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Press reviews:
“…Paul McMahon is well equipped for the role of Samson, a firm, flexible tenor, with a clear tone; “Total eclipse” has much pathos as he describes his debilitating blindness.”
Penny Shaw, Seesaw Magazine, 9 December 2022 (RE: Handel’s Samson https://www.seesawmag.com.au/2022/12/consort-and-friends-raise-mighty-samson
“…Or a terrific tenor such as Paul McMahon wring every ounce of nuance out of Comfort ye.”
Will Yeoman, Limelight, 14 April 2022 (RE: Handel’s Messiah) https://limelightmagazine.com.au/reviews/handels-messiah-west-australian-symphony-orchestra/
“…The overture established the brisk and transparent approach of the musicians, followed by McMahon’s excellent “Comfort ye…Ev’ry Valley”, with lovely diction and articulation – as was the case with all the soloists – and a nice final cadenza.”
Sandra Bowdler, Seesaw Magazine, 14 April 2022 (RE: Handel’s Messiah) https://www.seesawmag.com.au/2022/04/handels-masterwork-280-years-and-not-out
“…It is music that soothes and smiles, like those familiar nursery tunes in granny’s music box. It makes singers sound good. Soprano Sara Macliver, tenor Paul McMahon and baritone Christopher Richardson obviously adore singing it and audiences relish it. Each singer produces a smooth, carefully textured line, with perfect intonation and phrasing…”
Vincent Plush, The Australian, 4 August 2018 (RE: Real and Right and True: Songs by Calvin Bowman) https://www.theaustralian.com.au/arts/review/calvin-bowman-red-baraat-andrea-keller-harmony-happy-axe/news-story/bb09f499bbefe93c0bddc3f6d21e191d
“…McMahon’s classic tenor instrument is well suited to this music, and was particularly expressive in childlike settings of Robert Louis Stevenson.”
Tony Way Limelight, 23 July 2018 (RE: Real and Right and True: Songs by Calvin Bowman, concert to launch the CD). https://www.limelightmagazine.com.au/reviews/real-and-right-and-true-calvin-bowman-gala-concert-and-artsong-cd-launch/
“...Australian composer Calvin Bowman’s beautiful pieces are awash with the idioms of English song, from the wistfulness of Ivor Gurney in The Rainbow to the biting wit of Warlock in West Sussex Drinking Song and, in the salty Three Sea Songs, Stanford’s halcyon zest for naval life. Bowman’s songs speak directly, their music stunningly—and often very simply—illuminating some of the English language’s most potent lines, whether they be A. E. Housman’s ode to the soft peace of death or Hilaire Belloc’s salute to the dawn. Every song is given a sensitive, deeply touching performance from a superb array of singers and pianists.”
iTunes review, 6 July 2018 (RE: Real and Right and True: Songs by Calvin Bowman, 2-CD set).
“...Paul McMahon was as eloquent a Zadok as one could wish for, relishing in Handel’s melismatic word-painting in airs such as ‘Sacred Raptures Cheer My Breast’ while maintaining complete clarity of diction.”
William Yeoman, West Australian, 6 November 2017, https://thewest.com.au/entertainment/arts-reviews/wise-nolans-solomon-breathtaking-ng-b88650565z (RE: Handel’s Solomon).
"...I cannot too highly praise the performance of Paul McMahon. In the crucial role of the Evangelist, he brought faultless taste, blissfully clear diction and a quiet authority to his singing. Had Bach himself been present at the performance, I rather think he’d have led the applause for McMahon’s contribution...There was a small forest of microphones suspended over the players, with the concert recorded for a national broadcast by ABC FM on Good Friday. This splendid interpretation of one of the great masterpieces of the baroque era certainly deserved to be heard by a national audience."
Neville Cohn, West Australian, 24 March 2016. https://thewest.com.au/news/wa/waso-powers-through-passion-ng-ya-102146 (RE: Bach’s Johannes-Passion).
