Paul McMahon



Audio and Visual

Recordings / Publications





Suite 25, 450 Elizabeth Street
Surry Hills NSW 2010
Ph: +61 2 93196255
Fax: +61 2 93197611
Mobile +61 (0)411 129 690

Patrick Togher—Director
Romola Tyrrell—
Artist Manager



Press reviews:

“…It is music that soothes and smiles, like those familiar nursery tunes in granny’s music box. It makes singers sound good. Soprano Sara Macliver, tenor Paul McMahon and baritone Christopher Richardson obviously adore singing it and audiences relish it. Each singer produces a smooth, carefully textured line, with perfect intonation and phrasing…”
Vincent Plush, The Australian, 4 August 2018 (RE: Real and Right and True: Songs by Calvin Bowman)

“…McMahon’s classic tenor instrument is well suited to this music, and was particularly expressive in childlike settings of Robert Louis Stevenson.”
Tony Way Limelight, 23 July 2018 (RE: Real and Right and True: Songs by Calvin Bowman, concert to launch the CD).

“...Australian composer Calvin Bowman’s beautiful pieces are awash with the idioms of English song, from the wistfulness of Ivor Gurney in The Rainbow to the biting wit of Warlock in West Sussex Drinking Song and, in the salty Three Sea Songs, Stanford’s halcyon zest for naval life. Bowman’s songs speak directly, their music stunningly—and often very simply—illuminating some of the English language’s most potent lines, whether they be A. E. Housman’s ode to the soft peace of death or Hilaire Belloc’s salute to the dawn. Every song is given a sensitive, deeply touching performance from a superb array of singers and pianists.”
iTunes review, 6 July 2018 (RE: Real and Right and True: Songs by Calvin Bowman, 2-CD set).

“...Paul McMahon was as eloquent a Zadok as one could wish for, relishing in Handel’s melismatic word-painting in airs such as ‘Sacred Raptures Cheer My Breast’ while maintaining complete clarity of diction.”
William Yeoman, West Australian, 6 November 2017, (RE: Handel’s Solomon).

"...I cannot too highly praise the performance of Paul McMahon. In the crucial role of the Evangelist, he brought faultless taste, blissfully clear diction and a quiet authority to his singing. Had Bach himself been present at the performance, I rather think he’d have led the applause for McMahon’s contribution...There was a small forest of microphones suspended over the players, with the concert recorded for a national broadcast by ABC FM on Good Friday. This splendid interpretation of one of the great masterpieces of the baroque era certainly deserved to be heard by a national audience."
Neville Cohn, West Australian, 24 March 2016. (RE: Bach’s Johannes-Passion).

“…With only one song, McMahon was the standout. He tackled the extremely challenging ‘Olim lacus colueram’ with great style and demonstrated that he knows how to ‘ham it up’ and convincingly tell a story…”
Kym Clayton, The Barefoot Review, 16 May 2014 (RE: Orff’s Carmina Burana).

“…Whilst the tenor has only one song (The Ballad of the Roasting Swan), when in the right hands, it can be a vocal tour de force with its plaintive falsetto. And Paul McMahon was truly masterful, delivering with precision and power…”
Brett Allen-Bayes, Limelight, May 2014 (RE: Orff’s Carmina Burana).

“…Tenor Paul McMahon only got one go, alas, but his grim tale of the roasted swan about to be carved up on the salver was a show stopper. Very high, all full voice, dying bravely, hand on heart – a cameo of music theatre…”
Elizabeth Silsbury, The Advertiser, 19 May 2014 (RE: Orff’s Carmina Burana).

“…Of the four soloists, one surrendered totally to the resonant tone and immaculate phrasing of mezzo Sarah Castle, and the well-projected fervour of Paul McMahon’s tenor…”
William Dart, The New Zealand Herald, 13 September 2013 (RE: Mozart’s Requiem).

“…whilst the triumphant finale with highly appropriate and effective soloists (Macliver, Russell, McMahon and Bennett) and choir were given over to long singing lines…”
Brett Allen-Bayes, Limelight August 2013 (RE: Beethoven’s Ninth Symphony)

“…Paul McMahon sang easily and well with both Bradman and Cole, engaging with the injustices decreed in act one, the growing inevitability of Didymus’s pledge to sacrifice himself for Theodora and the ultimate fate of the lovers…”
Jennifer Gall, The Canberra Times, 25 June 2013 (RE: Handel’s Theodora).

