"Generelt var de musikalske højdepunkter i operaen, de smukke arier og duetter. Phillippe Do, der sang Lenskij, udviste dramatisk og musikalsk kapacitet på samme niveau som Kuhn i Lenskijs store dramatiske arie ude i skoven. I så høj grad at jeg næsten fældede en tåre: Der var noget særligt tragisk over måden, Lenskij stod grædende og alene i en vinterkold skov udklædt som en klovn. »
"In general, the musical highlights of the opera were the beautiful arias and duets. Phillippe Do, who sang Lenskij, exhibited dramatic and musical ability at the same level as Kuhn in Lensky's great dramatic arie in the woods. So much so that I almost shed a tear: There was something particularly tragic about the way Lenskij was crying and alone in a winter-cold forest dressed like a clown. "
Julia Bielefeld, Ungtteaterblod
"Efter festen och innan Onegin skjuter ihjäl honom sjunger Lenskij sin stora aria Kuda Kuda. Här levererar tenoren Philippe Do sin aria med all önskvärd känsla och övertygelse. »
"After the party and before Onegin shoots him to death, Lenskij sings his big aria Kuda Kuda. Here, tenor Philippe Do delivers his aria with all the desirable feeling and conviction. »
Morgens H Andersson, Operalogg
"og denne opsætning af EUGEN ONEGIN fremstår som en holdindsats fremfor en række individuelle sejre. Den følelsesfulde Philippe Do som Lenskij gør dog et særligt indtryk"
" this setup of EUGEN ONEGIN appears as a team effort rather than a series of individual victories. However, the emotional Philippe Do as Lenskij makes a special impression"
Michael Søby, CPHCULTURE
"Philippe Do is outstanding as the governor’s Commander. He shares with his master the same authority. We love hating this kind of characters, still they are difficult to play. Do’s performance is impressive. Together with his soldiers, he leads a massive terror campaign and generates a feeling of fear.
Bertrand Balmitgère, Crescendo
"Philippe Do projects his large tenor voice for a vigorous and strong Rodolphe"
Jocelyne de Nicola, GBOpera
"Philippe Do displays a beautiful and larger voice tenor in the role of Rodolphe"
José Pons, Olryx
"The (too) short appearance of tenor Philippe Do in the martial part of Rodolphe"
Alain Duault, OperaOnline
"the arrogance of tenor Philippe Do's voice, like a laser beam, in the role of Rodolphe"
Benito Pelegrin, RMT International News
"Philippe Do is an arrogant Rodolphe, as much as one can wish for."
Christian Peter, Resmusica
"The Prince, Philippe Do, was greeted with enthusiastic applause"
"The radiant Prince of Philippe Do"
- Axel Zibulski, FAZ
“Philippe Do is a tempestuous Bois-Rosé, with a forthright voice.”
– Damien Dutilleul, Olyrix
“Philippe Do, a Bois-Rosé of high caliber.”
– Bertrand Renard, Culturebox
“We liked Philippe Do, a very articulate Bois-Rosé.”
– Laurent Bergnach, Anaclase
“Verdi’s opera Don Carlo was celebrated at the Mainz State Opera. Tenor Philippe Do was a passionate and moving Don Carlos.”
– Volker Milch, Allgemeine Zeitung
“Philippe Do, impeccable in Bizet, projects his voice effortlessly with easy high notes and a rich medium.”
– Didier Van Moere, Concertonet
“The French tenor Philippe Do is convincing with an emotional and baritonal voice and secured high notes. He gives Radamès a great deal of emphasis.”
– Klaus Billand, Der Neue Merkur
“Philippe is an elegant tenor with a beautiful ring and a precise articulation.”
– Bettina Boyens, Frankfurter Neue Presse
“His vocal performance is undisputed.”
– Frank Raudszus, egotrip
“the Frenchman Philippe Do is a Rodolfo with solid yet agile high notes, and with a perfectly focused and concentrated tenor...”
– Axel Zibulski, FAZ
“a precise intonation and his impressive, narrative sense for the lyrical tenor voice...”
– Martin Wimmer, Südhessen
“With such a remarkably strong cast, there is indeed something more: neither Vida Mikneviciute’s Mimì nor the Rodolfo from Philippe Do lack the ability to ride over the orchestral sound, that Bäumer unleashes with passion... Fundamental for such conviction is - in addition to the beautiful tenor timbre and high notes of Rodolfo, and a Mimi, who can also truly personify the fragile figure with a delicate piano - an in-depth personal performance, which also takes Puccini's love couple out of the realism of the social drama. In a duet, Rodolfo and Mimì take each other's hands and spread their arms as if they could literally escape on the wings of the song of reality, with a glowing backwind from the orchestra pit. ”
– Volker Milch, Allgemeine Zeitung
“Tenor Philippe Do sang a luminous Uriel, with a clear voice, full of nuances, from velvety to trumpeting.”
“In La Bohème by Puccini, Philippe Do as Rodolfo was greeted with long cheer storms by the audience. His aria "Che gelida manina " was sung with delicacy, mellowness, and vibrancy.”
“Philippe Do sings tonight the loving, happy, tormented, and ultimately longing-for-death Werther. And he does this imposingly. His voice has a warm, pleasant ring, carrying easily in the forte and in the high notes, which are brilliantly shining. A beautiful lyric voice, full of stamina, from this young artist born in France.”
– Manfred Drescher, Der Oper Freund
“A distinctive vocal purity from tenor Philippe Do, whether he sang Werther by Massenet or Mario from Tosca.”
– Vincent Cressard, Ouest-France