“…With only one song, McMahon was the standout. He tackled the extremely challenging ‘Olim lacus colueram’ with great style and demonstrated that he knows how to ‘ham it up’ and convincingly tell a story…”
Kym Clayton, The Barefoot Review, 16 May 2014 (RE: Orff’s Carmina Burana).
“…Whilst the tenor has only one song (The Ballad of the Roasting Swan), when in the right hands, it can be a vocal tour de force with its plaintive falsetto. And Paul McMahon was truly masterful, delivering with precision and power…”
Brett Allen-Bayes, Limelight, May 2014 (RE: Orff’s Carmina Burana).
“…Tenor Paul McMahon only got one go, alas, but his grim tale of the roasted swan about to be carved up on the salver was a show stopper. Very high, all full voice, dying bravely, hand on heart – a cameo of music theatre…”
Elizabeth Silsbury, The Advertiser, 19 May 2014 (RE: Orff’s Carmina Burana).
“…Of the four soloists, one surrendered totally to the resonant tone and immaculate phrasing of mezzo Sarah Castle, and the well-projected fervour of Paul McMahon’s tenor…”
William Dart, The New Zealand Herald, 13 September 2013 (RE: Mozart’s Requiem).
“…whilst the triumphant finale with highly appropriate and effective soloists (Macliver, Russell, McMahon and Bennett) and choir were given over to long singing lines…”
Brett Allen-Bayes, Limelight August 2013 (RE: Beethoven’s Ninth Symphony)
“…Paul McMahon sang easily and well with both Bradman and Cole, engaging with the injustices decreed in act one, the growing inevitability of Didymus’s pledge to sacrifice himself for Theodora and the ultimate fate of the lovers…”
Jennifer Gall, The Canberra Times, 25 June 2013 (RE: Handel’s Theodora).
“…Paul McMahon’s rich, flexible tenor announced its expressive eloquence immediately in the opening recitative ‘Comfort ye’ and air ‘Ev’ry valley’…
Will Yeoman, Limelight May 2013 (RE: Handel’s Messiah).
“…local tenor Paul McMahon was equally adept in the showstopper “roasted” swan song…”
Steve Moffat, The Telegraph, 22 March 2013 (RE: Orff’s Carmina Burana)
“…The soloists – Greta Bradman, Sally-Anne Russell, Paul McMahon (who also performed in the ASO’s last performance of the Requiem in 2006), and Stephen Bennett – were excellent (especially in the ‘Benedictus’) and complemented the chorus, rather than the other way round, as they should…”
Kym Clayton, The Barefoot Review, 16 November 2012 (RE: Mozart’s Requiem)
“...Tenor Paul McMahon’s
resonant eloquence with words and glowing, rounded pure sound proved
an ideal vehicle, creating, with the ensemble, a precious cameo from
a vigorous but neglected spirit...”
Peter McCallum, Sydney Morning Herald, 21 May 2012 (RE:
Glanville-Hicks’ Profiles from China).
“...”Welch
Babbage was joined by mezzo Fiona Campbell...tenor Paul McMahon and
Kiwi bass Paul Whelan as soloists in the requiem. They made a strong
team, both in their solo passages and the ensemble sections,
especially the lovely Tuba mirum...”
Steve Moffat, North Shore Times, 3 May 2012 (RE: Mozart’s Requiem).
“...I cannot
recall a more evenly matched solo line-up for a Messiah performance.
As ever, soprano Sara Macliver brought expressive depth and tonal
lustre to each aria she sang – and tenor Paul McMahon came up
trumps...”
Neville Cohn, The West Australian, 5 April 2012 (RE: Handel’s
Messiah)
“While all
soloists were convincing in recitatives and airs, tenor Paul McMahon
was particularly secure in tone and diction and in the duet with
mezzo-soprano Sally-Anne Russell...”
Elizabeth Ruthven, The Mercury, 22 December 2011 (RE: Handel’s
Messiah).
“...Tenor Paul
McMahon brought his bright, fluid style to the role of the narrator.
