Leslie Tay

"a tenor voice of remarkable control and clarity ... commits completely and entirely to his character"



  • Gentleman’s Island (peter Gray) - L’arietta

“both Leslie and Brent have a constantly fascinating onstage dynamic they play well off of each other. L’arietta has always paid great attention to precision and detail in their productions, with Leslie and Brent both delivering good enunciation in crisp, clear voices, making the production all the more enjoyable

Bakchormeeboy Online Blog

  • Life is Ha-ha-Happiness Recital (Soloist)

“Leslie Tay’s lighter, more characterful tenor (lovely top notes)”

The Flying Inkpot

  • filled with sadness, the old body attacks (soloist)

“In the buildup to an intense finale, opera singer Leslie Tay (tenor) performs a chant-like opera number, which with his operatic skills, elevated this segment to an enjoyable multifaceted piece. A figure positioned at the back of the stage, Leslie is almost invisible as we become aware of only his voice filling the space, haunting and melodic and perfectly complementing the abstract dance piece”

Bakchormeeboy Online Blog

  • The nightingale (Emperor) - Singapore repertory theatre

“Leslie Tay also did an amazing job with his portrayal as a spoilt and whiny Emperor, and his singing voice definitely stood out as well”


  • L'Incoronazione di poppea (nerone) - new opera singapore

"tenor Leslie Tay (Nerone) was outstanding for his formidable presence, in a role that surprisingly displayed mercy as well"

The Straits Times

"only an emperor can overshadow nearly everyone and steal the show. Leslie Tay played the role of despotic emperor Nerone perfectly ... managed to impress us with his incredible range, easily adjusting to his songs and always clear in his diction"

Bakchormeeboy Online Blog

  • the four note opera (tenor) - L'arietta

"Leslie Tay as The Tenor ... supremely commanding vocally ... Tay brought wonderful richness and passion to his role as the frustrated Tenor denied his top C by a score that had no Cs in it"

The Straits Times

  • Figaro and the Last Hangover (Figaro) L'arietta

"the singers' vivid characterisation of the comedic characters stole the show."

The Straits Times

  • Turandot (Emperor Altoum) Singapore Lyric Opera

"When the Emperor appeared on stage, effectively played as an old, withered and deeply human individual by Leslie Tay ... "

The Straits Times

"Leslie Tay, first as the doomed Prince of Persia then Emperor Altoum, gave completely lived-in performances that communicated the inner conflicts of his characters"

The Mad Scene Online Blog

  • Orpheus in the Underworld (Jupiter) New Opera Singapore

"Equally impressive was Leslie Tay, whose singing and acting were the most convincing among the male cast"

The Straits Times

"The gods are led by a camp, effeminate Jupiter (Leslie Tay, who commits completely and entirely to his character), dressed to the nines in hot pink pants and a patterned bra top"

Bakchormeeboy Online Blog

  • Babar the Little Elephant Recital Esplanade Recital Studio

"Leslie's performance went beyond simply singing; his active physical movements and charming stage presence made for a complete stage performance ... More lyrical numbers ... showcased his ability to spin warm legato lines and sing beautifully floated soft high notes"

The Mad Scene Online Blog

  • The Reluctant Dragon (Dragon) Braddell Heights Symphony Orchestra

"tenor Leslie Tay stole the show with his theatrical dragon and over-the-top stage presence"

The Flying Inkpot Online Blog

  • Travelogue (Narrator) - Singapore Sounds Orchestra

"A satire on Singapore in the year 2065, the protagonist, acted and sung by the irrepressible tenor Leslie Tay, was a Singaporean exile returning from Mars to find a homeland he does not really recognise"

The Straits Times

"Tay sang more and more, revealing a tenor voice of remarkable control and clarity. I look forward to catching him in some Britten - he has exactly the right voice for that repertory"

Dr Marc's Online Blog

  • The Pirates of Penzance (Frederic) Braddell Heights Symphony Orchestra

"Leslie Tay's bright lyric tenor rang out strongly into the auditorium as he carried himself with the confidence of an experienced leading man"

The Mad Scene Online Blog

  • The magic flute (monostatos) Bronx Opera

"Two standouts within the production came from the supporting cast: ... the second is Leslie Tay as the manic Monostatos. Filled with nervous energy, Tay brought a sense of nervous energy to his role making him that much more captivating. Even standing behind the action looking on, he was a story unto himself"


  • Trial by jury (defendant) Hubbard Hall Opera Theater

"Mr Tay was a standout of the afternoon, with a clear and crisp voice and easy graceful movement on the crowded stage"

Berkshire Fine Arts

  • The Fairy queen (tenor soloist) dell'Arte Opera Ensemble

"Tenor Leslie Tay exhibited fine dynamic control"

Voce di meche


  • A Midsummer night's dream (Flute/thisby) Lowell House Opera

"Leslie Tay as Flute/Thisby (the latter in unsettlingly convincing drag) was winsome"

Boston Musical Intelligencer

  • The fiddler and the old woman of rumelia (youth/guslar) Juventas New Music Ensemble

"Leslie Tay is youthful as the Youth, and has a clean, round tenor"

Boston Classical Review

  • La calisto (Pane) Harvard Early Music Society

"Leslie Tay conveyed the hapless God Pane (Pan) with comic pathos"

Boston Musical Intelligencer

  • Ariadne auf naxos (tanzmeister) Brooklyn Repertory Opera

"the absolutely charming interaction between the Dance Master, Leslie Tay, and Zerbinetta ... Mr Tay had a radiant energy on stage. I believed he was a dance master"

New Journeys and Paths

  • Madama ButterflY (goro) Opera Company of Brooklyn

"... Goro sung by Leslie Tay, who was charming in his portrayal ... He was a fine complement dramatically"


  • Trouble in tahiti (boy 1) Singapore Lyric Opera

"what really stole the show, however, was countertenor Phua Ee Kia and tenors Leslie Tay and Adrian Poon as the chorus. Resembling a jazzy boyband, their dulcet tones and deadpan expressions perfectly conveyed the ironic intentions of the composer"

The Straits Times

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