As Dan Leno in Elizabeth Cree, Chicago Opera Theater (February 2018)
“Troxell’s Dan Leno is worth the price of admission alone, one of the finest performances you’ll ever see on an opera stage.”
“Troxell gave a stunning performance as the music hall great, bringing Leno to vividly characterized life. Whether singing a music-hall ditty in drag or empathizing with the young Elizabeth, Troxell completely embodied the character of the theatrical ham with a heart of gold. Troxell also sang superbly throughout, bringing a touching expression to his melancholy aria ‘O woeful world.'”
Chicago Classical Review.
“… Troxell walked away with his every scene as the music hall comedian Dan Leno. (The drag ditty in which Leno appeared to channel the pie-baking Mrs. Lovett, in Sondheim’s “Sweeney Todd,” was one of several nifty numbers.)” Chicago Tribune.
“Troxell excelled singing the role of comedian Dan Leno. With a wide range of tone colors in his vocal arsenal, he easily shifted musical styles from the ironical and extroverted music hall number with the big waltz boom-chuck-chuck of ‘What’s going on down below, Mr. B.’ to the somber lyricism of ‘O Woeful World.'” OperaWire.com.
We first meet Leno performing the cross-dressing role of Bluebeard’s housekeeper, with the outstanding tenor Richard Troxell fully inhabiting the role, dialect and all. Leno’s willingness to care for Lizzie reveals his big heart, but more significant is his commitment to entertaining his audiences, many of whom we imagine lead bleak, fear-marked lives outside the theatre. Leno’s embodiment of resilience in times of adversity resonates poignantly. BachTrack.com.
Concert, Opera in the Vineyards, Australia
A stellar cast of four singers – Sopranos Natalie Aroyan and Amelia Farrugia and tenors David Hobson and Richard Troxell from the USA – accompanied by The Metropolitan Orchestra and conducted by Maestro Brian Castle-Onion, held the audience literally in the palm of their hand all evening.
The Culture Concept
“…American lyric tenor Richard Troxell – a consummate entertainer with a captivatingly powerful, burnished voice that filled the concert hall. His La donna é mobile had a charming bounce to it … he sang his upbeat Questo o quella to the orchestra’s concertmaster Anna McMichael….
Balance in the space was also an issue, the orchestra overpowering Russell’s low register at times and swamping the more delicate moments in Jo’s performances – though Troxell had no problem making himself heard.”
Limelight Music & Arts Magazine
As Neruda, Il Postino, Opera Saratoga
…. leaving Opera Saratoga, you might say ‘Placido who’? That’s because, after [you] experience the wise, tender and beautifully sung performance of Richard Troxell in the role it is hard to imagine anyone doing it better.
Saratogian
As Renato Di Rossi, Do I Hear A Waltz, New York City Center Encores!
…. Then she meets the charming, silver-tipped Renato Di Rossi (the lyric opera tenor Richard Troxell, who is smashing)…. Every so often, though, a whiff of the “wonderful mystical magical miracle” (to borrow a phrase from Leona) stirs the air. It comes whenever Mr. Troxell opens his mouth to sing, with a captivating melodic suppleness in the only numbers here that evoke Rodgers the sweeping romantic balladeer.
Ben Brantley, The New York Times
While we’re at it, if one is to have an Italian lover, he might as well be an operatic tenor, which Troxell (who recently made his Met debut) most assuredly is. His effortlessly resonant voice soars over the swooning strings and demure woodwinds, sounding especially magnificent in the first-act finale, “Take the Moment.”
Theater Mania
Errico’s perfectly matched by the just-handsome-enough Troxell, an operatic tenor who not only acts terrifically but who melts your heart while singing such beautiful ballads as “Take the Moment” and “Stay.” It’s amazing anyone can resist.
Theater Pizzaz
As Renato…. Troxell gets two of the best numbers — the urgent “Take the Moment” and the romantic “Someone Like You” — and turns them into pure gold, like the St. Mark’s Basilica in Venice.
New York Daily News
[Troxell] has been an interesting presence…. Then he starts to sing and out come melting notes to trigger memories of Ezio Pinza.
Huffington Post
Richard Troxell, who recently made his Met opera debut, shows off his luscious lyric tenor in the soaring song that ends Act I, “Take The Moment.”
DC Theater Scene
As [Leona’s] love interest, Troxell delivers a charming performance and his gorgeous tenor voice serves the material well, particularly in the Act One finale, “Take the Moment.”