A highlight was his suet with Macliver, whose radiant soprano and
impeccable baroque phrasing created the perfect counterpart...”
Rosalind Appelby, The West Australian, 19 December 2011 (RE: Bach’s
Christmas Oratorio).
“...Tenor Paul
McMahon and baritone James Clayton...when they finally had a chance
to stretch their vocal chords towards the end of the evening, added
a richness to round out the soloists...”
Sarah Green, www.australianstage.com.au, 28 November 2011 (RE:
Mozart’s Mass in C Minor).
“...In Quoniam tu
solus, the sopranos and tenor Paul McMahon brought to their singing
a lightness of texture and buoyancy of momentum that could hardly
have been bettered. I especially admired the Benedictus in which
Macliver and Mills were joined by McMahon and baritone James
Clayton; it was the high point of the performance, a glorious
offering which unfolded impressively...”
Neville Cohn, The West Australian, 28 November 2011 (RE: Mozart’s
Mass in C Minor).
“...Pepusch:
Cantatas and Sonatas features the suitably light tenor voice of Paul
McMahon. He reminded me on occasion of Ian Partridge, though without
the slight edge that sometimes affected the latter’s very top
register and gruffness at the other extreme. McMahon sings
beautifully, and somehow manages a remarkable uniformity of sound
across his entire range...”
Brian Clark, Early Music Review, October 2011 (RE: Pepusch: Cantatas
and Sonatas cd).
“...Paul McMahon
sang with his customary eloquence...”
Peter McCallum, Sydney Morning Herald, 17 October 2011 (RE: Bach’s
Mass in B Minor).
“...Tenor Paul
McMahon’s solitary contribution as the cooked swan proved a vocal
highlight...”
Clive O’Connell, The Age, 27 June 2011 (RE: Orff’s Carmina Burana).
“...Tenor Paul
McMahon was outstanding as the Evangelist...”
Cecily Ryan, The Telegraph, 26 April 2011 (RE: Bach’s Johannes
Passion).
“That story is
largely left to the evangelist, and the tenor Paul McMahon has
polished his evangelistic presentation over the years to deliver the
part with wonderfully fluid expressiveness and eloquent pace, all
done with a light, penetrating, well-coloured voice....”
Peter McCallum, Sydney Morning Herald, 25 April 2011 (RE: Bach’s
Johannes Passion).
“...Paul McMahon
was an eloquent evangelist, bringing much to the text through his
dramatic yet carefully considered delivery...”
William Yeoman, The West Australian, 20 April 2011 (RE: Bach’s
Johannes Passion).
“...Australian
Paul McMahon’s Evangelist was strongly characterized, impassioned,
and characterful...”
Garth Wilshire, Capital Times, 13 April 2011 (RE: Bach’s St Matthew
Passion).
“...Above all,
there’s a story being told by this music, and in this respect the
performance delivered splendidly - I thought the Evangelist Paul
McMahon excellent in his dramatic focus, so alive to the text’s
possibilities and so fluent a technique as to do his interpretation
full justice...”
Peter Mechen, Middle C Classic music reviews, 10 April2011 (RE:
Bach’s St Matthew Passion).
