“There was also a hilarious bit in the Act II recitative worked out with the harpsichord player, Peter Walsh, where he [Alessandro Corbelli] caught a fly in mid-air and then crushed it under his shoe that I’d never heard, or seen, before.  I’d go back for a whole performance again solely for this little moment.  Bravo.”

— Patrick Mack, Parterre Box

“…Walsh’s dry, clean touch brought this group to life.  Debussy’s “Green” morphed into a bossanova, while Fauré’s “Chanson d’amour” (“J’aime tes yeux, j’aime ton front”) proved the best performance on the entire program.”

— Judith Malafronte, Opera News

“The highlights in this set were some spirited solo breaks by Walsh, channeling the late Michel Legrand.”

— Charles T. Downey, Washington Classical Review

“Walsh crammed maximum color and variation into each short accompaniment, from the sinuous chromatic motif of the dromedaries in the first song to the gentle rocking waves of the carp in the last.”

— Charles T. Downey, Washington Classical Review

“…supported by the flexible and supple touch of Walsh at the keyboard.”

— Charles T. Downey, Washington Classical Review

…pianist Peter Walsh provided warmly expressive accompaniment for the dozen singers…”

— Marc Shulgold, Opera News

“Those fantasia selections [K. 475 and K. 397] were beautifully played on a fortepiano by Peter Walsh.”

— Gordon Williams, Opera Wire

“The performance [Nixon in China at Houston Grand Opera; January, 2017] featured especially prominent and solid playing on… keyboard… Peter Walsh…”

— Gregory Barnett, Opera News

“…pianist Peter Walsh held most of my attention.  Set off at a baby grand stage left, Walsh leaned into Poulenc’s watercolor score, pulling and pushing the keys with delicate expression.”

— Sydney Boyd, Houstonia Magazine

See Resume