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Reviews
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".
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