"Torre is the wow-factor, totally convincing as both passionate lover – sharing a touching unison with Son – and courageous hostage in the face of terror. A long-standing asset in the OA catalogue, Torre’s honest, eloquent and invigoratingly charged Pavarotti-esque, Italianate tenor is dream listening and as clear as a bell. And as Cavaradossi faces death in the Act 3 tenor showpiece, E lucevan le stelle, Torre let go a jewel of unmissable, searing poignancy".

"Ma partiamo per gradi. Il grandioso Diego Torre sostituisce, questa sera, Roberto Aronica regalando una serata meravigliosa sin dalla prima nota e confermandosi già con la celeberrima “Recondita armonia” che strappa un lunghissimo applauso, il quale si farà ancora più lungo nel terzo atto, dove su “E lucean le stelle” verrà reclamato ed eseguito un bis bello da far uscire le lacrime a quasi tutta la sala."

"Diego Torre s’avère simplement parfait en Guido, avec son timbre solaire et sa voix arrogante. Il renouvelle également l’enthousiasme suscité par son Canio à l’Opéra des Nations de Genève l’an passé, auquel il offre la même impressionnante véhémence : son « Vesti la giubba » restera dans les mémoires. Dans le rôle du mari trompé (et torturé)".

 "Tenor Diego Torre is no stranger to Sydney audiences. He has performed many seasons with Opera Australia. With him, “art is art concealed”. He can easily fly over everyone else on the stage with apparently little effort but is also generous enough to know when to hold back in the ensemble sections’’ 

"Diego Torre is a truly great tenor.Last night he sang Radames, he rehearsed Lucia di Lamermoor all day today and sings Edgardo on Friday night as well as Radames on Saturday night and tonight he took over the Duke of Mantua in Rigoletto"

"Powerhouse tenor Diego Torre gives arguably his strongest performance to date, the rock solid quality of his vocal technique resulting in a thrilling performance. Shortly after his first entrance, Torre brings the house down with a searing rendition of “Recondita armonia,” the final ringing high notes all the better for being given ample room to breathe."

"Diego has dazzled in each of the scenarios he has conquered and is already joining the privileged list of Mexican tenors of recent decades."

"The night, though, belonged to tenor Diego Torre. Cavaradossi has been in his repertoire for some years now, but this is it - this version is the one. You will not hear this role sung as well anywhere in the world right now. Torre soars with astonishing ease, resulting in goosebump- inducing high notes, the kind that made you forget the plastic seats and soullessness of a tennis stadium".

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Sydney Morning Herald

“From the beginning he makes clear a vocal power and theatrical strength.

His brilliant tenor, which has a fine enamel, is a reminiscent of the greatness from the singers who have triumphed playing this role.

With his perfectly toned “Ridi Pagliaccio”. Torre is on his way to catapult himself into the ranks of the dramatic tenors.

The power and passion that gives to this frantic jealous makes you shudder”.

"Lo más sobresaliente de la noche lo constituyó para este cronista el regreso a este teatro del tenor mexicano Diego Torre en el papel del bandido mexicano Ramerrez, aquí traducido como Ramírez,... Destacó enormemente el tenor por la belleza de la voz plena, madura, potente, poderosa, pero sobre todo por el manejo que hace de ella... ."

"En 'Pagliacci' el tenor Diego Torre se alzó con el triunfo de la velada por su Canio descarnado, abrupto, dotado de una vocalidad opulenta de enorme seguridad en el registro agudo'."

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"Last night, Diego Torre cemented his place among the world’s greatest tenors "

— Limelight

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"As Gustav, Mexican tenor Diego Torre sang with resounding power and firm-voiced strength, equally convincing as an ardent lover and a fickle ruler."

"As the painter Cavaradossi, Diego Torre surpassed the first cast’s tenor, Rafael Davila. His “Recondita armonia” came off with polished lyricism and incisive high notes, a pristine performance that expressed the happiness that would be shattered in a few hours. “E lucevan le stelle,” is such a familiar number that it may be tempting to just blast it out, nail the high notes and enjoy the applause. But Torre did much more with it, bringing great expressivity to the anguished low tones in which he begins to remember his time with Tosca, allowing one high note to melt away and holding another remarkably long without stretching the music out of shape"

"Torre is a marvellous lover, a part he’s played for Opera Australia before and which he inhabits with great poignancy and suppleness. That clarion tenor has never sounded better, effortlessly floating through his vow of fidelity, “Qual’occhio al mondo” in act one, and rising to the heights of plangent romanticism in the final act’s “E lucevan le stelle”. It’s become a signature role for Torre and he wraps it around himself like a luxurious, fatalistic coat".

"Il tenore messicano, trasferitosi in Australia, Diego Torre ha cantato un magnifico Dick Johnson (Ramerrez nell'originale, qui Ramírez). La sua voce è risuonata splendida in tutti i registri."

"Diego Torre sang Arnold’s virtuosic Asile héréditaire, with its almost impossibly difficult top notes, with aplomb. Heart-achingly sung, intelligently interpreted, this aria displayed his astonishing skill in the dramatic lyric repertoire."

"Opera Australia regular Diego Torre was a particular highlight, his penetrating, burnished tenor unleashed seemingly effortlessly. The change in timbre he produced in the opening of the Hostias – from gently soft-edged to brightly gleaming – was exquisite."

"Diego Torre is about to become a member of an exclusive club of operatic tenors. Following in the footsteps of greats including Beniamino Gigli, Placido Domingo and Jonas Kaufman, Torre is to have his name inscribed on the honour board of singers who have sung Turiddu in Cavalleria Rusticana and Canio in Pagliacci on the same night."

 “His passion was real, his heartbreak was immense, and his commanding, gloriously sculpted instrument makes him an up-and-coming talent to be watched.” 

"As the erudite Faust, top to bottom, Torre fired and forged a blistering performance, his effortless Italianate tenor sailing smoothly and passionately across the music and text. Convincingly conveying Faust’s moral pain and  sensual overtures, Torre made memorable the two arias for which the great Enrico Caruso recorded in 1902, Dai campi, dai prati and Giunto sul passo estremo."