“Simon Lobelson’s Osmin showed real ability with the text. Not unconnectedly, [whose] singing was the most expressive”
- George Hall, Opera, Zaide“Most memorable for many was the bass, Australian-born Simon Lobelson, who delivered his solos with pulsating warmth, vigour and originality.We will definitely hear more of him.”
- Orpheus, Messiah“The baritone soloist was Simon Lobelson, whose scholarly introductions complemented his delivery of Wolf’s Der Feuerreiter and Schubert’s Prometheus, the latter a most effective dramatic performance.”
- Donald Hollins, English Touring Opera Lieder Recital“Simon Lobelson’s warm, centred baritone thrillingly threw off the frenzied plaints of the Grandfather Clock, and gave a seductive edge to his sinuous feline Lothario.”
- David Blewitt, Opera, L’enfant des sortileges“I particularly liked Simon Lobelson’s floppy-faced Grandfather Clock, and his doubling as the black cat.”
- Nick Breckenfield, Classical Source, L’enfant et les sortileges“Of the characters dreamed up in his nightmare, Simon Lobelson’s L’Horloge . . . was particularly well-drawn”
- Anna Picard, The Independant, L’enfant et les sortileges“Simon Lobelson and Sigridur Osk Kristjansdottir, as the black and white cats respectively, brought out the playfulness and athleticism within their roles, with some wonderful feline vocalisations thrown into the musical lines.”
- Evan Dickerson, Seen and Heard, L’enfant et les sortileges“Among the men, I particularly liked . . . Simon Lobelson, first as the Granfather Clock, and then as the Black Cat.”
- Patrick O’Connor, Opera, L’enfant et les sortileges“Better yet was Simon Lobelson’s Dr Falke: a classy performance, his baritone finessed and honed (like a young Gidon Saks) – and a dab hand as an actor.”
- Roderic Dunnett, Opera Now, Die Fledermaus“Simon Lobelson’s dark-toned Falke fared better”
- Sunday Telegraph, Die Fledermaus“There were some fine voices. Simon Lobelson (Falke) fielded beautifully rounded tone and phrased ’Brüderlein’ extremely elegantly.”
- Rodney Milnes, Opera, Die Fledermaus“Simon Lobelson’s Falke was another confident performance: he is a student of Roderick Earle, which shows in his phrasing and vocal production”
- Melanie Eskanazi, Seen and Heard, Die Fledermaus“Pinchgut Opera play to the gallery more in matters of theatrical impact…. Such is the case with the Drunken Poet scene which is a brilliant affair(a testament to bass Simon Lobelson’s deft communicative skills)”
- Jonathan Freeman-Attwood, Gramophone, The Fairy Queen“A vigorous baritone with a watchful, Iago-like depiction of the character who originates rather than enacts the crime”
- George Hall, Opera, The Rape of Lucretia“An outstanding Junius from Australian Simon Lobelson . . . a beckoning future”
- Roderic Dunnett, Opera Now, The Rape of Lucretia“All acquitted themselves with distinction, in particular bass Simon Lobelson.”
- David Gyger, Opera~opera, Jetzt immer Schnee“ . . . impressive young baritone Simon Lobelson . . . their signature sound remains undiminished.”
- Vincent Plush, The Australian, Les lagrime di San Pietro“Simon Lobelson’s musicality was made manifest as soon as he opened his mouth and he continued to reaffirm that snap judgement all night . . .obviously, too, he is one of those guys who loves being on stage; a born performer, radiating a charm which is all but impossible to resist . . .an ebullient, unselfconscious stage presence coupled with his natural singing style.”
- David Gyger, Opera~opera, The Magic Flute“The most exciting voice belonged to the baritone, Simon Lobelson. His appearance reminded me of those established singers who have served their apprenticeships with TheRenaissance Players, notably Graham Pushee and Lyndon Terrancini.”
- David Vance, Sydney Morning Herald, The Renaissance Players“The excellent Australian baritone Simon Lobelson was the soloist in the Stanford work . . . It takes a lot of power and confidence to front several hundred performers but Lobelson was well-equipped.”
- Roddy Phillips, Aberdeen Press and Journal, Sea Symphony and Songs of the Fleet“He has the ability to combine his rich and flexible voice with his excellent acting talent”
- Isle Baker, Battle Observer, Etchingham Festival Opera Gala“As befits the less than attractive figure of Joabel . . . , his rendition of Depit jaloux strikes just the right dramatic note.”
- MusicWeb-International, David and Jonathan“The remainng principal is that of Joabel, nicely taken by baritone Simon Lobelson.”
- Robert Hugill, MusicWeb-International, David and Jonathan“Through the strong voice of Simon Lobelson, we experienced first-hand the fear, anger and triumph of Elijah the prophet, as he struggled with his torment and carrying out the bidding of the Lord.”
- Norman Steer, Diss Express, Elijah“The sparkling quartet of thesps, Victoria Joyce, Alison Kettlewell, Hubert Francis and Simon Lobelson.”
- Yehuda Shapiro, Opera, Adriana Lecouvreur