"Aided by a superb trio of room-mates played by Audun Iversen (Marcello), Nahuel di Pierro (Colline) and David Bizic (Schaunard), they all combine rich and powerful voices with excellent acting ability which follows Villazon's lead in injecting extra humour and vitality to the production." Daily Express, December 2012

"Audun Iversen proves impressive as Marcello, his rich baritone voice producing a sound of great strength and evenness" Music OMH, January 2013

"Audun Iversen, Albert to Villazón's Werther, was perhaps the most impressive singer on stage as Marcello, vocally commanding (a good ‘Gioventù mia’ in Musetta’s Waltz Song), and offered a sympathetic audience to Mimì in Act III. He also participated in the musical highlight of the evening, the duet ‘O Mimì, tu più non torni’ with Villazón. His interactions with Stefania Dovhan’s flighty Musetta (making her house debut) had all the right spark" Opera Brittania, January 2013

"Norwegian baritone Audun Iversen’s full, rounded tone provided the basis for a warm and winning Marcello" The Stage, December 2012

"The finest of the soloists was Audun Iversen, a truly beautiful voice with a smooth tone and honeyed colour that you could revel in, but summoning enough dramatic power to convince as the corrupt Abbot."

Seen and Heard International, November 2012

"Norwegian baritone Auden Iverson’s contributions were not only luxuriously sung, but his various songs took on characterizations of their own: his “Estauns interius” had a touch of cynicism, his “Ego sum abbas” an irreverent decadence and his “Dies, nox et Omnia” delightfully emphasized discomfort when it was textually and range appropriate without coming across as strain."

The Classical Review, September 2012

"the impressive Norwegian baritone Audun Iversen used his warmly attractive lyric voice with great sensitivity, illuminating the texts from within. His singing carried stentorian force when it needed to and could hardly have been more smoothly integrated with that of the chorus. What a pleasure to hear any baritone scale the freakish range of "Dies, nox et omnia" (in which a young man bewails the cold heart of his beloved) so firmly." Chicago Tribune, September 2012

"Iversen displayed confidence across the wide range called for In his parts." Chicago Sun Times, September 2012

"Audun Iversen's firmly sung Count, complete with curling lip, dominates as he should..." The Sunday Telegraph, July 2012

"The cast is strong throughout, and there is so much to thrill to. Lydia Teuscher, Vito Priante and Audun Iversen as Susanna, Figaro and the Count, are all splendid vocally and play their wonderful games with rare gusto." Gramophone, June 2012

"Audun Iversen’s Count, in Moody Blues hairdo and moustache, has a big enough personality, vocally and histrionically, to dominate the stage."

Financial Times, June 2012

"Audun Iversen’s moody, sexually frustrated Count and Ann Murray’s deeply human Marcellina add to the richness of the picture." The Stage, June 2012

"A Traditional but Never Boring "Onegin"

This co-production between the Met and English National Opera is that rare thing in today’s opera world -- a clean, faithful telling of the story, as envisaged by the composer...The men took the honors. Norwegian baritone Audun Iversen was a beautifully sung and acted Onegin, broody, disconsolate, passionate, growing in stature as the work progressed"

Musical America, November 2011

"he was acting, extremely well, a young man not entirely confident at being an adult. Hence the overplayed self-importance, the drinking (his surreptitious helping himself to a refill in Scene 1 was a nice touch), and his patronising humiliation of Tatyana – again, his arrogant god’s-gift-to-women long, forced kiss before he discards her was shockingly probable, as was Tatyana’s final miserable embrace before she abandons him. Iversen makes Onegin satisfyingly insecure and supercilious; he sang beautifully and was compelling as the drunken empty husk of a man in Act Three." Classical Source, November 2011

"But it’s with the three main characters where the real excitement lies. Norwegian baritone Audun Iversen is nothing short of sensational as Onegin and not only does his singing take on a white hot intensity as the evening progresses but he manages to catch the character's insouciance which makes Onegin so objectionable from the start. His descent from buttoned-up prig to dishevelled obsessive is chartered unerringly realistically and his diction, given that he is not a native English speaker, is faultless." What's On Stage, November 2011

"Conductor Edward Gardner shows a firmer grasp of the opera's scale, and he has a strong cast to work with. The most convincing character is Onegin, his world-weary disdain embodied in Audun Iversen's clear, firm baritone and aloof stage presence." Evening Standard, November 2011

"Some Onegins can be so icily aloof in Act 1, and crushingly cruel in their rejection of Tatyana; Iversen's Onegin was more subtle than that, hardly priggish at all and seemingly honest when he told Tatyana he was neither ready for nor suited to marriage, though the way he kissed her here left things more ambiguously open than usual. His darksome voice registered strongly, and the Norwegian baritone (who sings Almaviva at Glyndebourne next summer) projected clear English. Opera magazine, December 2011