under Trevor Pinnock

Austrian baritone Adrian Eröd, lithe and agile, sings a superb Giovanni, rich with tone and utterly believable in unmatched debauchery. He commands the stage, and his formidable attitude of “noblesse oblige” is undeniable in this forceful portrayal. He makes an effortless seducer, playful and terribly dangerous.
Houston Press 29.1.2013

Adrian Eröd seduces audience with portrayal of ‘Don Giovanni’

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For long passages the evening should be called “Loge”, the cunning fire-god is so at the centre…Adrian Eröd’s Loge, agile as a cat playing into the lap of the gods, with dangerous amoral exuberance, this is singing and acting of the very first class – his baritone, with exemplary diction, has enough brightness for this, actually a tenor role.
FAZ

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Adrian Eröd triumphed in his Bayreuth Debut, a strong, clear and comprehensible Beckmesser.
FAZ

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Also the casting of Adrian Eröd as Sixtus Beckmesser was daring- Another Vienna singer who triumphed this evening. Eröd has developed an exquisite concept for this role as an unpopular critic-caricature, with such subtle nuances in singing and gesture, as if director and conductor had worked with him for months. This Beckmesser stands in a paranoid mix of correctness and vanity on a level with the dominant figure Hans Sachs….Their dialogue in the cobbler’s shop was a high-point of this celebrated performance. Here was every punch-line, every glance and every gesture pefect.
Die Presse

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Adrian Eröd who fully exhausts the spectrum of expression of his marvellous bariton,e gave his voice to the coward careerist Jason and fascinates us with concise diction, extremely secure voice-leading and persuasive play.
Das Opernglas 04/2010

No less impressive than the tortured Medea, the opportunistic Jason, who gets so much strength and depth from Adrian Eröd’s melodious baritone, is able to withstand Medea’s intensity.
Neue Zürcher Zeitung 2010/03/03

The dissonant part of Prospero is interweaved with pain in Adrian Eröd smooth and powerful baritone portrayal.
Darmstädter Echo 2010/01/14

Adrian Eröd was an ideal interpreter for Prosperos melodies, sweeping full of dissonances but always exemplarily understandable.
Frankfurter Allgemeine Zeitung 2010/01/12

As the barber Adrian Eröd switched competently between dialogue and fine vocal lines, and was the centre of the performance with relaxed nonchalance.
Die Presse 2009/06/20

Theatrically persuasive as the savvy chiseler Adrian Eröd received the biggest applause for his accomplished voice-leading and exquisite diction.
Gießener Allgemeine 2009/06/23

The event is, however, Adrian Eröd, who took on the role of Valentin in the last week of rehearsal. Here is vocal style, even an authentic stage presence to be welcomed.
NEWS

Adrian Eröd achieves as Valentin, with moving beauty, the triumph of the evening.
Süddeutsche Zeitung

Michael Schade and Adrian Eröd play the artist duo Flamand-Olivier with remarkable singing and acting. Furthermore, Eröd convinces through his exemplary diction.
FAZ

Above all, Adrian Eröd should be mentioned, a wonderful Lescaut as actor and singer.
FAZ

Eröd’s role profile is excellent, also vocally he is as Lescaut always present.
Österreich

The sensation of the evening was Adrian Eröd as Figaro (his debut in this role): a very gifted comedian, we heard a baritone of unusual clarity, with secure high notes, an impressive low range and a beautiful timbre.
Wiener Zeitung

With contagious youth, wit and exemplary diction Eröd gives an agile Figaro, certainly one of the great music-theatre discoveries if the last decade.
Die Presse

The most interesting figure of the evening was Adrian Eröd as Lescaut, with his cultivated, strong voice and intensive expression.
Kronen Zeitung

…so much the easier for Adrian Eröd in the smaller role of Albert, Charlotte’s husband, to prove that a singer personality, through his sheer presence, without the aid of a director, can change a dull stage into a theatre.
Der Standard

And Adrian Eröd succeeds in filling even the formal role of Albert with a noble timbre.
Salzburger Nachrichten

Still, this time only one of the protagonists achieves notable expression and style: Debutant Adrian Eröd delivers with his Song of Queen Mab (…) a model of the combination of vocal elegance with expression.
Die Presse

In this performance, Julia should have fallen in love with Mercutio: Adrian Eröd with youthful freshness and perfect voice.
Süddeutsche Zeitung

With astonishing technical mastery, Eröd sung the difficult title role beautifully without sacrificing the intensity of performance and formed truly the psychogramm of an inspired madman, who loses touch with the world, and the world with him.
Die Presse

Linz can count itself lucky to have such a singer in the house as Adrian Eröd, who interprets Pelléas with such intensive, clear baritone, but also with such blooming stage presence, acts the discrepancy between narcissism and tendency to love…
Opernwelt

Eröd is Billy, he sings with selfless absorbtion, finds sounds of honest simplicity, simple grandeur and intimacy, so that he must count as an ideal cast. The scene before Billy’s execution is in Eröd’s interpretation unforgettable, it moves to tears.
Wiener Zeitung