"Mark Beesley as the roving minstrel Jake Wallace sings the opera's hit tune with fine well focussed tone."
(Royal Opera - Fanciulla Del West, Financial Times)

"Mark Beesley's Cavernous Drago was the other powerful vocal showing: a pity Schumann bumped him off so soon. He made a splendid Commendatore-like Banquo's ghost.."
(Garsington - Genoveva, The Independent)

"Mark Beesley, as the pasty-faced, lank-haired, Don Basilio, relished singing one of the slimiest characters heard here for some time."
(English National Opera - Il Barbiere Di Siviglia, The Guardian)

"Mark Beesley was a fantastically sleazy Basilio"
(English National Opera - Il Barbiere Di Siviglia, The Independent)

"Mark Beesley (Basilio) wrapped his teeth around "innuendo" to hilarious effect and somehow managed to turn "slander" into a lascivious, four syllable noun."
(English National Opera - Il Barbiere Di Siviglia, Sunday Times)

"Mark Beesley was an affecting Old Hebrew: here's a talent that Covent Garden should nurture."
(Royal Opera - Samson et Delila, Opera)

"Mark Beesley was a notable Ancient Hebrew, almost the only one of the cast singing in recognisable French instead of some weird Operatic Euro-tongue."
(Royal Opera - Samson et Delila, Evening Standard)

"Mark Beesley sang the Ancient Hebrew's solo with calm dignity."
(Royal Opera - Samson et Delila, The Times)

"Mark Beesley (made) a strong impression as the Ancient hebrew, who appeals sonorously, if unsuccessfully to Samson's conscience."
(Royal Opera - Samson et Delila, Daily Telegraph)

"…in this Pavarotti dominated cast nearly all the smaller roles were tellingly done, notably Mark Beesley's conspiratorial Ribbing"
(English National Opera - Un Ballo in Maschera, Opera)