“Stuart Pendred was an utterly magnificent Amfortas. Ashen-faced, leaning on a cane, inching forward step by anguished step, unwillingly seeking brief release in his opium pipe, this was an unforgettable portrayal of a strong man felled by pain.”
(Katie Barnes)

“Stuart Pendred rose up before me- a powerful, formidable, tortured Sweeney, his pain was palpable throughout as he led us on his horrific journey.”
(Teresa Howard)

The Minnesingers were excellent, notably Stuart Pendred as a bold and well-focused Biterolf…”
(Mark Ronan)

“Stuart Pendred’s Hagen was a suitably dark and malevolent presence, key to the slow unravelling of the whole doomed edifice.”
(The Guardian / Rian Evans)

“…as Hagen, Stuart Pendred gave a fine portrayal of careful cunning, while also assuming the role of a gang boss, as when he calls up the vassals in Act II. His diction was brilliantly clear, and at the end of the second scene in Act I his voice swelled with the orchestra as he carried his breath beautifully into the words des Niblungen Sohn.”
(Mark Ronan’s Theatre Reviews)

“a palpably nasty Hagen who looks as though he’s strayed out of an episode of Wallander”
(The Telegraph / Rupert Christiansen)

“Stuart Pendred is a husky-edged, snakish Hagen”
(The Independent / Jessica Duchen)

“His voice was amazingly resonant: huge, inky-black, and tremendously incisive, and his stage presence was massively powerful. This was the discovery of the day, and I have no doubt that we will hear from him again.”
(Hagen / Götterdämmerung (scenes) / The Mastersingers Cond. David Syrus, 2011)

“She (Elaine McKrill) and Pendred created tremendous tension”

“Hagen’s offstage calls again paid tribute to Pendred’s astonishing resonance before he entered….”
(Wagner Society / Katie Barnes)

“dependably sung and characterized with the right degree of slight malice by Stuart Pendred”
(MusicalCriticism / Alastair Muir)