“…Paul McMahon’s rich, flexible tenor announced its expressive eloquence immediately in the opening recitative ‘Comfort ye’ and air ‘Ev’ry valley’…
Will Yeoman, Limelight May 2013 (RE: Handel’s Messiah).

“…local tenor Paul McMahon was equally adept in the showstopper “roasted” swan song…”
Steve Moffat, The Telegraph, 22 March 2013 (RE: Orff’s Carmina Burana)

“…The soloists – Greta Bradman, Sally-Anne Russell, Paul McMahon (who also performed in the ASO’s last performance of the Requiem in 2006), and Stephen Bennett – were excellent (especially in the ‘Benedictus’) and complemented the chorus, rather than the other way round, as they should…”
Kym Clayton, The Barefoot Review, 16 November 2012 (RE: Mozart’s Requiem)

“...Tenor Paul McMahon’s resonant eloquence with words and glowing, rounded pure sound proved an ideal vehicle, creating, with the ensemble, a precious cameo from a vigorous but neglected spirit...”
Peter McCallum, Sydney Morning Herald, 21 May 2012 (RE: Glanville-Hicks’ Profiles from China).

“...”Welch Babbage was joined by mezzo Fiona Campbell...tenor Paul McMahon and Kiwi bass Paul Whelan as soloists in the requiem. They made a strong team, both in their solo passages and the ensemble sections, especially the lovely Tuba mirum...”
Steve Moffat, North Shore Times, 3 May 2012 (RE: Mozart’s Requiem).

“...I cannot recall a more evenly matched solo line-up for a Messiah performance. As ever, soprano Sara Macliver brought expressive depth and tonal lustre to each aria she sang – and tenor Paul McMahon came up trumps...”
Neville Cohn, The West Australian, 5 April 2012 (RE: Handel’s Messiah)

“While all soloists were convincing in recitatives and airs, tenor Paul McMahon was particularly secure in tone and diction and in the duet with mezzo-soprano Sally-Anne Russell...”
Elizabeth Ruthven, The Mercury, 22 December 2011 (RE: Handel’s Messiah).

“...Tenor Paul McMahon brought his bright, fluid style to the role of the narrator. A highlight was his suet with Macliver, whose radiant soprano and impeccable baroque phrasing created the perfect counterpart...”
Rosalind Appelby, The West Australian, 19 December 2011 (RE: Bach’s Christmas Oratorio).

“...Tenor Paul McMahon and baritone James Clayton...when they finally had a chance to stretch their vocal chords towards the end of the evening, added a richness to round out the soloists...”
Sarah Green,, 28 November 2011 (RE: Mozart’s Mass in C Minor).

“...In Quoniam tu solus, the sopranos and tenor Paul McMahon brought to their singing a lightness of texture and buoyancy of momentum that could hardly have been bettered. I especially admired the Benedictus in which Macliver and Mills were joined by McMahon and baritone James Clayton; it was the high point of the performance, a glorious offering which unfolded impressively...”
Neville Cohn, The West Australian, 28 November 2011 (RE: Mozart’s Mass in C Minor).

“...Pepusch: Cantatas and Sonatas features the suitably light tenor voice of Paul McMahon. He reminded me on occasion of Ian Partridge, though without the slight edge that sometimes affected the latter’s very top register and gruffness at the other extreme. McMahon sings beautifully, and somehow manages a remarkable uniformity of sound across his entire range...”
Brian Clark, Early Music Review, October 2011 (RE: Pepusch: Cantatas and Sonatas cd).

“...Paul McMahon sang with his customary eloquence...”
Peter McCallum, Sydney Morning Herald, 17 October 2011 (RE: Bach’s Mass in B Minor).

“...Tenor Paul McMahon’s solitary contribution as the cooked swan proved a vocal highlight...”
Clive O’Connell, The Age, 27 June 2011 (RE: Orff’s Carmina Burana).

“...Tenor Paul McMahon was outstanding as the Evangelist...”
Cecily Ryan, The Telegraph, 26 April 2011 (RE: Bach’s Johannes Passion).