“…Sumptuous
strings introduced Paul McMahon in Comfort Ye My People. After
drawing some fairly intense emotions from this recitative, the
Australian tenor complemented it with an Ev’ry Valley that
positively rippled with joy…”
William Dart, New
Zealand Herald, 15 December 2010 (RE: Handel’s Messiah)
“…I particularly liked the quietly uttered, deeply felt measures of
the Recordare sung, beautifully, by the vocal quartet of Sara
Macliver (soprano), Sally-Anne Russell
(mezzo-soprano), Paul McMahon
(tenor) and Teddy Tahu Rhodes (bass baritone)…”
Neville Cohn,
ozartsreview, October 2010 (RE: Mozart Requiem cd)
“…tenor Paul McMahon effortlessly lyrical in Ich will bei meinem
Jesu wachen…”
William Dart, New
Zealand Herald, 30 October 2010 (RE: Bach’s St Matthew Passion)
“…Australian tenor Paul McMahon contributed a similarly interactive
role with Pierard in a gorgeously-sung “Domine Deus”, also from the
“Gloria”. Here, and also with McMahon’s lovely singing of the
‘Benedictus’ from the “Sanctus”, flautist Karen Batten won our
hearts with some lovely, limpid playing…’
Peter Mechen,
middle-c.org 22 August 2010 (RE: Bach’s Mass in B Minor)
“…Christie uses a characterful counter-tenor for the Witch, but
Pinchgut’s Paul McMahon more straightforward account makes the scene
more chilling…”
Michael
Magnusson, Music Forum, May-July 2010 (RE: Charpentier David and
Jonathan cd)
"…while tenor
Paul McMahon gave the whole enterprise a felicitous, light-timbred
start…”
Clive O’Connell, The Age, 15 December 2009 (RE: Handel’s Messiah)
“…Paul McMahon’s
controlled, expressive approach added a vibrancy to his description
of chaos giving way to order. His singing was delivered in a manner
that
indicated order and precision, with his inflections highlighting
the idea of light and dark. His singing about the creation of the
Sun and the Moon was beautifully
structured and atmospheric…’
John Daly-Peoples, National Business Review, 18 October 2009 (RE:
Haydn’s Creation)
“…Of the four
soloists, soprano Jacqueline Porter gave a ringing account of the
high tessitura in the work’s Kyrie, while mezzo Sally-Anne Russell
and tenor Paul
McMahon made their marks with less difficulty…”
Clive O’Connell, The Age, 6 October 2009 (RE: Haydn’s Nelson Mass)
“…Paul McMahon’s
Jephtha focused on lending expressive nuance to the line, discreetly
embellished with ornamentation…’
Peter McCallum, Sydney Morning Herald, 28 July 2009 (RE: Handel’s
Jephtha) “…with the
excellent line-up of soloists Tiffany Speight, Sally-Anne Russell,
Paul McMahon and Douglas McNicol…”
Rodney Smith,
Adelaide Advertiser, 7 April, 2009 (RE: Handel’s Messiah)
“…The vocal part, ably sung by Paul McMahon, acted as the glue
between these disparate sounds, emphasizing resonances and smoothing
over dissonances…”
Harriet
Cunningham, Sydney Morning Herald, 18 March, 2009 (RE: Brett Dean
Winter Songs)
“Paul McMahon’s vibrant tenor is electrifying as the voice of the
Pythonisse…”
Sarah Noble,
http://www.theoperacritic.com, (RE: Charpentier David and Jonathan)
“It was most intriguing to see how the Witch of Endor was portrayed
in this production. It was sung excellently by Paul McMahon lurking
in the shadows…”
Lynne Lancaster,
Artshub, 9 December, 2008 (RE: Charpentier David and Jonathan)
“…The lovely singing of Paul McMahon as one of the soldiers onstage
added to effect…”
Daniela Kaleva,
http://www.australianstage.com.au, 11 December, 2008 (RE:
Charpentier David and Jonathan)
''…Concertmaster Alice
Evans and flute soloist Melissa Farrow shone in their duets with Sara Macliver and tenor soloist Paul McMahon…”
Harriet Cunningham, Sydney Morning Herald, 29 June, 2008 (RE: Bach Mass
in B Minor)
“…Penelope Mills has
bright but well-rounded fire in Elettra’s hissy fits, while Paul
McMahon’s Arbace is eloquent…”
Peter McCallum, Sydney Morning Herald, 2 February, 2008 (RE: Idomeneo
CD)
“…Penelope Mills is
impressive as the fiery Elettra, as is Fiona Campbell as Idamante. Paul
