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Listen to Richard sing:
- Pinkerton from Madama Butterfly - 'Addio fiorito asil'
- Cavaradossi from Tosca - 'E lucevan le stelle'

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Richard Crawley
Tenor

Press Reviews

MacDuff in Macbetto
"Opening night, the biggest hand went, rightly, to tenor Richard Crawley, who stole the show with Macduff's impassioned and elegant last-act aria." (Click here for full article.)

"The role of Macduff has just one striking aria but tenor Richard Crawley nailed it, singing 'Ah, la paterna mano' with a warm tone and natural Italianate phrasing." (Click here for full article.)


Title role in Lohengrin (Teatro Colón, Buenos Aires)
"His [voice] is firm and flexible and he projects it well, and along with a certain reserve, imbues the role with a sense of nobility."

"Il tenore Richard Crawley, nei panni di Lohengrin, é stato complessivamente adeguato: di ben timbrata ha saputo sfruttare al meglio le proprie risorse."

(The tenor Richard Crawley, in the role of Lohengrin, was completely adequate: with his well-timbred voice he was able to make the most of his resources.)


Title role in Lohengrin (Savonlinna)
"Richard Crawley proved he has a golden voice in his role as Lohengrin, who as a knight of the Holy Grail is a good representative at messianic level."

"Richard Crawley as Lohengrin is a gallant, tall knight with innate majesty. His lyrical voice is firm, flexible and exceptional."


Canio in I Pagliacci
"Tenor Richard Crawley... was captivating as Canio, consumed with rage and heartbreak -- his iconic aria "Vesti la giubba," seemed to erupt out of nowhere at the end of the act."


Germann in Pique Dame / Lensky in Eugene Onegin
"Tenor Richard Crawley, a company newcomer, left a big impression with a finely shaped tenor of the fluid variety. The liquid nature of his voice made use of many details, and he matched these with strong, no-nonsense acting." (Full review)


Title role in Fervaal
"The tenor title role is a voice killer. The scheduled Fervaal... was denied entry to the United States. His late replacement, Richard Crawley, gave a heroic performance. Mr. Crawley, clearly a quick study, has a healthy, pleasing and robust voice, though I hope it survived the torturous workout he put it through here." (Full review)


Enée in Les Troyens
"Richard Crawley (the only non-Russian in the cast)... firmly nailed all the scary high notes without yelling or shrieking, a major feat."


Title role in Il Piccolo Marat
"Grattacielo, marking its fifteenth season, had to find substitute singers on short notice to learn the three leading male roles from scratch. As the title character, Richard Crawley's tenor offered dramatic thrust and a declarative edge... his delivery had appropriate energy and suited the excitement of the story."

"As Marat, the tenor Richard Crawley sang with power and urgency...."


Title role in Otello
"Tenor Richard Crawley was a stunning Otello, with his luminous strong voice, clarion high notes and athletic looks. He was also able to tenderly soften and warm his big voice to impressively partner Talise Trevigne's warmly lovely soprano in the act's closing love duet."


Don José in Carmen
"Richard Crawley's José was a great study in growing madness, the Flower Song somewhat robust but done with conviction, the last scene a genuinely scary meeting of irreconcilable forces." (Click here and here to see full review.)
"Crawley's voice fit well, refined enough to represent his world and with the spinto-edginess so necessary to his character. Crawley, who also sang in this season's "Manon Lescaut", was in full voice on Friday and sounded excellent."


Turiddu in Cavalleria Rusticana
"Making his debut in Toledo as well as in the role of Turriddu, tenor Richard Crawley captured the tumult of a young Sicilian man torn between his current love and a former sweetheart. Tall and graceful, Crawley paced the stage frenetically, his dramatic voice a fine match for his acting.

Riccardo Un Ballo en Maschera
"The boldness of this revelation began with the opera's hero and heroine. Richard Crawley, as Riccardo, the Governor of Boston, commanded the stage - and the other characters - with ease. When Ulrike the fortune teller warned him of impending doom, he laughed convincingly; when he declared his love for Amelia, his secretary's wife, he sang to the stars with compelling rapture. Fabiana Bravo, as Amelia, returned his love with such beauty that the audience immediately understood why they dared to tell the truth. For a moment, these characters left behind the pretense of their carefully scripted lives, and they took the audience with them.
Cavaradossi in Tosca
"Tenor Richard Crawley, as Tosca's love Mario Cavaradossi, matched [Pamela] South well and interacted smoothly in ensembles...He provided several wonderful climaxes, as at the end of his Act I aria, 'Recondita armonia.'"

Pinkerton in Madama Butterfly
"And Crawley's tremendous vocal stamina helped make his Pinkerton large and in charge. His character's a baddie, but his drawn-out high notes are a delight."

"Richard Crawley was excellent as the wretched Pinkerton. He sang well, with a powerful top to his voice, and he didn't try to soften the Lieutenant's faults, as so many tenors do, which made the plot work so much better than usual."
Luigi in Il Tabarro
"Richard Crawley sang with plenty of urgency as the lover, Luigi."

Faust in Faust
"Casting is strong, too... Crawley delivered a stylish Faust with both declamatory power and lyrical sweetness. In the excruciatingly difficult garden scene duet with Marguerite, which must sound effortless but never does, he spun legato lines that held up beautifully in the mercilessly exposed high register."

"Tenor Richard Crawley did honorable work in the title part. Tall and plausibly romantic in manner, he paid attention to the dynamic variation and delicate phrasing that proper French style demands."

"Richard Crawley sings it [Faust] as it should be sung, in a ringing tenor."

Alfredo in La Traviata
"Richard Crawley shows a fine command of his instrument, especially well displayed in some remarkably sensitive soft singing. However, it is his robust stage demeanor that convinces us of the passion of Alfredo Germont, and more than any other cast member, he draws us into the emotional crux of the drama."

Sam in Carlisle Floyd'sSusannah
"Crawley was a sympathetic character, strong, tender and protective of his sister."

"Sam, Susannah's brother, is well meaning but dulled by alcohol, and tenor Richard Crawley played the appealing aspects and correctly trusted that his character's ineffectuality would come through and justify his tragic act in Act II."

Nabarroth in Salome
"Richard Crawley sings the role of Narraboth with stentorian resonance."

"Most of the ensemble cast did well, especially Richard Crawley as the lovestruck Narraboth."

"In smaller roles, Richard Crawley (Narraboth) and Stephen West (First Nazarene) were impressive."

"The smaller roles of Narraboth, the Syrian guard in love with Salome, and the First Nazarene were performed perfectly by Richard Crawley and local legend Stephen West."

Alfred in Die Fledermaus
"Tenor Richard Crawley, as the self-worshipping minstrel, Alfred, hammed up his role to perfection. His aria, "Love is but a fleeting dream", sung as he tries to seduce Rosalinda, had just the right combination of vanity and tongue-in-cheek humor."

Opera Arias and Duets with Lake Placid Sinfonietta
"Crawley then came center stage, after a four-hour drive from a performance in Syracuse the night before. He sang "Dies Bildnis," which is a love song from THE MAGIC FLUTE, with great longing and tenderness......Mr. Crawley came on short notice and sang as if he had been preparing for this performance all along. His tenor is powerful when it has to be, gentle when it wants to be, and always clear."

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