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DVD Video, Richard Croft (tenor)
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Philip Glass: Satyagraha
Richard Croft, Rachelle Durkin, Kim Josephson, Alfred Walker, Metropolitan Opera & Chorus, Dante Anzolini
The cast is on the mark both vocally and physically…this release is especially recommended as a starting point to Glass’s world of music theatre. —
Awards:
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International Classical Music Awards, 2022, Nominated - Video Performance
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Special offer. Handel: Messiah
Susan Gritton (soprano), Cornelia Horak (soprano), Bejun Mehta (countertenor), Richard Croft (tenor), Florian Boesch (baritone)
Ensemble Matheus & Arnold Schoenberg Choir, Jean-Christophe Spinosi
there are some penetrating ideas lurking behind the underlying premise, which in essence orbits around the moral, theological and familial fallout surrounding a suicide...the singing blazes... —
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Mozart: La finta giardiniera, K196
From Drottningholm Court Theatre 1988
Ann Christine Biel, Annika Skolund, Richard Croft, Stuart Kale, Britt-Marie Aruhn, Eva Pilat, Petteri Salomaa
The Drottningholm Court Theatre Chorus and Orchestra, Arnold Östman, stage direction by Göran Järvefelt
Early Mozart comedy contemporary with the theatre where it's staged, with period style extending to the players' costumes. Likeable piece, likeably performed. —
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Handel/ Mozart: Der Messias
Elena Tsallagova (soprano), Wiebke Lehmkuhl (mezzo-soprano), Richard Croft (tenor), José Coca Loza (bass), Alexis Fousekis, Philharmonia Chor Wien, Les Musiciens Du Louvre, Mark Minkowski, Robert Wilson
On the plus side, Wilson shows a definite response to the music.Yet there’s always a tendency for whatever work he stages to become an accompaniment to a fussy and (in terms of significance)... —
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Mozart: La clemenza di Tito, K621
Richard Croft (Tito), Anna Stéphany (Sesto), Alice Coote (Vitellia), Michèle Losier (Annio), Joélle Harvey (Servilia), Clive Bayley (Publio); Orchestra of the Age of Enlightenment, The Glyndebourne Chorus, Robin Ticciati, Claus Guth
Croft’s mature acting and ardent singing vividly bring to life Tito’s torn emotions…The cruel manipulation by Alice Coote’s psychotic Vitellia of Anna Stéphany’s puppyish Sextus is painful to... —