The Broadway Blog
Led by Melissa Errico, Karen Ziemba and lyric tenor Richard Troxell, the cast is in fine voice and honors the songs…
New York Post
As Borsa, Rigoletto, Met Debut
….in Michael Mayer’s production a member of the entourage of a Sinatra-esque Vegas crooner. Making the most of this louche milieu was debuting tenor Richard Troxell, whose tangy voice and delightfully skeevy characterization definitively put the “rat” in “Rat Pack.
James Jorden, The Observer. Com
As Pinkerton, Madama Butterfly, Vancouver Opera
Troxell swaggers his way through the expository opening of the piece, then morphs into seductive lover par excellence by the end of Act 1. Without, perhaps, exceptional top notes, his singing is both stylish and solid, his acting broad but effective. (Saturday’s audience offered a remarkable compliment during the ovations: generous applause for the singer, and vigorous booing for the cad he portrayed.)
Vancouver Sun
…. the tenor of the impertinent Pinkerton, portrayed here and also on select nights by Richard Troxell (and so persuasively that he received teasing boos from the audience at the bow).
VanCityBuzz.com
… the Vancouver Opera production’s leads — Mihoko Kinoshita as Butterfly and Richard Troxell as Pinkerton — gave strong performances on opening night as the arrogant American cad and the fragile Japanese flower.
HuffPost British Columbia
As Don José in Carmen, Vancouver Opera
As as the hapless Don José, tenor Richard Troxell steadily gave more and more until he becomes shatteringly effective in the short, intense concluding act.
Vancouver Sun
The leads were vocally on point as well, with the true standouts tenor Richard Troxell as Don José and Marianne Fiset as Micaela.
Charlebois Post
As a singer, Troxell is more than decent; as an actor, he is excellent.
Straight.com
As Dr. Yes in Anna Nicole, New York City Opera
“…tenor Richard Troxell camped it up as the sinister plastic surgeon, Dr. Yes, his crisp voice expertly tossing off one of the funnier one-liners.”
New York Post
Tenor Richard Troxell made the plastic surgeon Dr. Yes into the ultimate snake-oil salesman.”
The Wall Street Journal
“Richard Troxell turns in a strong ( and unsettling) cameo.”
The Classical Review
“Richard Troxell won four or five solid laughs from his one-joke role as the plastic surgeon all without resorting to ugly “character singing.” His Dr. Yes sounded as romantic as any Massenet hero.”
New York Observer
“Richard Troxell, in his one riveting scene as the breast-implant surgeon “Doctor Yes”, sketched a contrasting form of venality-the villain as slick,high pressure salesman.”
Opera News
As Older Galileo in Galileo Galilei, Cincinnati Opera
“As the older Galileo, Richard Troxell managed the tricky tessitura of the role well, and his diction made it possible to disregard the supertitles whenever he was singing.”
Opera News
“Tenor Richard Troxell was excellent as the old Galileo, who is torn by his decision to recant his scientific results rather than face execution or torture. His voice remained fresh and expressive throughout the lengthy oratory.”
Cincinnati Enquirer
As Des Grieux,Manon, Opéra de Montréal
“Tenor Richard Troxell deserves more praise for his convincing portrayal of the Chevalier des Grieux, a noble protagonist brought to grief through his dedication to an unworthy lover. It is hard enough to get such a syntheses of bright tone and heroic style on two years’ notice. This American was procured three days prior to the opening as a replacement…”
The Montréal Gazette
“Incredible to hear on stage the powerful and beautiful voice of American tenor Richard Troxell, his tone and the brightness of his voice , the details of his interpretation , to see his dramatic expressions and to be witness to his emotion when receiving the applause of the audience.The aria En fermant les yeux, so difficult, was perfectly sung by Troxell.”
Noticias montréal
As Don José, Carmen, Castleton Festival
“…most tenors struggle to make José at least somewhat convincing if not at least a bit sympathetic .Tenor Richard Troxell, however, broke through the barrier, growing more unpleasant, threatening ,and, ultimately,murderously unhinged and vicious in the opera’s final moments. His was a dramatically different, and highly effective approach that was further enhanced by Troxell’s real mastery of vocal nuance. His singing captured perfectly the violent, inner conflicts of a man who throws away everything in his life only to fail utterly in his pursuit of a romantic ideal.”
Terry Ponick,The Washington Times
“…Troxell…tapped into his character of Don José and went for it vocally and dramatically. With equal fervor he played rage and humilation, and he never backed down from showing us a man who, consumed by passion, becomes an animal. His aria, La fleur que tu m’avais jetée, was a gorgeous, heartfelt revelation by this once strong soldier who’d lost himself in love.”
