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St. Louis Post Dispatch

Tosca's lover, Cavaradossi, was sung by Mathew Edwardsen. His voice can also reach the remotest corner of an auditorium. Even more remarkable was the clarity of his tone, whether he is soothing Tosca's jealous outbursts or loudly proclaiming his love for her. His acting was as easy and natural as his singing. And their duet in the third act about running away together was poignant and sweet.

John Huxhold
Review of Union Avenue Opera's Tosca

Ladue News

Mathew Edwardsen displays a strong tenor and convincing acting in the role of the hedonistic Pinkerton.

Mark Bretz
Review of Union Avenue Opera's Madama Butterfly

St. Louis Post Dispatch

...tenor Mathew Edwardsen was excellent as the insensitive Pinkerton...

John Huxhold
Review of Union Avenue Opera's Madama Butterfly


The role of Pinkerton is a familiar one for tenor Mathew Edwardsen, and he plays it with assurance and conviction. His journey from smug (and slightly racist) arrogance to guilt and remorse is entirely believable, despite the fact that Giuseppe Giacosa's libretto has most of it happening offstage. And his voice is clear and seamless throughout its range.

Chuck Lavazzi
Review of Union Avenue Opera's Madama Butterfly

Sarasota Observer

Mathew Edwardsen gives such a ringing and resounding tenor cut to Judge Danforth and his lack of humility and shame, you know from his first notes this is a "hanging judge."

June LeBell
Review of Sarasota Opera's The Crucible


Palm Beach Arts Paper

Judge Danforth, as sung by seasoned opera artist Mathew Edwardsen was excellent; his stentorian tenor was very commanding.

Rex Hearn
Review of Sarasota Opera's The Crucible

St. Louis Post Dispatch

Tenor Mathew Edwardsen, as the obsessive officer Gherman, sang strongly throughout
his long and difficult role, with an unstrained upper range...

Sarah Bryan Miller
Review of Union Avenue Opera's Pikovaya Dama

Mathew Edwardsen is a good fit as Gherman, possessing a powerful tenor voice
that makes easy work of Tchaikovsky's dramatic and soaring score. He also acquits himself
well dramatically, and by the end of his tale you feel for him and the reckless choices he's made.

Chris Gibson
Review of Union Avenue Opera's Pikovaya Dama

San Francisco Classical Voice

Edwardsen sings the role with ease, his liquid voice capturing the young officer's careless
optimism, his offhanded sense of mastery.

Janos Gereben
Review of West Bay Opera's Madama Butterfly

Roswell Daily Record

The tenor, Mathew Edwardsen, sparkled in the role of Alfredo
Germont, the young poet...

Sarah Boslaugh
Review of The Roswell Symphony Orchestra's La traviata


Mathew Edwardsen finds the right mix of desperation and
bravado for Luigi...

Sarah Boslaugh
Review of Union Avenue Opera's Il tabarro

Pirate Dance

San Luis Obispo Tribune

There was an agonizingly conflicted Don José in Mathew Edwardsen's
solid tenor, matched with skillful acting...

Marvin Sosna
Review of Opera San Luis Obispo's Carmen


Principals... and romantic leads Mathew Edwardsen and Shawnette Sulker as Rinuccio and Lauretta, respectively, were equally vibrant.

Gary Scott
Review of Union Avenue Opera's Gianni Schichhi

The duets between Edwardsen and Lynn were breathtaking. What voices! Tenor and soprano! Soaring!

Robert Axelrod
Review of The Los Angeles Theare Center's The Tree

St. Louis Post-Dispatch

She [Carla Thelen Hanson as Ariadne] was well-matched by her clarion-voiced Bacchus, Mathew Edwardsen.
...this is a fine young tenor.

Sarah Bryan Miller
Review of Union Avenue Opera's Ariadne auf Naxos