“That story is largely left to the evangelist, and the tenor Paul McMahon has polished his evangelistic presentation over the years to deliver the part with wonderfully fluid expressiveness and eloquent pace, all done with a light, penetrating, well-coloured voice....”
Peter McCallum, Sydney Morning Herald, 25 April 2011 (RE: Bach’s Johannes Passion).

“...Paul McMahon was an eloquent evangelist, bringing much to the text through his dramatic yet carefully considered delivery...”
William Yeoman, The West Australian, 20 April 2011 (RE: Bach’s Johannes Passion).

“...Australian Paul McMahon’s Evangelist was strongly characterized, impassioned, and characterful...”
Garth Wilshire, Capital Times, 13 April 2011 (RE: Bach’s St Matthew Passion).

“...Above all, there’s a story being told by this music, and in this respect the performance delivered splendidly - I thought the Evangelist Paul McMahon excellent in his dramatic focus, so alive to the text’s possibilities and so fluent a technique as to do his interpretation full justice...”
Peter Mechen, Middle C Classic music reviews, 10 April2011 (RE: Bach’s St Matthew Passion).

“…Sumptuous strings introduced Paul McMahon in Comfort Ye My People. After drawing some fairly intense emotions from this recitative, the Australian tenor complemented it with an Ev’ry Valley that positively rippled with joy…”
William Dart, New Zealand Herald, 15 December 2010 (RE: Handel’s Messiah)

“…I particularly liked the quietly uttered, deeply felt measures of the Recordare sung, beautifully, by the vocal quartet of Sara Macliver (soprano), Sally-Anne Russell
(mezzo-soprano), Paul McMahon (tenor) and Teddy Tahu Rhodes (bass baritone)…”
Neville Cohn, ozartsreview, October 2010 (RE: Mozart Requiem cd)

“…tenor Paul McMahon effortlessly lyrical in Ich will bei meinem Jesu wachen…”
William Dart, New Zealand Herald, 30 October 2010 (RE: Bach’s St Matthew Passion)

“…Australian tenor Paul McMahon contributed a similarly interactive role with Pierard in a gorgeously-sung “Domine Deus”, also from the “Gloria”. Here, and also with McMahon’s lovely singing of the ‘Benedictus’ from the “Sanctus”, flautist Karen Batten won our hearts with some lovely, limpid playing…’
Peter Mechen, 22 August 2010 (RE: Bach’s Mass in B Minor)

“…Christie uses a characterful counter-tenor for the Witch, but Pinchgut’s Paul McMahon more straightforward account makes the scene more chilling…”
Michael Magnusson, Music Forum, May-July 2010 (RE: Charpentier David and Jonathan cd)

"…while tenor Paul McMahon gave the whole enterprise a felicitous, light-timbred start…”
Clive O’Connell, The Age, 15 December 2009 (RE: Handel’s Messiah)

“…Paul McMahon’s controlled, expressive approach added a vibrancy to his description of chaos giving way to order. His singing was delivered in a manner that
indicated order and precision, with his inflections highlighting the idea of light and dark. His singing about the creation of the Sun and the Moon was beautifully
structured and atmospheric…’

John Daly-Peoples, National Business Review, 18 October 2009 (RE: Haydn’s Creation)

“…Of the four soloists, soprano Jacqueline Porter gave a ringing account of the high tessitura in the work’s Kyrie, while mezzo Sally-Anne Russell and tenor Paul
McMahon made their marks with less difficulty…”

Clive O’Connell, The Age, 6 October 2009 (RE: Haydn’s Nelson Mass)

“…Paul McMahon’s Jephtha focused on lending expressive nuance to the line, discreetly embellished with ornamentation…’
Peter McCallum, Sydney Morning Herald, 28 July 2009 (RE: Handel’s Jephtha)

“…with the excellent line-up of soloists Tiffany Speight, Sally-Anne Russell, Paul McMahon and Douglas McNicol…”
Rodney Smith, Adelaide Advertiser, 7 April, 2009 (RE: Handel’s Messiah)

“…The vocal part, ably sung by Paul McMahon, acted as the glue between these disparate sounds, emphasizing resonances and smoothing over dissonances…”
Harriet Cunningham, Sydney Morning Herald, 18 March, 2009 (RE: Brett Dean Winter Songs)

