English National Opera -La Fanciulla del West

The American bass baritone Craig Colclough, displaying a warm, Italianate tone, made a striking European debut as the bitter sheriff, Jack Rance.”


“Craig Colclough is superb as sneering sheriff Jack Rance.”


“American baritone Craig Colclough makes a welcome European debut as Jack Rance.”


“The American baritone Craig Colclough does an excellent job as the sleazy Scarpia-like Jack Rance.”


Philharmonic Society of Orange County – Beethoven’s 9th Symphony

“Of the professional brought in for the vocal solos, bass Craig Colclough distinguished himself, possessing a hefty, resonant, confident tone and a true sense of occasion.”


Arizona Opera – Don Pasquale

Performances are excellent across the board, both comedically and musically. Colclough’s lascivious bluster in no way undermines his vocal gymnastics.”


Wolf Trap Opera Company – Falstaff

“Bass-baritone Craig Colclough was quite simply sensational as the considerably larger-than-life Sir John Falstaff, a dissolute knight-errant whose appetites, girth-control issues and amorous misadventures drive the entire production.

Mr. Colclough wears his greasy Sir John fat suit like a second skin, embodying his character in word, deed, and appearance. He also knows how to adapt a Rossini-like basso-buffo vocal approach to Verdi’s late-Romantic era, creating a multifaceted musical and comical character that gives this production its drive as well as its overwhelming sense of fun.”

Read more: http://communities.washingtontimes.com/neighborhood/curtain-up/2013/aug/11/verdis-falstaff-gets-new-look-wolf-traps-barns/#ixzz2bj3CUMeC 


“You don’t necessarily expect that a company specializing in young singers is going to be able to field a “Falstaff” cast. The title role of the fat knight is generally seen as the province of veteran bass-baritones who can bring poignancy to, for instance, the great Act III monologue when the bedraggled old man, fresh from being dumped into a ditch by the putative object of his affections, vents his spleen — on the world, his gray hair and his aging body — before being gradually restored to good spirits by the simple act of drinking wine and sitting in the sun.

But Craig Colclough — the Commendatore in last summer’s “Don Giovanni” and the title character in this production — and Tomer Zvulun, who directed that show as well as this one, proved to be strong in just such details, elevating a fairly conventional conception of the character into quite a memorable portrayal. You’ve seen other Falstaffs like Colclough’s before — a man in a fat suit with a frizzy, balding wig — but Colclough did it so consummately that it was hard to believe the singer is actually a young man. The delicacy and relish with which Falstaff peeled a hard-boiled egg — admiring it, flicking bits of shell onto a plate balanced atop his tummy at approximately the level of his chin, then consuming it — spoke volumes about his appetites. Colclough backed up the acting with a strong, expressive voice. There was occasional patchiness in the line when he went up into the upper middle part of his voice, but this was counterbalanced by a resounding top.”

Read more: http://www.washingtonpost.com/entertainment/music/wolf-trap-operas-falstaff-is-intimate-memorable-and-ultimately-conventional/2013/08/11/36a04c38-0290-11e3-a07f-49ddc7417125_story.html


Los Angeles Opera – Dulce Rosa – World Premier

“As Juan Aguilar, the perfidious friend who eventually rises to supreme power, Craig Colclough sang with venomous power and pinpoint accuracy, which gave a lethal side to his slightly comical character.”


“The politician Aguilar, sung and acted most effectively by Craig Colclough…”


“First rate… appropriately creepy.”


Wolf Trap Opera Company – The Rake’s Progress

“Wolf Trap Opera Company hit one of its highest peeks of the past decade with a bracing production of the Rake’s Progress that featured an appealing cast, well up to the challenges of Stravinsky’s prismatic score, and incisive, tightly meshed direction an design. Through it all, the heart beneath the opera’s satire beat distinctly. Craig Colclough looking quite the London banker in his bowler hat, oozed charm and smarm as Shadow. The warmth and sturdiness of his voice paid dramatic dividends throughout.”


“Mr. Colclough’s Nick gave us a superb ‘Come, master…’ and his voice was so warm and impressive you just wanted to join him. Nick’s ‘Tis not your money, but your soul’ utterance made me want to hear Mr. Colclough perform Sweeney Todd soon! There was an edginess to this scene and his singing.”


“Craig Colclough charges into the role of Shadow. He nimbly reveals the character’s combination of charm and smarm, all the while producing a big, robust tone and animating his every phrase”


Wolf Trap Opera Company – Vocal Colors

“Opening with an explosive account of “Fate”
from the musical “Kismet” Colclough displayed an easy, down-to-earth confidence in his singing, and there’s an agreeable roughness to his voice that brought a fine edge to the song and turned Irving Fine’s hilarious “Tigeroo” into a tour de force”


Wolf Trap Opera Company – Don Giovanni

“Craig Colclough was a terrifying presence as the Commendatore”


Florida Grand Opera– Les Contes d’Hoffmann

“Florida Grand Opera was rewarded by entrusting the roles to Craig Colclough”


Florida Grand Opera– Rome e Juliette

“Subtlety did find it’s way into the cast with the sensitive turns by Craig Colclough as Friar Laurent” -ConcertoNet.com 2012



Pacific Repertory Opera– Un Ballo in Maschera

“A sonorous bass-baritone”


“Well sung, especially bass-baritone Craig Colclough’s conspiritor”


Redlands Symphony Orchestra

“His strong, robust, voice was just what was needed”