“A clear and forceful performance of this difficult role (Tannhäuser) and character, Russell Thomas’ clarion voice carried over and above Wagner’s immense orchestra with a finesse bordering on plush. There are multiple shades of steel here along with luminous expression and precise diction. A magnificent performance, well rewarded by a roaring burst of applause at curtain call.”

“In the role of der Kaiser, Russell Thomas was fantastic. He made the most of his two appearances in Act one and two, his voice rising over the tidal waves of sound in the orchestra.”

“the vigor and security of Russell’s singing did even more to bring Parsifal to life. He conveyed the impetuosity of the innocent young wanderer and in Act 2, Thomas’ blazing tones and sheer abandon put across the immensity of the forces roiling the hero-to-be.”

“Russell Thomas defended the title role. The American singer has an impeccable, well-projected high pitch. A voice that can be heard throughout the theatre, powerful and with attractive dark tones”

“Calaf was amply represented by Russell Thomas and his high-quality spinto tenor. If there were moments when more sheer power was required, he rose boldly and successfully to the ​‘Anything you can sing, I can sing higher’ sequence, while his impressive presence laid the physical foundations for a dramatic assumption characterized by confidence as well as determination.”

“Russell Thomas’ Tito was also strong, using vocal heft and excellent diction to give the emperor a regality worthy of the giant horned throne that Strassberger supplied for him.”

“Thomas brought tonal clarity and rhythmic vigour to the title role [of Roberto Devereux]”

“In the title role, tenor Russell Thomas made an indelible impression. His sturdy physique and clear, unforced tenor yielded an ardent Act I duet with Sara, and elegant line in his Tower of London aria, ​“Come uno spirit angelico.”

“Thomas is a formidable Otello. As an African American, he genuinely looks the part with a heroically-scaled tenor that more than once brought to mind the ringing tones of Plácido Domingo in his signature role.”

“Tenor Russell Thomas as Don Carlo has a powerful yet natural stage presence. Mr. Thomas particularly shines in his opening scene”

“Thomas was on fine form and invested Rodolfo with ringing, robust tone.”

“Russell Thomas sang Loge superbly”

“In fact, Wagner’s characters all feel human here…The fire god Loge (Russell Thomas, sounding bronzed and burnished) isn’t the usual sprightly trickster, but wry and thoughtful.”

“Russell Thomas contributed a hearty rather than traditionally slimy Loge.”

“As Tosca’s doomed lover, Mario Cavaradossi, American tenor Russell Thomas was just as strong, exuding a properly robust heroism while maintaining a smoothly vibrant melodicism.”

“The soprano and mezzo were strongly matched by Thomas’ ardent proconsul [Pollione]. The American dramatic tenor mustered the requisite clarion declarations, and he sent frissons of excitement through the theatre when he simply stood back and let his firm, hefty voice rip…he softened and coloured the sound most becomingly for the duet in which Pollione implored Adalgisa to run away to Rome with him.”

“Russell Thomas was in fine voice as her lover Ismaele, finding a noble bearing and singing with robust, caramel tone.”

“[Russell Thomas]’s Flower Song was beautifully sung”

“Russell Thomas was an excellent vocal match in the role of the wrongfully imprisoned Florestan. He unleashed a tenor of formidable power as he cried out ​“Gott!” singing like a force of nature before collapsing into a fetal position on the prison floor.”

“[The new production] served as a potent framework for the gripping performance by Russell Thomas in the title role, brilliantly playing the injured outsider”

“Thomas was especially interesting in his portrayal of Don José…Thomas gave Don José a lot of strength…with his magnificent tenor voice and commanding stage presence, gave us a José more sure of himself at the beginning of the opera, and therefore more conscious of his degradation at it’s end.”

“As Stiffelio, Russell Thomas brings a powerfully meaty tenor, and a passionate portrayal of a man of God”

“American tenor Russell Thomas maintains a great urgency in his powerful voice, never waning at any point in the evening.”

“Russell Thomas’s heroic lyricism gave more backbone to Ismaele’s vacillations than is usual and blended well with Jamie Barton’s mellifluous Fenena.”

“Tenor Thomas introduced a solid and disciplined Pollione, thankfully free of distracting mannerisms or exaggerated emotions…for the final scene [he] was genuinely touching.”

“The rest of the cast included standout tenor Russell Thomas, who sang a fiercely stentorian Pollione. His is a strong, exciting voice.”

“Giving his all to the part, tenor Russell Thomas acted well as the drink soaked love-rat Turiddu…Singing incisively, the American tenor revealed impressive tone quality.”

“Russell Thomas used his robust tenor to shape Verdi’s rich melodic lines with heartfelt expression.”

“Thomas made an inspiring Manrico, his voice literally rising to the occasion, including his showcase aria, ​“Di quella pira,” where he vows to save Azucena.”

“Tenor Russell Thomas as Faust brought impressive vocal power to the role”