McMahon as Arbace and Brett Weymark as the high priest sing with
conviction…”
John Grant, The Australian, 26 January, 2008 (RE: Idomeneo CD)
“…Paul McMahon, as
always, was sensitive, thoughtful and sophisticated in his delivery of
recitatives…”
Peter McCallum, Sydney Morning Herald, 13 December, 2007 (RE: Messiah)
“…Paul McMahon
conveyed the text with his characteristic expressive intelligence…”
Peter McCallum, Sydney Morning Herald, 21 October, 2007 (RE: Creation)
“…The warm tones of
Serbian singer Milijana Nikolic’s rich mezzo underpinned Sarah Crane’s
pure soprano floating effortlessly above, with the distinctive edge of
Paul McMahon’s tenor balancing Hibbard’s deep basso tones…"
Patricia Kelly, Opera-Opera, May, 2006 (RE: Mozart Requiem)
“…Nineteen historic
and contemporary versions would seem to be an exercise in aural
flagellation. But so fascinating are the numerous incarnations, matched
by some stellar interpretations from musicians and singers, the disc
never fails to be constantly entertaining…"
Bob Crimeen, The Sunday Mail (Adelaide), April 30, 2006 (RE: Danny Boy
CD)
“…it was a terrific
performance particularly from the choirs and Paul McMahon. Paul McMahon
gets better and better in the evangelist roles. It is remarkable the way
he can sustain this light, flexible, highly expressive, wonderfully
coloured sound almost indefinitely. One almost thought he could have
done it all again at the end…”
Peter McCallum, Sydney Morning Herald, April, 2006 (RE: Evangelist, St
Matthew Passion)
“…The soloists, all
excellent, were Paul McMahon as a dignified Evangelist…”
Fred Blanks, North Shore Times, April 21 2006 (RE: Evangelist, St
Matthew Passion)
“…The album kicks off
with a fine new recording by tenor Paul McMahon accompanied by Andrew
Greene on piano, presenting the song exactly as it was performed in
1913…"
Anthony Clarke, The Bulletin, March 28, 2006 (RE: Danny Boy CD)
“…Mark Tucker
sustains the florid demanding title role with style and stamina. Sara
Macliver, in a range of roles, is a delight of viscous vocal gold, Paul
McMahon an exemplary Baroque stylist…"
Peter McCallum, Sydney Morning Herald, 11 February, 2006 (RE: Orfeo CD)
“…The support cast of
Paul McMahon as Apollo, Penelope Mills as Euridice and Damien Whiteley
are restricted to not much more than cameos but are uniformly
strong…"
Martin Buzacott, Limelight Magazine, March, 2006 (RE: Orfeo CD)
“…Paul McMahon was an
invigorating tenor soloist for Er kommt, er kommt…”
Harriet Cunningham, Sydney Morning Herald, November 2, 2005 (RE: Bach
Cantatas)
“…Sara Macliver and
Sally-Anne Russell revelled in their game of vocal tag. Ngaire De
Korte’s obbligato passages added lustre to these movements and
compensated
for their occasionally muffled diction. The same could not
be said for tenor Paul McMahon, whose emphasis on the words, even the
grim ones, made anguish an art, particularly in the recitatives…”
David Vance, Sydney Morning Herald, August 30, 2005 (RE: Bach Cantatas)
“…This CD is a gem.
With three eminent Early Baroque experts, one’s expectations are high.
However, such is the beauty, elegance, and charm of the performances
that any expectations I might have had were surpassed by the reality of
their ravishing performances. The beauty and expressive power of Paul
McMahon’s voice is
perfect across the range of these lute songs. McMahon
has a very beautiful, lyrical voice with an enormously rich palette of
rich vocal tones across the whole range,
many of which are subtle and
highly expressive. It is a perfect voice for this repertoire. The
richness of McMahon’s interpretation and eloquent and expressive
accompaniment combine to provide a sumptuous feast for the ear. The
Monteverdi Latin songs, not often heard on recordings, or even in
concert, were especially
moving. His setting of ‘Nigra Sum’, with its
clear sexual overtones was particularly expressive and beautiful.
