Critical acclaim for Nick's performances on the operatic stage, concert platform and in recital. Follow the hyperlinks for reviews in full.

Lyric Rhapsody  Art Song Canberra

"...Dinopoulos has a thrillingly powerful voice..."

Len Power, Canberra Critics Circle - 29 August 2016


Bach and His Ancestors  Latitude 37

"Finally, it was the turn of Johann Sebastian Bach and his cantata Ich habe Genug. Dinopoulos captivated the audience from the outset, his voice melding beautifully with the instruments, particularly [Kirsten] Barry's oboe. He used it to differentiate the various sections, from joy to despair - but always with a sense of calm."

Suzanne Yanko, Classic Melbourne - 1 April 2016


Iphigénie en Tauride  Pinchgut Opera

"For their production of Iphigénie en Tauride, Pinchgut assembled an ensemble of Australian singers whose fluency in Gluck's musical language is impeccable. Portraying both an unnamed Scythe and the Ministre du sanctuaire, bass-baritone Nicholas Dinopoulos - an Oreste in the making - sings handsomely and powerfully, the authority of his voicing of the latter part's 'Étrangers malheureux, il faut vous séparer' markedly increasing the menace of the scene in Act Two in which he appears. His music in Iphigénie en Tauride is neither demanding nor extensive in comparison with other works in his repertoire, but Dinopoulos is a singer whose attractive, assured vocalism and unaffected acting are always noticed."

Joseph Newsome, Voix des Arts - 14 December 2015


Giasone  Pinchgut Opera

"The rôles for low-voiced gentlemen are sung with epic technical control by bass-baritone Nicholas Dinopoulos and baritone David Greco. As Ercole, Mr. Dinopoulos lacks none of the burly masculinity of this legendary hero. His famous labors behind him, Ercole lent his brawn to the Argonauts' expedition to seize the golden fleece, and Mr. Dinopoulos lends his resonant voice and charismatic self-assurance to this performance of Giasone. His singing of the opening scene, 'Dal'Oriente porge l'alba,' is suitably robust, and his annoyance with Giasone's amorous dalliances is amusingly evident throughout the performance. His dueting with Isifile in Part Two is extraordinarily charming, and he impresses in every scene in which he appears with his uncanny combination of firm, ringing tone throughout his range and great flexibility."

Joseph Newsome, Voix des Arts - 5 August 2014

 

"As Ercole, Nicholas Dinopoulos had a suave breadth and depth to his sound (as attendant to a philander this role is an interesting antecedent to Leporello in Mozart's Don Giovanni)." 

Peter McCallum, Sydney Morning Herald - 7 December 2013

 

"From the first, Dinopoulos demonstrates not only the depth, but length, breadth and richness of his voice, which only gets better as he and the opera rollick along. Better still, he's just as substantial theatrically...Like Dinopoulos, [countertenor David Hansen] has corresponding strengths in the dramatic and, especially, comedic stakes." 

Lloyd Bradford Skye, Daily Review - 6 December 2013


María de Buenos Aires – Victorian Opera

"...operatic baritone Nicholas Dinopoulos, sensitively and authoritatively tackling multiple roles as the Cantor..." 

Peter Burch, The Australian - 23 August 2013

 

"Nicholas Dinopoulos, as the Cantor, has a vocal warmth and resonance that embodies the fluidity and ardour of Piazzolla's music and tells the story sensitively."

Kate Herbert, Herald Sun - 22 August 2013


Peninsula Summer Music Festival – Bach Cantatas

“At Saturday's opening, tenor Paul Bentley and bass Nicholas Dinopoulos sang a cantata each before combing for a hefty performance of Ich lasse dich nicht, BWV 157, distinguished by the singers' intensity, Bentley's easy negotiation of each top B in the operatic Ich halte solo, and the mellow pleasure of the bass' lowest register."

Clive O'Connell, The Age - 31 December 2012


Melbourne Festival – Buxtehude Membra Jesu Nostri

“Bass Nicholas Dinopoulos invested his active solos with a vigorous bounce.”

Clive O'Connell, The Age - 11 October 2012


The Seasons – Songmakers Australia | "Bass-Baritone Dinopoulos wows Piazzolla fans"

"The night’s main interest came in bass-baritone Nicholas Dinopoulos, who surged through five numbers, at his most impressive in "Balada para un Loco," which displayed a convincing mastery of the Spanish text by Horacio Ferrer and a powerful ardour when the actual song got under way. This young singer impressed with his linguistic fluency in three Romance tongues and an unswerving conviction that carried his audience with him through the macho world that Piazzolla’s work inhabits." 

Clive O’Connell, The Age - 24 September 2012


Gloriana Chamber Choir – Bach St. John Passion

“Nicholas Dinopoulos sang an imposing Christ...”

Clive O’Connell, The Age - 11 September 2012


Melbourne Symphony Orchestra – Grainger Tribute to Foster

“The night ended with...the Tribute to Foster, with an enthusiastic quintet of young soloists, led off by bass Nicholas Dinopoulos.”

Clive O’Connell, The Age - 1 September 2012


The Consort of Melbourne – Grainger Tribute to Foster

“But the pleasures were...Nick Dinopoulos's potent bass in the Foster score.”

Clive O’Connell, The Age - 4 July 2011


The Opera Studio Melbourne – Mozart Don Giovanni

“Nicholas Dinopoulos (Leporello)...had definite stage presence.”

Barney Zwartz, The Age - 4 September 2010

 

Nicholas Dinopoulos sparkles with comic invention as Giovanni’s manservant Leporello, here re- imagined as more of a best friend, riding the Don’s coattails and enjoying the spoils that are cast aside. The close age and friendship of the pair made Don Giovanni’s betrayal of Leporello all the more dramatic, almost more important in revealing Giovanni’s evil side than the murder of the Commendatore. Dinopoulos had the audience in the palm of his hand and he sings the bass role with assurance.”

Simon Parris, Theatre People - 3 September 2010


Melbourne University Choral Society – Pergolesi Magnificat/Carissimi Jephte

...bass Nicholas Dinopoulos brought animation to some brief narrative contributions.”

Clive O'Connell, The Age - 11 May 2010