“Paul McMahon’s vibrant tenor is electrifying as the voice of the Pythonisse…”
Sarah Noble,, (RE: Charpentier David and Jonathan)

“It was most intriguing to see how the Witch of Endor was portrayed in this production. It was sung excellently by Paul McMahon lurking in the shadows…”
Lynne Lancaster, Artshub, 9 December, 2008 (RE: Charpentier David and Jonathan)

“…The lovely singing of Paul McMahon as one of the soldiers onstage added to effect…”
Daniela Kaleva,, 11 December, 2008 (RE: Charpentier David and Jonathan)

''…Concertmaster Alice Evans and flute soloist Melissa Farrow shone in their duets with Sara Macliver and tenor soloist Paul McMahon…”
Harriet Cunningham, Sydney Morning Herald, 29 June, 2008 (RE: Bach Mass in B Minor)

“…Penelope Mills has bright but well-rounded fire in Elettra’s hissy fits, while Paul McMahon’s Arbace is eloquent…”
Peter McCallum, Sydney Morning Herald, 2 February, 2008 (RE: Idomeneo CD)

“…Penelope Mills is impressive as the fiery Elettra, as is Fiona Campbell as Idamante. Paul McMahon as Arbace and Brett Weymark as the high priest sing with conviction…”
John Grant, The Australian, 26 January, 2008 (RE: Idomeneo CD)

“…Paul McMahon, as always, was sensitive, thoughtful and sophisticated in his delivery of recitatives…”
Peter McCallum, Sydney Morning Herald, 13 December, 2007 (RE: Messiah)

“…Paul McMahon conveyed the text with his characteristic expressive intelligence…”
Peter McCallum, Sydney Morning Herald, 21 October, 2007 (RE: Creation)

“…The warm tones of Serbian singer Milijana Nikolic’s rich mezzo underpinned Sarah Crane’s pure soprano floating effortlessly above, with the distinctive edge of Paul McMahon’s tenor balancing Hibbard’s deep basso tones…"
Patricia Kelly, Opera-Opera, May, 2006 (RE: Mozart Requiem)

“…Nineteen historic and contemporary versions would seem to be an exercise in aural flagellation. But so fascinating are the numerous incarnations, matched by some stellar interpretations from musicians and singers, the disc never fails to be constantly entertaining…"
Bob Crimeen, The Sunday Mail (Adelaide), April 30, 2006 (RE: Danny Boy CD)

“…it was a terrific performance particularly from the choirs and Paul McMahon. Paul McMahon gets better and better in the evangelist roles. It is remarkable the way
he can sustain this light, flexible, highly expressive, wonderfully coloured sound almost indefinitely. One almost thought he could have done it all again at the end…”

Peter McCallum, Sydney Morning Herald, April, 2006 (RE: Evangelist, St Matthew Passion)

“…The soloists, all excellent, were Paul McMahon as a dignified Evangelist…”
Fred Blanks, North Shore Times, April 21 2006 (RE: Evangelist, St Matthew Passion)

“…The album kicks off with a fine new recording by tenor Paul McMahon accompanied by Andrew Greene on piano, presenting the song exactly as it was performed in 1913…"
Anthony Clarke, The Bulletin, March 28, 2006 (RE: Danny Boy CD)

“…Mark Tucker sustains the florid demanding title role with style and stamina. Sara Macliver, in a range of roles, is a delight of viscous vocal gold, Paul McMahon an exemplary Baroque stylist…"
Peter McCallum, Sydney Morning Herald, 11 February, 2006 (RE: Orfeo CD)

“…The support cast of Paul McMahon as Apollo, Penelope Mills as Euridice and Damien Whiteley are restricted to not much more than cameos but are uniformly

Martin Buzacott, Limelight Magazine, March, 2006 (RE: Orfeo CD)

“…Paul McMahon was an invigorating tenor soloist for Er kommt, er kommt…”
Harriet Cunningham, Sydney Morning Herald, November 2, 2005 (RE: Bach Cantatas)

“…Sara Macliver and Sally-Anne Russell revelled in their game of vocal tag. Ngaire De Korte’s obbligato passages added lustre to these movements and compensated
for their occasionally muffled diction. The same could not be said for tenor Paul McMahon, whose emphasis on the words, even the grim ones, made anguish an art, particularly in the recitatives…”