DC Theatre Scene
As Don José , Carmen, Teatro Petruzzelli, Bari, Italy
“Richard Troxell brought to life with skill, rich vocalism, and dramatic presence an intense Don José torn between his internal conflicts and overwhelming jealousy.”
Cannibali Magazine Bari
As Roméo, Roméo et Juliette, Palm Beach Opera
“Roméo’s death scene gave Troxell a chance to shine with some lovely sotto voce singing, which he did gracefully.”
Palm Beach Arts Paper
As Gabriel von Eisenstein in Die Fledermaus, Hawaii Opera Theater
“Richard Troxell, a warm lyric tenor, melded perfectly into his role.”
Honolulu Star Advertiser
As Rodolfo, La Bohème, Opera Colorado
Tenor Richard Troxell was cast as the poet Rodolfo at least in part because of his obvious affinity for the Italian style, and he delivered some beautiful moments, capitalizing on Puccini’s swelling lines.”
The Denver Post
“The voices of soprano Inna Dukach ( Mimi) and tenor Richard Troxell (Rodolfo) blend together like fine coffee and rich cream, leaving the audience spellbound, eager for them to sing another duet.”
The Examiner
As Don José , Carmen, Castleton Music Festival
” Mr. Troxell lent conviction and dignity to this role with his clear, steady voice, creating, even in these excerpts, a considerable amount of sympathy for his character.”
Washington Times
Tenor Soloist, Opera Hamilton Popera
( Lenski’s Aria) Tenor Richard Troxell interpreted the aria with all the pathos and doom endemic to a Russian story, even underlining the mood with stance and dramatic pauses. Super.
Ontario Arts Review
Tenor Soloist, Handel’s Messiah , Pittsburgh Symphony
“Page selected an impressive group of vocal soloists, beginning with tenor Richard Troxell. His opening recitative Comfort ye, my people was beautifully declaimed,the essential point of entry to this masterpiece. Troxell established the rewarding style of vocal ornamention, all of which was dramatically apt.”
The Pittsburgh Tribune-Review
As Des Grieux , Manon, Calgary Opera
“Richard Troxell made a fine dramatic partner for Paulin, the scenes with the two young lovers are natural and unforced, and the more passionate scenes in the later part of the opera charged with strong emotion.Troxell has a fine voice which he uses intelligently, and if there is yet another level of vocal finesse that might be achieved, it is possessed by very few French-style tenors presently before the public. He was heard to the best effect in the mood-filled En fermant les yeux in the second act, a vocal highlight of the production. He was also convincing in the more dramatic moments in the final two acts, both of the big duets succeeding admirably.”
Calgary Herald
As Prunier, DVD, La Rondine
“Richard Troxell and Inva Mula, both fine singing actors, make the most of their roles as the secondary lovers….these two do not wear out their welcome.”
Opera News
“Inva Mula as Lisette and Richard Troxell as Prunier are the most credible…in the roles I’ve ever encountered–two lovely, lively performances.”
Arkiv Msic
As the Duke of Mantua, Rigoletto, Portland Opera
“Richard Troxell [was] adept and beautifully impassioned as the Duke with the charm and persuasion of a Don Juan descending the slippery slope of lust…”
Pat McElroy, all classical.org
As Lenski, Eugene Onegin, Opera Lyra, Ottawa
“…Richard Troxell as Lenski was superb.”
Culture Magazine Canada
“Tenor Richard Troxell brought an unusual degree of nuance to the role.”
Ottawa Citizen
Title Role, Zampa , Opéra Comique Paris
“Richard Troxell, l’Américain était un excellent Zampa,un vrai Corsaire et un acteur accompli, avec sa voix très assurée de ténor lyrique et son jeu scénique irréprochable…Dans son interprétation de Zampa, le tenor convainc incarnant parfaitement un personnage cynique, brutal,finalement pathéthique.”
“Richard Troxell, the American, was an excellent Zampa, a real pirate and an accomplished actor with an assured lyric tenor voice and an irreprochable stage presence. His interpretation of the role of Zampa is convincing,perfectly capturing the character of this cynical, brutal and finally moving character.classiquenews.com1/17/09
“…warmly applauded. Troxell is fine actor, and his blazing eyes and swashbuckling poses make him a credible devil… a fine top D with a diminuendo showed that he is no technical slouch”
Opera News
Lyric Fest Concert A World of Friends
“Richard Troxell is one of the best, and most successful, graduates the Academy of Vocal Arts has produced–a globetrotting tenor with a great voice and a stage presence that makes him a perfect choice for swashbuckling roles and arias like Rossini’s La Danza. He’s also an entertainer who clearly enjoyed standing close to the front rows singing directly to the children.”
