“He sounds silky, with flawless diction and effortless power.”

“Russell Thomas is a forceful singer with an attractive voice. The power of his physical exertion when singing makes one pay attention.”

“[Thomas’] burnished tenor brings a heart-breaking beauty even to big, overwrought emotions… there was ringing beauty to his tenor and focus to his projection that allowed him be heard and, better still, understood”

“The tragedy unfolded tautly, thanks in no small measure to the ardent performance of Russell Thomas in the title role [of Otello]…he produced abundant warmth and steadiness of tone, enhanced by keen musicality and incisive acting. His melting way with the love duet’s tenderest phrases was just one highlight.”

“Few Manricos today can deliver the vulnerability [Russell] Thomas brought to ​‘Ah, sì, ben mio’ or the generosity with which he sang ​‘Ai nostri monti’, Manrico’s tender duet with his mother […]”

“As the object of both women’s desire, tenor Russell Thomas made an endearingly strong first appearance in the title role [of Roberto Devereux]. He unfurled lyric charm and verve”

“With a pure, focused tenor sound, remarkably even from top to bottom, Thomas managed to convey both the nobility and anguish of the title character…he created a time-stopping moment as he awaited his execution in Act III.”

“[As Don Carlo] Russell Thomas sculpted phrases with uncommon richness of tone, exemplary legato and great sensitivity to the text.”

“Tenor Russell Thomas made an imposing company debut in the title role [of Don Carlo], impressing with the suavity of his pianissimo tone as much as with the power and consistency of his voice.”

“In the title role, Russell Thomas has gravitas and passion” *****

“[Russell Thomas’] powerful, classy tenor was utterly convincing in the most dramatic moments”

“Russell Thomas brought tremendous swagger as Loge, the fire sprite of Wotan’s court…he offered a lean, sunny tenor, giving an energetic account of his extended narrative monologue.”

“As Mario Cavaradossi, tenor Russell Thomas’s rendition of ​“Recondita armonia” was suitably fervent and well-projected; the further up he went on the three-level painter’s scaffold, the better he sounded in the big hall.”

“Russell Thomas was a thrilling Pollione, a role suited to him dramatically.”

“He sang with heroic tone and dedication as the weak-willed Roman proconsul…Thomas was at his best in the final scene of mutual self-sacrifice, both vocally and dramatically.”

“Russell Thomas, a tenor of gorgeously burnished power, and Jamie Barton, whose mezzo pours out like lava, are luxury casting as the star-crossed lovers, Ismaele and Fenena.”

“Thomas was thrilling, powerful vocally and without excess.”

“Though he has made several Cincinnati appearances, the fine singer Russell Thomas was unexpectedly commanding in the role of Florestan…Where many a tenor comes to grief in this music, Thomas shone with a clarion top voice, especially in his intelligent delivery of his ​“Gott, Welch’ Dunkel hier!””

“Thomas’s voice was most intense in moments of heightened drama and his tone nodded toward a young Pavarotti.”

“Russell Thomas (also making his LA Opera debut) was a stylish Pollione.”

“From Miami, tenor Russell Thomas as Stiffelio makes every second count with an incredibly exciting tone throughout each register of his voice”

“At the centre of it all is Russell Thomas as the priest Stiffelio…The Miami tenor has power and charisma, HE can sound intense and beautiful, he brings out every sob and every ounce of swagger – all in all, perfectly cast.”

“The men in ​“Norma” normally matter little. But tenor Russell Thomas’ Pollione, who casts off Norma for the younger Adalgisa, presents an unusually believable combination of haughty authority and punishing vulnerability.”

“The character of Pollione, an un-heroic, fickle lover, is far less nuanced than the soprano roles, but Thomas and his ringing tenor managed to bring a tortured yet determined quality to the part.”

“The men in ​“Norma” normally matter little. But tenor Russell Thomas’ Pollione, who casts off Norma for the younger Adalgisa, presents an unusually believable combination of haughty authority and punishing vulnerability.”

“Ismaele, tenor Russell Thomas, sang with a clarion tone quality, polish and power.”

“what a joy it was to hear the stunning tenor voice of Russell Thomas as Manrico. He sang consistently with ardent expression and spine-tingling high notes. His pairing with Barton was believable and magnetic.”

“Russell Thomas makes his debut with MOT as the title character. The American tenor gives a soulful performance as the conflicted character, showcasing the emotional role with every perfectly pitched note.”

“Tenor Russell Thomas, portraying Faust, has a robust, clarion voice…he nailed the top C squarely in his gorgeous aria ​“Salut! Demeure chaste et pure.” The effect was like a sunburst after a storm.”