June 2002)


"Impassioned and strong bass."
Oxford Times
(Jeannine Alton - July 2001)


"His voice is strong with a powerful lower register, but sonorous enough ..."
"He was particularly successful in conveying Gremin's dignity in his
Eugene Onegin aria."
Oxford Times
(Jeannine Alton - August 1998)


"Paul Reeves's Basilio fielded an ample and healthy bass."
Opera
(George Hall - May 1998)


"In fine voice throughout is Paul Reeves's highly comical Basilio."
Classical Music
(Duncan Hadfield - Barber of Seville - March 1998)


"Paul Reeves's Basilio fielded a duly cavernous bass tone."
The Times
(Rodney Milnes - Barber of Seville - March 1998)