Critics say.......   RADAMISTO by Handel (Hamburgische Staatsoper) David Lee brings as Radamisto a bravura Countertenor part and the exciting migration of the contrasts from strong to lyrically sovereign. (David Lee bringt als Radamisto einen bravourösen Countertenor Part und besteht die Gratwanderung der Gegensätze von kraftvoll bis lyrisch souverän.)                                                    “Lübecker Nachrichten” 16.05.2007   The young Canadian countertenor David DQ Lee, whom sang the title part of the Radamisto with full respect, to completely convincing and full coloratura voice. (Der junge kanadische countertenor David DQ Lee, der die Titelrolle des Radamisto mit berückender, völlig unangestrengter und koloraturensicher Stimme sang.)                                                             “DPA Hamburg” Barbara Sell   The Canadian Countertenor David DQ Lee was jubilating in his Hamburg debut, shined exactly the same like the other singers. (Der kanadische Countertenor David DQ Lee wurde in seinem Hamburg Debüt umjubelt, genauso starkt wie die anderen Sänger.)                                                                “Bild Hamburg” J.R. Ewing   The young Canadian David DQ Lee is with its supple, fortunately never shown as a feminine Countertenor unlike others, sang wonderfully with convinced perception.(Der junge Kanadier David DQ Lee ist mit seinem geschmeidigen, nie effeminierten Countertenor ein Glücksfall, der sich wundervoll mit dem sinnlich verschatteten.)                                                                  “Welt” Monika Nellissen   But also the Canadian Countertenor David DQ Lee in the title role of this tragic prince put down a remarkable appearance with a huge “Ombra” Aria. (Doch auch der kanadische Countertenor David DQ Lee in der Titelpartie des thrakischen Prinzen legte mit einer grossen “Ombra” arie einen bemerkenswerten Auftritt hin.)                                                           “Hamburger Abendblatt” Jomi   More Control and expression strongly kept, which one was allowed to expect oneself from a heart-good trade hero. (Der konitionssicher und ausdrucksstark hielt, was man sich von einem herzensguten Handelhelden erwarten durfte.)                                           “Hamburger Abendblatt” Joachim Mischke Le Nozze di Figaro by Mozart But it is Lee as Cherubino who really steals the show, due in part to creative casting. Normally a soprano is cast in the role, a featured that gets slightly ridiculous (a woman dressed as a man dressed as a woman) as the layers of disguise pile up. Lee has a strong and clear countertenor whose aria, Voi che sapete, was a real showstopper. He also displayed the fine comic sense that impressed audiences when he appeared in POVs Jiulius Cesare last season.                                                                              - Times Colonist, Susan Down Audiences may remember countertenor David Dong Qyu Lee (Cherubino) from last seasons Jiulius Cesare, it was a treat to see Cherubino performed by a real man rather than as a trouser role and Lee fully realized the comic potential of the love struck young page.                                                                 - Monday Magazine, Naomi Lester  Lees mischievous Cherubino gets most laughs (and the evenings loudest applause) for his sweet, clear and inhumanly high-pitched work on the Aria Voi che sapete.                                                                        - News Group, David Lennam The role of Cherubino is a role originally written for a man, but normally played by a woman, and now sung by a man once again Counter Tenor David Dong Qyu Lee - what gives? Here again its wonderful to see the growth in acting skills fostered by Pacific Opera and their directors, David creates a coy, asexual little horndog of a character that really has absolutely nothing to do with plot but everything to do with fun.                                                      -CBC Radio One Victoria, Robert Mitchell  LOrfeo by Monteverdi  A pleasant discovery was David Dong Qyu Lee, who showed himself to be one more marvellous counter-tenor among Canada's already proud contingent.                                                                            -Toronto star, John Terauds David Dong Qyu Lee (Pastore/Speranza) displayed a voice of beauty and power, and clearly destined for a big career.                                                        -Opera Canada Magazine, Paula Citron  Centara New Music Festival Last night had a notable countertenor in David Dong Qyu Lee, who brought ample factor with his ethereal tones. Lee was featured, on the first half, in the Leaden Echo by Russian Composer Leonid Desyatnikov. Lees alto stood out in relief over the setting of string quintet with later joined by three trombones and timpani.                                                                 -Winnipeg press, James Manishen Giulio Cesare by Handel Lee, with a powerful instrument and high As to rival any mezzos, reinterprets the same kind of voice as something voluptuous and exotic. Costumed like Egyptian Turandot, Lee plays Tolomeo (Cleopatras brother and rival) as a petulant, androgynous decadent with a psychotic streaks, and hes just camp enough                                                                                     -The Globe and mail, Elissa Poole All the casts had consummate command of lithe, athletic voices and made Handels vocal pyrotechnics seem effortless. Lees with a brilliant clarion ring in his top register was particularly compelling.                                                                                     -Opera Canada, Robert Jordan David Dong Qyu Lee (Tolomeo) sing in a clear, unearthly upper range, and Lee was good enough actor to inject humour into his scenes particularly enjoyed his villainous role.                                                                                     -Monday Magazine, Naomi Lester This Canadian Divo delivered with penetrating and lyrically pleasing performances. Lee exhibited prodigious vocal gifts that suited their character. Lee made the most of his role as the cruel and petulant Tolomeo. In his first aria, Lempio, sleale, indegno he ably demonstrates his uncommon vocal agility and clarity. His lascivious rendition of Belle dee later was another highlight.                                                                                     -Times Colonist, Susan Down Golem by John Casken (North American premier) The role of Ometh sung by David Dong Qyu Lee amply demonstrated that the countertenor voice is not a weak one and can have powerful impact; his Ometh gad the humanity and rest of the cast did not.                                                                                     -Denver Post, Glenn Giffin Il Giardino damore by A. Scarlatti In music already so highly stylized, seeing a man in a female role poses no problem to credibility, particularly in view of Lees rich, unplummy contralto tone and surpassing power and range.                                                                                     -Vancouver sun, Lloyd Dykk Scipione by Handel Lees colour is alto-like, powerful, and masculine.                                                                                     -Vancouver sun, Lloyd Dykk Chichester Psalms by Bernstein What distinguished the performance in particular, though was the presence of 21 year old Vancouver based countertenor, David Dong Qyu Lee, who came on stage looking as if he had just sprung to life from some ancient Asian temple carving. Lee gad only to sing the first note of Adonai ro-I, lo ehsar (The lord is my shepherd) for me to be reminded that Bernstein once described soprano Meggie Teyte as having the voice of God. With no hesitation, I would say the same of Lee. If I ever heard another male voice of such uncommon, not to say unearthly, beauty; judged by any vocal standards, Lee is extraordinary. The memory of Lees extraordinary artistry was still lingering in the air when the VSO opened fire on Beethovens ninth.                                                                                     -Georgia Straight, Douglas Hughes Keorner Recital Hall debut If David Dong Qyu Lee fails to become an internationally celebrated singer in the next century, then God is definitely not in his heaven, and all is not right with the world. At 21, the Korean-born and Vancouver based countertenor has already achieved a sound and a technique that few other singers in his chosen vocal range can match. For a young man who only eight years ago knew no language other than his native Korean, he skipped through the German of von Goethe and Heine, the French of Paul Verlaine, and the Italian of Varesco with commendable fluency. If his articulation is still a touch spotty, it is nevertheless clear that he is well on his way to mastery of those tongues demanded by the international art-song and operatic repertoire. It was Lees performance of Rossinis florid aria that finally turned the audiences crank. They not only applauded heartily, but greeted it with roars of sheer pleasure.                                                                                     -Georgia Straight, Douglas Hughes