David Vance, Sydney Morning Herald, August 30, 2005 (RE: Bach Cantatas)

“…This CD is a gem. With three eminent Early Baroque experts, one’s expectations are high. However, such is the beauty, elegance, and charm of the performances
that any expectations I might have had were surpassed by the reality of their ravishing performances. The beauty and expressive power of Paul McMahon’s voice is
perfect across the range of these lute songs. McMahon has a very beautiful, lyrical voice with an enormously rich palette of rich vocal tones across the whole range,
many of which are subtle and highly expressive. It is a perfect voice for this repertoire. The richness of McMahon’s interpretation and eloquent and expressive accompaniment combine to provide a sumptuous feast for the ear. The Monteverdi Latin songs, not often heard on recordings, or even in concert, were especially
moving. His setting of ‘Nigra Sum’, with its clear sexual overtones was particularly expressive and beautiful. Morley’s Will you buy a fine dog was wonderfully comic…”

Robert Walker, Music Forum, August/October, 2005 (RE: A Painted Tale CD)

“…McMahon’s French is excellent. He has very expressive French vowels and his use of clear, subtle yet firm ornamentation is just right. These songs are mostly
strophic so ornamenting the later verses is necessary. I especially noticed this in ‘Enfin le beauté’ by Mouline, the longest song on the CD. The Italian pieces are even better. There is a real understanding of the idiom especially in the ‘Nigra Sum,’ from Monteverdi’s ‘Vespers’. Here we have passion and joy characterized side by side. McMahon carries this off smoothly yet movingly…”

Gary Higginson, 2005 (RE: A Painted Tale CD)

“…In the uplifting tenor aria, Des Vaters Stimme, McMahon’s clear melodic line was beautifully accompanied by fluent obbligato of violinist Rachael Beesley…”
Harriet Cunningham, Sydney Morning Herald, June 28, 2005 (RE: Bach Cantatas)

“….The soloists, Jamie Allen, Paul McMahon and Stephen Bennett are universally excellent with Sara Macliver and Sally-Anne Russell outstanding….”
Andrew Fraser,, May 1, 2005 (RE: The Fairy Queen CD)

“….the cast includes Australia’s two reigning divas of early music, Sara Macliver and Sally-Anne Russell and also includes Jamie Allen, Paul McMahon and Stephen Bennett. The Orchestra of the Antipodes is conducted by Antony Walker, whose sure sense of direction and ability to allow phrasing and dynamics their fullest due,
brings the piece vividly and sensuously alive…."

Michael Shmith, The Age, March 24, 2005 (RE: The Fairy Queen CD)

“….this cantata was exemplary of the strengths heard elsewhere: for example, tenor Paul McMahon’s radiant tone in his verse of the chorale….”
David Vance, Sydney Morning Herald, March 28, 2005 (RE: Bach Cantatas)

“….another lighter toned, very fine tenor was Paul McMahon taking on three roles during the night….”
John Grant, Opera Now, March/ April 2005

“….McMahon’s responsiveness to text and the musical fabric of the eight composers represented on this CD is meticulous. He sings with equal sympathy in English, French and Latin. The barings of soul are eloquent and delivered with such consistent sensitivity and musicality that they provide a very rewarding listen….”
David Gyger, Opera-Opera Magazine, March 2005 (RE: A Painted Tale CD)

“….Most stylish is tenor Paul McMahon, with no more support than two doleful recorders and bass in One Charming Night…."
Peter McCallum, Sydney Morning Herald, February 12, 2005 (RE: The Fairy Queen CD)

“….McMahon’s voice is an intriguing instrument and very lively in repertoire. His interpretations are ardent. He has the power and penetration of a normal tenor but the ethereal, bell-like vocal quality of the counter-tenor as well. It is an irresistible combination….”
Martin Buzacott, Limelight, February 2005 (RE: A Painted Tale CD)

“….tenor Paul McMahon is a voice to follow. He is a powerful performer, sublime in his communication and innate musicianship. …”
Robert Aburn, Christchurch Press, December 6, 2004 (RE: Messiah)

“….Lighter in tone than Tucker, tenor Paul McMahon is equally clear and firm, and they are well matched in timbre in their Act V duets….”
Murray Black, The Australian, December 4, 2004 (RE: Orfeo)

