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Fan Videos:
Listen to George:
The Prayer
(with Jenny Frogley)
Come, Thou Fount of Every Blessing
Gabriel's Oboe
(Nella Fantasia)
“The great George Dyer performing the "Impossible Dream."
Every now and then a person encounters that special performer, the “real deal.” George Dyer is the real deal and presents a Branson show that, from the very first note to the very last note of the show, not only entertains, inspires, and uplifts, but presents one of the greatest tenor voices that most people will ever have the pleasure of hearing. Even in a town known as “the live music show capital of the world” it is safe to say, "The George Dyer Show" is one show that should be on everyone’s must see list.”
At this show it’s not about glitz and glamour, it’s about some of the finest instrumentalists in Branson, a truly great tenor singer and his daughter presenting a great musical performance and entertainment experience. Dyer has complimented his great voice with instrumentalists that, in their own right, are his equal on the instruments they play, Musical Director and pianist, Norman Bergen; Robert ‘Bogie’ Bohinc, guitar; Marcus Willet, bass and Michael Lacy, drums.
From the first note to the last, except for one number Dyer is on the stage singing to and interacting with the audience. He has that rare Neal McCoy ability to interact with the audience and make them part of the entertainment experience. Some occurs when he comes down into the audience and physically interacts with them, some when audience members come up on stage and work with him, but most stems from his innate ability and sincere desire to relate to the audience and get them involved in the performance.
In addition to George’s fantastic music there are a few surprises that enhance the audience’s enjoyment of an already great entertainment experience. Who will ever be able to forget the guest appearances of “The Three Italian Tenors,” Giorgio, Mario, and Luigi or the three phases of love. The solo, “What a Wonderful World,” beautifully sung by Kendra Dyer, George’s daughter, and their touching duet of “The Prayer” was, in a word, “delightful.”
The “star” of this show is the inspiring, beautiful, and powerful tenor voice, personality and stage presence of George Dyer. It makes no difference what song he is singing, “Bring Him Home” from “Les Miserables,” “Don Quixote” or the “Impossible Dream” from “The Man of La Mancha,” the Josh Groban hit, “You Raise Me Up,” “How Great Thou Art” or any one of a number of other songs in the show; those hearing him perform know they are being blessed with a special vocal experience.
As great as it is, the entertainment value of the show transcends just a voice. It involves the audience in the actual entertainment experience as George introduces every number with a short personal and personable introduction that not only lets the audience know a little bit about the number but invests them into the performance. It’s something that is better experienced than explained, but is a very powerful part of the entertainment experience that is the George Dyer show.
It is as if he has the ability to communicate how he feels about the music he is singing and transfers the power and beauty of his voice from the depths of his soul to the souls of those in the audience. It is a unique and inspiring performance not only because of the beauty and power of his singing, but because it is a reflection of the man and the audience’s conviction that he is “the real deal."
February 15, 2010
Branson.com
Review of "The George Dyer Show"
at the Dutton Family Theater
(performing through December 2014)
“George Dyer is EASILY one of the finest tenors in the world, living or dead. A bold statement, yes, but absolutely true--and I really know my tenors! More, I say! More George Dyer, I beg you! His voice is so breathtakingly beautiful, so utterly, exquisitely, rich and resplendent--glorious, magnificent, stunning, amazing--there aren’t enough words in my thesaurus or the English language to adequately describe how his voice takes one's breath away! The listener alternately feels as though his/her ears and soul have had glorious, thrilling, sensual love made to them, have experienced musical power beyond measure, heard and felt the love of God Himself, and been in the most reverent church service imaginable. And--except for the part about God--that’s a gross, pitiful understatement. Make no mistake, I am being absolutely serious here. All of his CDs measure up to that lofty bar--and his live performances are staggering in their wonder and magnitude. His face and his voice marry in their goal of transcending audiences to heaven; you can’t help but fall in love. He's incredibly down-to-earth, funny and entertaining on stage, and let’s face it: the man is dead sexy. Drop-dead gorgeous, just like his voice. I could go on forever (!) but the constraints of this miserable language prevent it.”
July 31, 2008
Amazon.com CD Review
By Voice Connoisseur
Review of “Wondrous Love” , “Then Sings My Soul” and “A New Song”
“Audrey Elizabeth Luna and George Dyer in the title roles work together in ideal harmony in four duets. Vocally, their textures, color and strength match without flaw. On stage, their chemistry is one of a kind. Especially moving is their fourth-act duet. Their dramatic intensity works...
Athletic, strong and sensual, Dyer also is perfect as Romeo. His high notes have a unique clarity and when singing soft passages in the couple's intimate moments, his phrasing is delicate. His second-act cavatine in the balcony scene could easily seduce even a 21st-century teenager.”
