“… the absolutely charming interaction between the Dance Master, Leslie Tay, and Zerbinetta … Mr Tay had a radiant energy on stage. I believed he was a dance master.”
(Tanzmeister – Ariadne auf Naxos, Brooklyn Repertory Opera, December 2009)
Susan Storderl, New Journeys and Paths
http://susanstoderl.net/blog1/#000020
“Martinez (Pinkerton) utilized the stage area as though he were in a fully staged production as did Goro sung by Leslie Tay, who was charming in his portrayal … He was a fine compliment dramatically”
(Goro – Madama Butterfly, Opera Company of Brooklyn, November 2009)
Angelo Rassegna, Opera-L
http://listserv.bccls.org/cgi-bin/wa?A2=ind0911d&L=OPERA-L&D=0&P=123550&F=P
“Two standouts within the production came from the supporting cast: … The second is Leslie Tay as the manic Monostatos. Filled with nervous energy, Tay brought a sense of urgency to his role making him that much more captivating. Even standing behind the action looking on, he was a story unto himself”
(Monostatos – The Magic Flute, The Bronx Opera, May 2009)
Erica Vasaturo and Fran Bacine, Outerstage
http://outerstage.com/2009/05/two-cast-one-great-opera-the-bronx-operas-magic-flute/
“His light tenor voice was fresh and sweet, and his charismatic stage presence and fine musicianship were in top form tonight”
(Divos, Divas and a Pianist – Recital, July 2008)
Steven Ang, The Mad Scene
http://themadscene.athenarts.com/?p=380
“what really stole the show, however, was countertenor Phua Ee Kia and tenors Leslie Tay and Adrian Poon as the chorus. Resembling a jazzy boy band, their dulcet tones and deadpan expressions perfectly conveyed the ironic intentions of the composer”
(Boy 1 – Trouble in Tahiti, Singapore Lyric Opera, December 2006)
The Straits Times, Life!Arts