Morley’s Will you buy a fine dog was wonderfully comic…”
Robert Walker, Music Forum, August/October, 2005 (RE: A Painted Tale CD)
“…McMahon’s French is
excellent. He has very expressive French vowels and his use of clear,
subtle yet firm ornamentation is just right. These songs are mostly
strophic so ornamenting the later verses is necessary. I especially
noticed this in ‘Enfin le beauté’ by Mouline, the longest song on the
CD. The Italian pieces are even better. There is a real understanding of
the idiom especially in the ‘Nigra Sum,’ from Monteverdi’s ‘Vespers’.
Here we have passion and joy characterized side by side. McMahon carries
this off smoothly yet movingly…”
Gary Higginson, http://www.musicweb.uk.net 2005 (RE: A Painted Tale CD)
“…In the uplifting
tenor aria, Des Vaters Stimme, McMahon’s clear melodic line was
beautifully accompanied by fluent obbligato of violinist Rachael Beesley…”
Harriet Cunningham, Sydney Morning Herald, June 28, 2005 (RE: Bach
Cantatas)
“….The soloists,
Jamie Allen, Paul McMahon and Stephen Bennett are universally excellent
with Sara Macliver and Sally-Anne Russell outstanding….”
Andrew Fraser, MusicalAustraliaGuide.com, May 1, 2005 (RE: The Fairy
Queen CD)
“….the cast includes
Australia’s two reigning divas of early music, Sara Macliver and
Sally-Anne Russell and also includes Jamie Allen, Paul McMahon and
Stephen Bennett. The Orchestra of the Antipodes is conducted by Antony
Walker, whose sure sense of direction and ability to allow phrasing and
dynamics their fullest due,
brings the piece vividly and sensuously
alive…."
Michael Shmith, The Age, March 24, 2005 (RE: The Fairy Queen CD)
“….this cantata was
exemplary of the strengths heard elsewhere: for example, tenor Paul
McMahon’s radiant tone in his verse of the chorale….”
David Vance, Sydney Morning Herald, March 28, 2005 (RE: Bach Cantatas)
“….another lighter
toned, very fine tenor was Paul McMahon taking on three roles during the
night….”
John Grant, Opera Now, March/ April 2005
“….McMahon’s
responsiveness to text and the musical fabric of the eight composers
represented on this CD is meticulous. He sings with equal sympathy in
English, French and Latin. The barings of soul are eloquent and
delivered with such consistent sensitivity and musicality that they
provide a very rewarding listen….”
David Gyger, Opera-Opera Magazine, March 2005 (RE: A Painted Tale CD)
“….Most stylish is
tenor Paul McMahon, with no more support than two doleful recorders and
bass in One Charming Night…."
Peter McCallum, Sydney Morning Herald, February 12, 2005 (RE: The Fairy
Queen CD)
“….McMahon’s voice is
an intriguing instrument and very lively in repertoire. His
interpretations are ardent. He has the power and penetration of a normal
tenor but the ethereal, bell-like vocal quality of the counter-tenor as
well. It is an irresistible combination….”
Martin Buzacott, Limelight, February 2005 (RE: A Painted Tale CD)
“….tenor Paul McMahon
is a voice to follow. He is a powerful performer, sublime in his
communication and innate musicianship. …”
Robert Aburn, Christchurch Press, December 6, 2004 (RE: Messiah)
“….Lighter in tone
than Tucker, tenor Paul McMahon is equally clear and firm, and they are
well matched in timbre in their Act V duets….”
Murray Black, The Australian, December 4, 2004 (RE: Orfeo)
“….Tenor Paul McMahon
brought the evening's most sophisticated and subtle stylistic
understanding to a range of roles….”
Peter McCallum, Sydney Morning Herald, December 4, 2004 (RE: Orfeo)
“….Tenor Paul McMahon
ornaments with a refined sense of line and sophisticated expressiveness
in the recitative Thy Rebuke hath broken his heart….”
