“The singers — Janet Szepei Todd (Cio-Cio-San), Peter Lake (Pinkerton), Kenneth Stavert (Sharpless), Kimberly Sogioka (Suzuki), Taka Komagata (Goro) — are believable and stunning. The tragedy has a kind of inevitability that feels more Mishima than the maudlin Italian original. The orchestra, led with expressive clarity by Isomura, is chamber-sized, also lending additional theatrical intimacy. Pacific Opera Project has a triumph on its hands.”

- Los Angeles Times (2024, Pacific Opera Project) 

“Peter Lake made a very impressive Pinkerton in this context. Handsome enough to pass as the focus of a young girl’s crush, his muscular tenor opened up beautifully on top…He did make a fine show of remorse in his last outburst. It’s funny, but you know you’ve really succeeded as Pinkerton when you get booed at your solo call.”

- Parterre Box (2024, Pacific Opera Project)

“Young tenor Peter Lake, as bounder Pinkerton, amazes with a clarion tenor that has the reedy projection of superstar-from-yore Jan Peerce. He has no problem whatsoever in bursting forth those treacherous extended Puccini high notes, and his love duet with Clark is a masterclass in projection and passion. His English diction throughout is exemplary...No surtitles for Lake, thank you very much.”

- Houston Press (2019, Opera in the Heights!)

"Peter Lake was a happy-go-lucky 19-year old lieutenant who enjoyed having a girl in every port he visited. If Cho-Cho San's family represented the culture and ancient customs of her country, he stood for the international power of Theodore Roosevelt's "Walk softly and carry a big stick" policies. When his bride's uncle, the Bonze, threatens him with a large walking stick, Pinkerton breaks it in half. Lake sang the first act with gusto and his love duet with Todd was full of warm and brightly-colored romantic sound. By the last act, Pinkerton was a coward with an American wife. He had run away from Butterfly. I wondered if he would not eventually run away from Kate and any children she might bear him. Lake's beautifully sung Pinkerton was just as much a villain as Scarpia in Tosca or the Sheriff in The Girl of the Golden West."

-Broadway World (2019, Opera in the Heights!)

“Peter Lake was a commendable B.F. Pinkerton, his caddish intentions offset by a pleasing, poised tenor that beautifully complemented and intertwined with Ms. Todd’s vocalizing in the Act I duet. Thanks to Mr. Lake’s reliable technique, the role holds no terrors for him...his impersonation of the opportunistic sailor was redeemed by his believable remorse at his actions.”

-Opera Today (2019, Pacific Opera Project)

“Tenor Peter Lake’s portrayal of Pinkerton brought a very humanistic approach to the role rather than the more conventional version of a cad who repents at the end. His dulcet, pure, lyric timbre grew in strength as the performance went on and was a great compliment to Todd’s voice in their arias together.”

-Living Out Loud Los Angeles (2019, Pacific Opera Project)

“I understand that POP and Opera in the Heights spent a lot of time in casting this, POP’s most ambitious production so far, and that’s paid off. As Pinkerton, tenor Peter Lake may not have flaunted the over-blown cockiness of the American “vagabond” dropping anchor anywhere he likes in the world, but there was something in his restraint which suggested a believable heedlessness. His love duet with Butterfly was high temperature and the aria known in Italian as “Addio, fiorito asil” conveyed a self-reproach that nevertheless, appropriately, we could not sympathize with.”

-Opera Wire (2019, Pacific Opera Project)

“Among the overall excellent cast are a few standouts: Lake’s portrayal of Paris — a mere mortal who somehow lands a daughter of Zeus — is relatably earnest, and his voice carries a lush, warm timbre.”

-Valley News (2017, Opera North)

“The fresh-scrubbed (Peter Lake) lent his pleasing tenor to a sinister portrayal of Spoletta, and he made the most of his scenes.”

-Opera Today (2016, Central City Opera)