Monteverdi's L'Orfeo at Edinburgh's Usher Hall (2017)

...the beautifully blended shepherds of the opening scene...

Monteverdi Choir: Monteverdi's L'Orfeo at La Fenice (2017)

And here John Eliot Gardiner has a vocal ensemble... obtaining beautiful moments thanks to the voices of the shepherds, the contratenor Michal Czerniawski, the tenors Francisco Fernández Rueda and Gareth Treseder, and the wonderful nymph Anna Dennis.

Monteverdi's L'Orfeo at Salzburg's Felsenreitschule (2017)

The shepherds delivered gorgeous solos and ensembles, particularly tenors Francisco Fernández Rueda and Gareth Treseder and countertenor Michał Czerniawski.

Monteverdi's L'Orfeo at Berlin's Philharmonie (2017)

So wie das Orchester einen Expressionsklimax nach dem anderen fabrizierte, übersetzte der knackige Monteverdi Choir seine Reaktionen als Nymphen- und Hirtenschar, aus der Francisco Fernández-Rueda und Gareth Treseder in ihren jeweilig kolorierten Soli herausstachen...

Monteverdi's Il ritorno d'Ulisse at New York's Alice Tully Hall (2017)

All the singing was characterful and intimate...The Pastore were a prime example - tenors Francisco Fernandez-Rueda, Gareth Treseder, John Taylor Ward and Michal Czerniawski.

New York Classical Review

Monteverdi's Il ritorno d'Ulisse in Edinburgh's Usher Hall (2017)

Gardiner gathered together a superb line-up of singers... The ensemble scenes were the most successful such as the party, the suitors (Gareth Treseder, Michal Czerniawski and Gianluca Buratto) failing to string Ulisse’s bow and the sublime unaccompanied chorale.

The Scotsman

Monteverdi Choir: Monteverdi's L'Orfeo at Bristol's Colston Hall (2017)

The duets between the tenors Francisco Fernández-Rueda and Gareth Treseder ... added a sense of beauty and delicacy to the gloomy proceedings.


The Monteverdi Choir: Monteverdi's Il ritorno d'Ulisse in Bristol's Colston Hall (2017)

The stand-out moment of ensemble were the trio of suitors (Gareth Treseder, Gianluca Buratto and Michal Czerniawski): the contrast between their sublime harmonies and the evil deeds they were singing about was deliciously ironic.


Berlin Philharmonic Orchestra: Stravinsky's Oedipus Rex, Berlin Philharmonie (2016)

Ashley Riches, Gianluca Buratto, Alex Ashworth and Gareth Treseder completed the line-up of outstanding roles.


Monteverdi Choir: Mozart Requiem, Cadogan Hall (2016)

Gareth Treseder's tender tone in the "Tuba Mirum" made a beautiful foil to the gravely serious bass of David Shipley.

The Telegraph

Monteverdi Choir: Carnegie Hall, Monteverdi’s L’Orfeo (2015)

In the Shepherds’ duet in Act Two, Andrew Tortise and Gareth Treseder blended with a fine attention to tuning that explicated the music’s piquant dissonances.

Opera News

Monteverdi Choir: Monteverdi L’Orfeo at the BBC Proms (2015)

Tenors Nicholas Mulroy and Gareth Treseder, bass David Shipley, and countertenor James Hall were strong dramatically and vocally as Shepherds and Spirits.

Seen and Heard International

Monteverdi Choir: Monteverdi L’Orfeo at the BBC Proms (2015)

Gareth Treseder, Nicholas Mulroy, James Hall and David Shipley produced some vivid and highly characterised singing.

Planet Hugill

Monteverdi Choir: Monteverdi’s L’Orfeo (2015)

Soloists Gareth Treseder, James Hall, and David Shipley were strong dramatic and vocal additions as Shepherds, singing with impressive cohesion

Bachtrack Ltd

Monteverdi Choir: Bach Cantata Pilgrimage anniversary concert, Cadogan Hall (2010)

Welsh tenor Gareth Treseder brought out the emotional complication of the piece [Bach’s Nun Komm, Der Heiden Heiland], turning in a moment from anger to pleading…excellent.

The Telegraph

Bristol Choral Society: Handel’s Messiah in Bristol's Colston Hall

Gareth Treseder had a pleasant voice and his supreme control in Comfort Ye set the standard for his other solos.

Bristol Post

Sherborne Chamber Choir: Bach's St John's Passion

…soloist Gareth Treseder certainly made the most of (his recitatives and arias).  His sense of agitation in the Part One recitative O Schmerz! (Oh pain!)…contrasted beautifully with the lovely expansive lines of the choral writing while his Schimpf und Spott (mockery and abuse) in Part Two was wonderfully intense.

The Fine Times Recorder