Peter McCallum, Sydney Morning Herald, December 31, 2003 (RE: Messiah
recording)
“….of the men, Paul
McMahon and Stephen Bennett were outstanding….”
Peter McCallum, Sydney Morning Herald, December 2003 (RE: The Fairy
Queen)
“….the first to be
heard was Paul McMahon, whose pleasing sound was complemented by
exemplary enunciation of his recitative….”
David Gyger, Opera Opera Magazine, November 2003 (RE: St Mark Passion)
“….Tenor Paul McMahon
is a beautifully pathetic cooked swan, singing in the falsetto range
with remarkable ease and clarity. Working with this particular
combination
of exceptional Australian talent must have been a
conductor's dream for Antony Walker; his interpretation of the work and
his control of the forces have produced what
is probably one of the best
ABC recorded performances of 2002. ”
Anne Hodgson, OZartsreview, October, 2003 (RE: Carmina Burana CD)
“….with tenor Paul
McMahon having the most chances and making the most of them….”
David Gyger, Opera Opera Magazine, July 2003 (RE: When Falling Snow)
“….the choir
Cantillation and the soloists were excellent….”
Peter McCallum, Sydney Morning Herald, June 30 2003 (RE: When Falling
Snow)
“....tenor Paul
McMahon surfaced as a characterful Petrus....”
David Gyger, Opera Opera Magazine, May 2003 (RE: St Mark Passion)
“…Paul McMahon has an
excellent tenor for oratorio singing, smooth and even without much sign
of Italianate squillo…”
Sandra Bowler, gfhandel.org, January 2003 (RE: Messiah CD)
“....Paul McMahon’s
excellent contribution in this brief but memorable segment of the
work....”
David Gyger, Opera Opera Magazine, November 2002 (RE: Carmina Burana CD)
“…The high tenor part
of the roasting swan is something of a problem in its dramatic as well
as musical demands: should it be played purely as a piece of
grotesquery,
or should it reflect the swan's lost beauty rather than its
imminent end? For the Australian recordings, tenor Paul McMahon presents
a full-bodied rendition supported
by a robust chorus…”
Sandra Bowdler, andante.com November, 2002 (RE: Carmina Burana CD)
“....as a bonus, the
punchy soloists include Paul McMahon....”
Deborah Jones, The Australian, September 2002 (RE: Carmina Burana CD)
“…Tenor Paul McMahon
has a tender voice without the braying quality to which tenors can be
prone…”
Sandra Bowdler, andante.com July, 2001
“....Tenor Paul McMahon was suavely melancholic....”
Peter McCallum, Sydney Morning Herald, May 2001 (RE: On Wenlock Edge)
“....Paul McMahon’s
rendition of the tenor solo Nigra Sum was superb in its sustained and
strangely poignant beauty....”
Harriet Cunningham, Sydney Morning Herald, April 2001 (RE: Monteverdi
Concert)
“...showcasing the
beauty of tenor Paul McMahon’s voice....”
Hilary Shrubb, The Australian, March 2001 (RE: Monteverdi Concert)
“....all the soloists
were excellent and on form, delighting with their unique vocal
qualities, Tenor Paul McMahon with effortless agility and lightness.
McMahon with impeccable diction as the Evangelist shone....”
Waikato Times, December 2000 (RE: Bach Christmas Oratorio)
“....the recitatives
of Paul McMahon showed fine conception and pacing of delivery....”
Jeff Pressing, The Age, November 2000 (RE: Bach Cantatas)
“....the singing of
tenor Paul McMahon was everywhere sweet and true......”
John Carmody, The Sun Herald, December 1999 (RE: Purcell with Salut
Baroque)
“....the chief
delight of the evening was the singing of tenor Paul McMahon, whose
voice stretches seamlessly and beautifully from tenor to counter-tenor
range....”
David Vance, Sydney Morning Herald, December 1999 (RE: Purcell with
Salut Baroque)
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