"Baritone Niall Anderson brought humour to the Sacristan, with the facial expressions and voice to make this small role memorable."
- bachtrack | Tosca | Northern Ireland Opera
"...the beautiful interventions of Niall Anderson (first Armed Man and second Priest) are a credit to the Académie of the Opera de Paris" (translated from French)
- Première Loge | 'Die Zauberflöte' | Opera Bastille
"Throughout the concert in his Don Alfonso, Figaro or Leporello, his voice is bright and richly expressive. He succeeds in making us laugh through his Leporello"
- Olyrix | 'Gala Mozartien" | Palais Garnier, France
"…the bass baritone Niall Anderson, with his resonant timbre.”
- Olyrix | 'A Quiet Place' | Opéra de Paris
"Niall Anderson was the consummate professional in the tiny role of Cromwell's official, and I hope to hear more of him."
- Planet Hugill | 'Il Proscritto' | Barbican Hall
'where also shone the Scottish bass-baritone Niall Anderson (superb voice totally homogeneous, mastery of the legato, tireless breathing, very serious...)
- Charles Sigel | Recital of Beethoven Songs La Grange au Lac, 2020
'Niall Anderson only gave a short intervention to give us a glimpse of a noble and woody timbre, and a promising scenic ease'.
- Damien Dutilleul | Gala Concert Palais Garnier, 2020
"As the genial, worldly-wise Philosophe Niall Anderson revealed a suave, mellow and secure sound and great phrasing; he has good stage presence..."
- Alexander Campbell, Classical Source | Chérubin, 2020
"Niall Anderson brought a nicely bemused sense of gravity to Le Philosophe, allowing himself to be both charmed and puzzled by his pupil... I look forward to seeing him again in a younger role!"
- Robert Hugill, Planet Hugill | Chérubin, 2020
"...lithe and flexible baritone, qualities also abundant in the bass Niall Anderson, as Bertrand the doorkeeper"
- Stephen Pritchard, Bachtack | Iolanta, 2019
"The vocal creativity and stage presence of Niall Anderson gave an irresistible Somnus. When he sings one of the most beautiful songs by Händel, "Leave me, loathsome light.." we are touching one of the moments of a state of grace and full complicity between the orchestra and the stage."
- Georgiana Hartana, Bachtrack | Semele, 2018