“….Tenor Paul McMahon brought the evening's most sophisticated and subtle stylistic understanding to a range of roles….”
Peter McCallum, Sydney Morning Herald, December 4, 2004 (RE: Orfeo)

“….Tenor Paul McMahon ornaments with a refined sense of line and sophisticated expressiveness in the recitative Thy Rebuke hath broken his heart….”
Peter McCallum, Sydney Morning Herald, December 31, 2003 (RE: Messiah recording)

“….of the men, Paul McMahon and Stephen Bennett were outstanding….”
Peter McCallum, Sydney Morning Herald, December 2003 (RE: The Fairy Queen)

“….the first to be heard was Paul McMahon, whose pleasing sound was complemented by exemplary enunciation of his recitative….”
David Gyger, Opera Opera Magazine, November 2003 (RE: St Mark Passion)

“….Tenor Paul McMahon is a beautifully pathetic cooked swan, singing in the falsetto range with remarkable ease and clarity. Working with this particular combination
of exceptional Australian talent must have been a conductor's dream for Antony Walker; his interpretation of the work and his control of the forces have produced what
is probably one of the best ABC recorded performances of 2002. ”

Anne Hodgson, OZartsreview, October, 2003 (RE: Carmina Burana CD)

“….with tenor Paul McMahon having the most chances and making the most of them….”
David Gyger, Opera Opera Magazine, July 2003 (RE: When Falling Snow)

“….the choir Cantillation and the soloists were excellent….”
Peter McCallum, Sydney Morning Herald, June 30 2003 (RE: When Falling Snow)

“....tenor Paul McMahon surfaced as a characterful Petrus....”
David Gyger, Opera Opera Magazine, May 2003 (RE: St Mark Passion)

“…Paul McMahon has an excellent tenor for oratorio singing, smooth and even without much sign of Italianate squillo…”
Sandra Bowler,, January 2003 (RE: Messiah CD)

“....Paul McMahon’s excellent contribution in this brief but memorable segment of the work....”
David Gyger, Opera Opera Magazine, November 2002 (RE: Carmina Burana CD)

“…The high tenor part of the roasting swan is something of a problem in its dramatic as well as musical demands: should it be played purely as a piece of grotesquery,
or should it reflect the swan's lost beauty rather than its imminent end? For the Australian recordings, tenor Paul McMahon presents a full-bodied rendition supported
by a robust chorus…”

Sandra Bowdler, November, 2002 (RE: Carmina Burana CD)

“ a bonus, the punchy soloists include Paul McMahon....”
Deborah Jones, The Australian, September 2002 (RE: Carmina Burana CD)

“…Tenor Paul McMahon has a tender voice without the braying quality to which tenors can be prone…”
Sandra Bowdler, July, 2001

“....Tenor Paul McMahon was suavely melancholic....”

Peter McCallum, Sydney Morning Herald, May 2001 (RE: On Wenlock Edge)

“....Paul McMahon’s rendition of the tenor solo Nigra Sum was superb in its sustained and strangely poignant beauty....”
Harriet Cunningham, Sydney Morning Herald, April 2001 (RE: Monteverdi Concert)

“...showcasing the beauty of tenor Paul McMahon’s voice....”
Hilary Shrubb, The Australian, March 2001 (RE: Monteverdi Concert)

“....all the soloists were excellent and on form, delighting with their unique vocal qualities, Tenor Paul McMahon with effortless agility and lightness. McMahon with impeccable diction as the Evangelist shone....”
Waikato Times, December 2000 (RE: Bach Christmas Oratorio)

“....the recitatives of Paul McMahon showed fine conception and pacing of delivery....”
Jeff Pressing, The Age, November 2000 (RE: Bach Cantatas)

“....the singing of tenor Paul McMahon was everywhere sweet and true......”
John Carmody, The Sun Herald, December 1999 (RE: Purcell with Salut Baroque)

“....the chief delight of the evening was the singing of tenor Paul McMahon, whose voice stretches seamlessly and beautifully from tenor to counter-tenor range....”
David Vance, Sydney Morning Herald, December 1999 (RE: Purcell with Salut Baroque)




Copyright © 2008 Paul McMahon