Jukka Isopuro, HS
WOZZECK | HELSINKI FESTIVAL, 2015
“Hubert Francis gave an extraordinary performance as the Captain, his jerky movements making him look puppet-like, providing a dose of crazy, insensitive humour.”
Opera Magazine, Henry Bacon
HAUPTMANN, WOZZECK | FINNISH NATIONAL OPERA, HELSINKI, 2019
“Australian Hubert Francis is a spectacular, turgid Captain who bosses about but deep inside is a weak character.”
Göran Forsling, Seen and Heard International
HAUPTMANN, WOZZECK | FINNISH NATIONAL OPERA, HELSINKI, 2019
“Portrayed as so bloated as to require being carried around, the Herod of Hubert Francis boasted a strong, musical tenor.”
John Allison, Opera Magazine
SALOME | THE ISRAELI OPERA, TEL AVIV, 2019
“What was really convincing was tenor Hubert Francis, who became “all in” in the role of the plump and neurotic Herod. His intense presence on stage provided the performance an indispensable dramatic focus.”
newfounded.com
SALOME | BERGEN FESTIVAL, 2022
“Hubert Francis’ Spoletta was an oily henchman, as clipped and professional as Markov…and sneeringly dispassionate after Tosca’s big leap…”
Benjamin Poore, OperaWire
TOSCA | ROYAL OPERA HOUSE, DECEMBER 2021
“The Spoletta of tenor Hubert Francis, though, was a triumph, not only vocally strong but capable of superb diction at speed in the second act.”
Colin Clarke, Opera Today
TOSCA | ROYAL OPERA HOUSE, DECEMBER 2021
“Hubert Francis’s new Spoletta…stood out.”
Fiona Maddocks, The Guardian
TOSCA | ROYAL OPERA HOUSE, 2018
“Hubert Francis captures the erratic and authoritarian side of Chairman Mao.”
Pat O’Kelly, Irish Independent
NIXON IN CHINA | RTE NSO, DUBLIN, 2014
“Hubert Francis’ Mao is poised and articulate.”
Terry Blain, bachtrack
NIXON IN CHINA | RTE NSO, DUBLIN, 2014
“Hubert Francis played a dignified Laios.”
Owen Mortimer, Opera Now Magazine
OEDIPE | ROYAL OPERA HOUSE, 2016
“The singer who made the biggest impression was Hubert Francis in the role of the slippery boyar Prince Shuisky. Rolling his tongue around the Russian text with relish, he presented exactly the extrovert characterisation required. His manipulation of Boris, informing him of a Pretender to the throne, was deliciously wicked.”
Mark Pullinger, bachtrack
BORIS GODUNOV | PHILHARMONIA ORCHESTRA, 2015
“It was tenor Hubert Francis who most convincingly inhabited his role as the sinister and slightly mincing Prince Shuysky, his delivery on occasion like a pantomime villain threatening to upstage Ivashchenko.”
David Truslove, Classical Source
BORIS GODUNOV | PHILHARMONIA ORCHESTRA, 2015
“The tenor of Hubert Francis was delectably slimy and slithery as Shuysky… This daring and accomplished semi-staging, strong as a shot of vodka…”
Hilary Finch, The Times
BORIS GODUNOV | PHILHARMONIA ORCHESTRA, 2015
“Jeremy White and Hubert Francis repeated their sharply etched Sacristan and Spoletta.”
Opera Magazine
TOSCA | ROYAL OPERA HOUSE, 2013
“The other standout of the night is the Herod of Hubert Francis, impeccably sung, with a clownish charisma and exuberant physicality.”
Ewart Shaw, The Advertiser
SALOME | OPERA SOUTH AUSTRALIA, 2013
“Le ténor Hubert Francis, avec sa voix puissante et bien projetée, parvient à élever le personnage de Goro au dessus de la caricature.”
Emmanuel Andrieu, Classiqueinfo.com
MADAMA BUTTERFLY | GRAND THÉÂTRE DE GENÈVE, 2013