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."
-Seen and Heard International
"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.)
-Gustavo Gabriel Otero, Opera Magazine
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."
-James McQuillen, OregonLive.com
MacDuff in Macbeth:
"Opening night, the biggest hand went, rightly, to tenor Richard Crawley, who stole the show with Macduff's impassioned and elegant last-act aria."
-Lloyd Schwartz, The Boston Phoenix
"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."
-Lloyd Schwartz, The Boston Phoenix
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."
-Edward Ortiz, The Sacramento Bee
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."
-Anthony Tommasini, The New York Times
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."
-Michael Johnson, ConcertoNet.com
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."
-John Freeman, Opera News
"As Marat, the tenor Richard Crawley sang with power and urgency...."
-Steve Smith, New York Times
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."
-Contra Costa Times
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."
-Robert Thicknesse, Opera Now
"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.
-Sally Vallongo, The Toledo Blade
Riccardo Un Ballo in 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.
-The Santa Barbara Independent
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.'"
-The Honolulu Advertiser
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."
-The Post-Journal (Jamestown, NY)
Luigi in Il Tabarro:
"Richard Crawley sang with plenty of urgency as the lover, Luigi."
Title Role 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."
-The Oregonian (Portland, OR)
"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."
-The Post-Standard (Syracuse, NY)