Belisario, Opera Rara/BBC Symphony Orchestra

Colin Clarke, Seen and Heard International

"Here is a singer with a great sense of character, good stage presence and a fine, ringing tenor voice."

Belisario, Opera Rara/BBC Symphony Orchestra

Peter Reed,

"Capping this impressive quartet was Russell Thomas as Almiro. His singing was consistently fine, at times sensationally so, with abundant heroic tone, an incisive technique and a compelling engagement with the music. At the top of his range, his tenor kept its tone without a hint of bleat, and in the gentler music, his voice was notably sweet and seductive."

Belisario, Opera Rara/BBC Symphony Orchestra

Rupert Christiansen, The Telegraph

"The fluently musical young American tenor Russell Thomas was nothing short of sensational as Belisario’s lost son..."

The Gospel According to the Other Mary; LA Philharmonic

Zachary Woolfe, The New York Times

“The first act closes with a tenor aria set to Primo Levi’s poem ‘Passover’. The serene melody of its opening line — ‘Tell me: How is this night different from all other nights?’ — gradually becomes heated before easing back into tranquility. Mr. Thomas sang the closing couplet — ‘This year in fear and shame,/Next year in virtue and in justice’ — with ringing power. As he finished at the final rehearsal earlier on Thursday, my eyes filled with tears.”

Oedipus Rex, Boston Symphony Orchestra

Jeremy Eichler, The Boston Globe

“Russell Thomas was an appealing Oedipus, his tenor a mix of ardency and sweetness.”

Tales of Hoffmann, Canadian Opera Company Debut

Arthur Kaptainis, National Post

“Another impressive debutant was Russell Thomas as the drunken protagonist of the title. This American’s pure, ringing tone and crystalline diction were a joy to hear. And they remained so to the bitter end, a point worth making, this being one of the longer hauls in the tenor repertoire.”

Venetian Nights Concert w/Nicole Cabell (My Chicago Debut)

Wynne Delacoma, Chicago Sun Times

If Cabell returned as a welcome friend on Saturday, Thomas provided the thrill of discovery. A native of Miami with a resume that ranges from Tamino in "The Magic Flute" at the Metropolitan Opera to the Prince in John Adams' "The Flowering Tree'' in New York, Los Angeles and Tokyo, Thomas has a big, ardent tenor that was a fine match for Cabell's strong soprano. He has ringing top notes and sang with an emotional urgency that turned these stand-alone concert arias and duets into vivid dramas.

A Flowering Tree- New York Premiere

Anthony Tommasini, The NY Times

There are only three solo characters, each performed here by a superb singer in a deeply expressive performance. ... And the strong, clarion-voiced tenor Russell Thomas is the impulsive, awe-struck Prince.

A Flowering Tree, SF Symphony 2007 (US Premiere)

Georgia Rowe, Opera News

"Tenor Russell Thomas sang handsomely as the Prince, conveying the pain and bewilderment of love and loss."

Zaide in Vienna 2006

Larry L. Lash, Opera News

"...most notably, Russell Thomas (Sultan Soliman), whose huge, supple, beautifully-produced tenor sounded ready to conquer Florestan."

Malcolm at the MET

David Shengold, Opera News

"Russell Thomas sounded first-rate in Malcolm's limited duties;"

Morgan Library Recital 2007

Oussama Zahr, Opera News

"Thomas's enormous, fresh, exuberant tenor was ideally suited to Idomeneo's "Eccoci salvi alfin…. Vedrommi intorno," which opened the program. His sound was heroic but still lyrical, with some nice technical touches. His messa di voce at "Sono innocente" was stunning, and he slightly covered the voice to express his sorrow.... In the Beethoven cycle that immediately followed, Thomas proved that ardor need not be reckless. He was clear and assured, even as he surmounted technical hurdles such as the high-lying entrances in "Es kehret der Maien." The compelling character that emerged was both innocent and strong — a youth as strapping as he is inexperienced, rushing toward heartbreak with fleet-footed joy."

Soliman at Lincoln Center Mostly Mozart

Allan Kozinn, NY Times

"Russell Thomas was a menacing and vocally solid Soliman."

Chamber Music Society Lincoln Center

Allan Kozinn, NY Times

"The program also included 2 song cycles based on the poetry of A.E. Housman. Russell Thomas, a tenor with a rich deep sound sang them.... Mr. Thomas and the company drew on its currents of introspection and intensity in an eloquent account."

Rodolfo in Seattle

Melinda Bargreen, Seattle Times

"This "Boheme" was particularly rich in male talent... Thomas' easy high notes and his ardent vocal production made him an eminently believable young bohemian;"

Herald at The MET

David Shengold, Gay City News

"The other new singer was Russell Thomas, who brought a strong, attractive tenor to the brief phrases of the Herald in the auto-da-fé scene."

Tosca in St. Louis

Joe Pollack, KWMJ St. Louis

"Russell Lamar Thomas showed a most appealing tenor as Cavarodossi, Tosca's true love."

Tosca in St. Louis

Robert Boyd, KDHX St. Louis

"Russell Lamar Thomas is a physical and equally energetic Cavaradossi, with a room-filling tenor that is never harsh or strained."

Tosca in St. Louis

Sarah Bryan Miller, St. Louis Post Dispatch 8/18/2002

"...tenor Russell Lamar Thomas gave great promise as Cavarodossi. The voice is big and has a lovely timbre;..."

Pasquale in Spokane

Jim Kershner , The Spokesman-Review

"... the brilliant tenor Russell Thomas on loan from the Metropolitan Opera's Young Artists program. From his first note, it was clear he had a voice of exceptional quality and distinction. Later, we heard that voice in full display in the aria "Com' e gentil".