March 2, 2008
Honolulu Star-Bulletin
"Flawless Cast Offers Dramatic Intensity"
By Valeria Wenderoth
Review of "Romeo et Juliette" with Hawaii Opera Theatre
“HOT’s Romeo, sung by George Dyer, an appealing lyric tenor with a striking resemblance to Prince Charming, and Juliet, sung by Audrey Elizabeth Luna, a lithe powerhouse of a lyric soprano, ...made a lovely couple who sang and acted well. Dyer’s opening and closing of the balcony scene (Act II) were gorgeous.” March 2, 2008
Honolulu Advertiser
“HOT (Hawaii Opera Theatre) Puts on a Fun, Clever ‘Romeo’ ”
By Ruth O. Bingham
Review of "Romeo et Juliette" with Hawaii Opera Theatre
“beautiful, beautiful, beautiful... I stumbled onto George Dyer last year while researching CD’s one night on the computer. I’d never heard of him. No one I’ve asked since has ever heard of him, either, until I remedy that. Amazon didn’t (and, unfortunately, still doesn’t) have any audible samples of his songs but, as I recall, there were some on i-tunes. Anyway, I basically just took a chance and bought the CD, hoping for something decent, at least, without actually knowing much about what to expect. When my CD arrived in the mail and I loaded it into the stereo, I was in no way prepared for the exceptionally beautiful voice and majestic musical arrangements to which I was treated. Instead of relegating it to serve as background music to whatever I was doing, I stopped everything, sat down, closed my eyes and brought the whole of my concentration onto the breathtaking loveliness that filled the room. I allowed it to envelop me and not think of anything else. Everyone for whom I now play my George Dyer CD’s reacts the same way if they are even the least bit capable of being moved by something magnificent and resplendent and glorious - not everyone is, you know. If you like Josh Groban or Andrea Bocelli - if you find their voices pleasing to any degree - you will not be disappointed by George Dyer. Furthermore, although I’m trying to give you a reference point to shape your expectations as you guess whether or not you’d like this CD, I’m reluctant to make comparisons with any other artists. This is because, although Dyer is every bit as talented as those two, he has his own sound. As much as I like the voices of Groban, Bocelli, and others, I prefer George Dyer, as indicated by the fact that I find myself listening to him more often and, when I do, stopping what I’m doing to truly listen. My preference is based partly on Dyer’s voice, clear and pure and strong throughout a broad range of bounding elasticity, eminently pleasing, and, I’ll argue, unsurpassed by anyone you care to name, a gift of God, really. And the other part of my preference for Dyer’s CD’s is based on the elevating themes of the music to which he chooses to attach his talent. For me, these two ingredients come together to create something truly special - the gorgeous songs, their hope-filled, grace-affirming lyrics, and the splendid arrangements communicated by a voice vigorously capable of ascending to the heights the music’s own transporting themes yearn for. I feel equally enthusiastic about each of George Dyer’s CD’s. I’m writing this because I’m truly astonished that no one has yet to review either of these CD’s in the eight months or so since I discovered and bought them for myself. Having experienced them, I had to write something here because the fact that there were no reviews so far indicated to me that many might have overlooked what I believe to be a treasure.”
August 13, 2007
Amazon.com CD Review
By S. Richardson
Review of “Wondrous Love” , “Then Sings My Soul” and “A New Song”
“Orff gives the tenor only one solo, but it’s one of the most visually stunning numbers in the entire work, and Dyer made the most of it.“Olim lacus colueram” (“The Roasted Cygnet Sings”) is a wickedly witty song describing the last moments of a roasted swan before it is devoured by the hungry guests at an inn. Dyer gave a painfully vivid performance that captured the imagery wonderfully.” October 31, 2006
Deseret Morning News
“ ‘Carmina Burana’ is Breathtaking”
By Edward Reichel
Review of "Carmina Burana" with the Utah Symphony
“Dyer’s rich tenor imbued the Angel Gabriel’s words with power and emotion.”
December 14, 2005
Deseret Morning News
De Azevedo Puts on Quite a Party
By Carma Wadley
Review of Lex de Azevedo’s ‘Gloria’
(Pictured: Lex de Azevedo’s ‘Hosanna’)
“The clear-toned tenor George Dyer was maddeningly charming as Pinkerton, the character audiences, and especially parents of daughters, should love to hate. No wonder Butterfly falls for him.”
November 6, 2005
The Toledo Blade
Review of "Madame Butterfly"
“Tenor George Dyer (Frederic, a Pirate Apprentice) and mezzo Jean Stilwell (Ruth, a Piratical Maid-of-all-Work) rounded out the central trio with excellent voices and strong acting, creating one of the evening’s high points, the ‘Paradox’ scene. Each contributed individual high points as well: Stilwell’s opening solo, and Dyer’s comic wooing of the maidens.”
July 24, 2005
Honolulu Advertiser
“Pirates’ Production Sails Through Delightfully”
By Ruth Bingham
Review of "Pirates of Penzance" with Hawaii Opera Theatre
“Tenor George Dyer played the role of Frederic, the "pirate in training." He excelled in vocal skills and expressiveness, and in the innocent and comic portrayal of a naïve, 21-year-old lad. His song "Oh, is there not one maiden breast" was amusing, and his performance in the second-act duet with Mabel, quite charming.”
July 24, 2005
Honolulu Star-Bulletin
“Local 'Penzance’ Production Adds Hawaiian Flair”
By Valeria Wenderoth
Review of "Pirates of Penzance" with Hawaii Opera Theatre
“Tenor George Dyer brought both power and sensitivity to the role of Ferrando. His lyrical first-act aria 'Un'aura amorosa' ('A loving breath') was beautifully sung...”
Monday, February 16, 2004
Honolulu Star-Bulletin
“Mozart’s Moving Melodies Enliven Light and Frothy 18th-Century Sitcom”
By E. Douglas Bomberger
Review of "Cosi Fan Tutte" with Hawaii Opera Theatre
“With a silken yet ringing tone, excellent dynamics, and fine sense of line, George Dyer as Lensky captured the role perfectly. Each aria topped the previous, so that it was difficult to forgive Onegin for shooting him.”
February 2, 2003
By Ruth O. Bingham
Honolulu Star-Bulletin
"Excellent Cast Lends Warmth to Opera's Demanding Roles"
Review of “Eugene Onegin” with Hawaii Opera Theatre
“George Dyer, in his company debut, made a strapping Ralph Rackstraw. He has a pliant, light tenor voice and enough youthful agility to have sung ‘A Maiden Fair to See’ while dangling from a rope ladder.”
September 23, 1996
The New York Times
By Anthony Tommasini
Review of New York City Opera’s "H.M.S. Pinafore"
(Pictured: Utah Opera’s "H.M.S. Pinafore")