Tom Purdom, Broad Street Review
As Alfredo, La Traviata, Portland Opera
“Richard Troxell gave a compelling performance as Alfredo…Troxell showed what a fine singer he is-smart,technically agile and an involved actor. He was particularly engaging in his Act 2 opening aria”
The Oregonian
As Don José, Carmen , Opera Australia, Sydney
“Troxell made a credible…José singing with passion and confidence.”
Northside Newspapers
” His voice opened up with beautifully textured sensitivity.”
Arts Hub
” One of the star turns was Richard Troxell as murderer,deserter and cuckold Don José. He’s already made a name for himself in this opera, based on his capability as an actor as much as his vocal refinement and finesse. Panache is the word that springs to mind.”
Curtain Call
As Don José, Carmen, Green Mountain Opera Festival, Vermont
“…the story of Carmen is told through the music, and the cast was excellent. [Julie}Nesrallah’s sultry passion was countered beautifully by Richard Troxell’s more earnest but lyrically expresssed passion and desperation. His aria of love to Carmen in the second act was heart-wrenchingly beautiful.”
Times Argus
“Richard Troxell was one of the better Don José’s I have heard. The moment when he tells Carmen how miserable he was in prison and how the flower that she gave him was the sole solace that he had was so intensely emotional that I for one was deeply moved.”
Dan Wolfe, Classical Voice of New England
As Rodolfo, La Bohème, Green Mountain Opera Festival
“Tenor Richard Troxell delivered the passion of Rodolfo…with great emotional depth and power.”
Times Argus
Title Role, Galileo Galilei , Portland Opera
“Tenor Richard Troxell, who usually plays young men, was persuasive as Older Galileo…”
Opera News
“Richard Troxell was sympathetic as the elder Galileo ably carrying the first scene.”
Oregonlive.com
As Turiddu, Cavalleria Rusticana, Opera Hamilton, Ontario
“…tenor Richard Troxell gives a potent interpretation of this less-than-stalwart character,yet shows him to have human feelings and even a sense of moral responsibility.”
Ontario Arts Review
Tenor Soloist, Carmina Burana, Saint Louis Symphony Orchestra
Tenor Richard Troxell did a perfect turn as the roasting swan.”
Saint Louis Post Dispatch
“The tenor has only one song- the chilling Olim lacus coleuram, in which a swan laments being roasted for dinner-but Richard Troxell made the most of it, singing from memory and with great dramatic effect.”
KDHX Music Reviews
Tenor Soloist, Baton Rouge Symphony Orchestra, Baton Rouge, LA
“Richard Troxell… won the the audience members’ adoration with his voice…” Baton Rouge Advocate
As Pinkerton, Madama Butterfly , Opéra de Montréal
“American tenor Richard Troxell was handsome, ringing and thoroughly loathsome as Pinkerton”
Montréal Gazette
” Le ténor Richard Troxell reprend le rôle de Pinkerton-l’officier qui séduit et abandonne la petite-qu’il jouait dans le film de Frédéric Mitterand. La voix est encore belle, avec un aigu sûr, et le jeu est toujours vrai.”
“The tenor Richard Troxell reprises the role of Pinkerton, ]the officer who seduces and abandons Butterfly, which he played in Frédéric Mitterand’s film. The voice is still beautiful with a secure top, and the acting is still real and natural.”
La Presse de Montréal
“Le ténor américain Richard Troxell,solide lieutenant Pinkerton,à la voix lumineuse,-il s’investit totalement,de l’amoureux inconstant aux regrets amers de l’homme marié-c’est précisément lui que nous retrouvons dans le film de Frédéric Mitterand.”
“The American tenor Richard Troxell, a solid Lieutenant Pinkerton with a luminous voice, invests himself totally in the role from fickle lover to the bitter regrets of a married man–it is precisely he whom we recognize from Frédéric Mitterand’s film.”
Jacques Hétu, ResMusica.com
Title Role in Les Contes d’Hoffmann, Opera Narodowa, Warsaw
“Richard Troxell, the American singer who is Hoffmann, turned out to be an excellent actor and a solid singer…”
Zycle Warszawy
“The American tenor Richard Troxell coped well with the gruelling part of Hoffmann.”
Rzeczposilita
As Don José in Carmen, Orlando Philharmonic
“Richard Troxell was a more-than-credible Don José, and he made the Act II Flower Duet one of the evening’s highights.”
Orlando Sentinel