the magnificent tenor Joshua Ellicott, Wiener Zeitung. Styriarte Festival 2014

the powerful voice of tenor Joshua Ellicott knocked us over like a bowling ball rolling down the aisle (in the midst of such consummate professionalism by all, it seems wrong to have a favourite – but I’ll confess to a silent “oh good” every time Ellicott stood up to sing). The Scotsman. Bach Christmas Oratorio. Ludus Baroque 2013

...with tenor Joshua Ellicott's forceful performance shining like the brightest of ornaments on the hood of a gleaming, well-oiled machine.  Ellicott didn't just fill Symphony Hall with his incandescent, seemingly effortless sound; he also broke many a hardened heart with his compelling take on this tortured text.
As noted, tenor Ellicott was nothing less than
riveting, delivering a fierce, keening power that sometimes conjured Milton's own rhetorical voice, as well as literally the darkest depths of despair (in the terrifying "Total eclipse") or the harshest heights of rage ("Why does the God of Israel sleep?"). Finally, of course, Samson finds God's light, as well as a transcendent calm - which Ellicott also captured exquisitely as Samson made his way toward his doom in the temple of the Philistines.
The Hub Review. Samson. Boston Handel and Haydn Society 2014

"Deservedly huge cheers at the end of the night went to Joshua Ellicott…
distinction, emotional precision and a keen dramatic urgency…"
The Boston Globe. St Matthew Passion Evangelist. Boston Symphony Hall. 2012

the aria Erwäge wie sein blutgefärbter Rücken (which contemplates Christ’s wounded body) showed how expressive he could be.
Daily Telegraph. St John Passion. Zurich Chamber Orchestra. Proms 2014

“the outstanding Joshua Ellicott…”
The Times, 2011

Joshua Ellicott’s dramatic tenor had the persuasive power to arouse our sense of pity. After an orchestral ritornello, his first aria began with the chilling words “Total eclipse,” sung without accompaniment here and each time they reappeared. The opening words of the rage aria “Why does the God of Israel sleep?” were again sung unaccompanied. In the fulminations that followed, Ellicott’s voice had the force and the flexibility to handle extensive coloratura passages with conviction.
Musical Intelligencer. Samson. Boston Handel and Haydn Society 2014.