Classical Voice, The Theory of Everything
Classical Voice, The Theory of Everything
Release Date February 2026
Premier bass-baritone and educator Craig Colclough crafts a concise, unifying theory of voice training based upon vocal acoustics. By supplanting linguistics with acoustics as the foundation of vocal training, The Theory of Everything builds a new model for teachers and students seeking to understand and utilize the fundamental connection between the divergent branches of vocal study.
"... the fearless Craig Colclough, a singer-actor at once vulnerable and charismatic.”
-Opera News
"Craig Colclough was superb as the Dutchman, with a stage presence that gripped even before he started singing. ‘Die Frist ist um’ was a wonderful demonstration of Colclough’s expressive bass-baritone and a beautifully controlled dynamic range with excellent projection throughout. His acting thoughtfully showed both the Dutchman’s otherness and his residual humanity. If this artist is billed at your local opera house, buy tickets immediately!" -Seen and Heard International
"...an excellent Macbeth. He takes possession of the role from 'Mi si affaccia un pugnal'... it is his "parole scenica” that pull you into the piece. He turns 'Pietà, rispetto, amore' into the vocal highlight of the evening. It is a great pity that “Mal per me” has been deleted. Yet he doesn't sound like a typical Verdi baritone. He articulates with an expressive naturalness that is purely his own." -Leidmotief
"Colclough‘s Leporello was, simply put, a masterclass. What set him apart from others I have seen in the role was his ability to convey Leporello’s internal conflicts and evolving perspective on his master. As the opera progressed, Colclough’s Leporello transitioned from being a simple bystander to grappling with moral dilemmas and questions of loyalty. This evolution was subtly reflected in Colclough’s nuanced acting and vocal delivery, adding an extra layer of complexity to the character. His performance of the famous “Catalogue Aria” was a true highlight, as he navigates the rapid-fire list of Don Giovanni’s conquests with clarity and precision. Colclough’s delivery not only showcased his technical skill but also his ability to infuse the aria with humor and personality." -Stage and Cinema
"It was Craig Colclough’s Kurwenal that stole the show. A role debut for him, his enormous sound felt wonderfully offensive in act I, and act III seemed to belong to him. His voice is a thrilling, bright bass-baritone, and he was all at once heartbreaking and a much-needed source of comic relief." -Schmopera
!["From the moment of Colclough's singing, the goodness of a man, to whom life is a feast and who does not understand the meaning of mischief, shines forth. While externally he [Falstaff] may be a degenerate, inside - you can hear that he is a beautifu](https://images.squarespace-cdn.com/content/v1/69026690c6aec815e9418196/cf0ed2d0-e15c-4bcb-a6be-24a56b845032/70_MG_6219-min.jpg)
"From the moment of Colclough's singing, the goodness of a man, to whom life is a feast and who does not understand the meaning of mischief, shines forth. While externally he [Falstaff] may be a degenerate, inside - you can hear that he is a beautiful soul." -Frankfurter Allgemeine
"American bass-baritone Craig Colclough has an inordinately strong voice and delivers the lengthy arias of Macbeth effortlessly... A brilliant vocal performance." -Luxembourg Times
"The highlight of the performance was the portrayal of Craig Colclough in the role of the dwarf Alberich. With confident voice guidance and a terrifying timbre, unsurpassed in facial expressions and gestures, he embodied every wave of emotions of this, probably, most tragic figure of Richard Wagner from scorn to pain to shame." -The Opera Magazine (image credit Xiomara Bendser)
"...with excellent diction and a skillfully controlled voice all evening. He interpreted his role visually with exquisite comic timing and aurally with a wide range of dynamics and luminous bronzed vocal tones. His was a moving and sympathetic, but broadly drawn, portrayal of the fat knight.” -Opera Today
"...the evening goes to the American bass-baritone Craig Colclough as Scarpia, a performance chilling for its ability to flick in an instant from sybaritic sentimentality to sadism. His glittering mad eyes and unstable, reptilian presence coupled with a voice that could freeze the Tiber are reason enough to catch this show." -CultureWhisper
"Colclough’s voice is capable of an alarming edge, a mercurial menace that his Macbeth can wield with easy fury. But from the very beginning, we also see him, hear him, lose his grip in what was an impressively relentless and deeply probing characterization." -Chicago Sun Times
“Craig Colclough's exquisite Telramund was the surprise of the evening. This was so excitingly articulated that we would suspect Colclough of having a flawless Wagner instinct.” -Liedmotief
"Colclough seduces greatly with his remarkable musicality and phrasing, as well as the grain of voice that sometimes makes one think of that of the great Bryn Terfel. His Falstaff is never fat, or exaggeratedly caricatured: just truculent enough, you always sense the dapper gentleman adrift behind the late lover." -Opera Online
"This is one of those rare performances when all the leads are on a particularly high level. Bass roles in Bellini generally do not offer singers the chance to show their dramatic worth. Craig Colough saw this as no obstacle and with a booming, clear, and beautiful sound gave Oroveso a not often seen power. In this production, he is both a loving father and also a powerful leader of the Druid Resistance. His command of the long vocal line was impressive and his presence is felt even when the character is not onstage." -Concerto.net
"As Pasquale, Craig Colclough was very convincing in a role he performed with both strength and agility. His comedic timing was flawless, which worked well when interacting with the other characters on the stage… the patter duet with Colclough was one of the showstopping highlights of the entire opera – and partially repeated for the benefit of the appreciative audience." -Bachtrack
"As Telramund, Colclough delivered perhaps the best role of the performance. Falling from grace and banned after his defeat by Lohengrin, Colclough epitomized the tragedy of Telramund in an intrusive way. The strength that Colclough's Telramund displayed was made of superb theatrical make-belief." -Wagner HeavyMetal
"Craig Colclough brought a manic brilliance to the attendant that might be called pioneering." -New York Times
"Craig Colclough was vivid as Monterone, expressing some of the most intense passion of the evening in his appearances. His energy punched up the entire opera." -New York Classical Review
"What fine singers! Craig Colclough is a bass-baritone to reckon with. The voice rolled through the house, diction perfect. His Pasquale was arrogant, boyishly hopeful, outraged and pathetic by turns, his singing free of silly buffo mannerisms, the voice grand." -Bachtrack
AudioBooks
Two books down, four to go in the epic, action-packed, historical fiction, Thomas Scoundrel Series by acclaimed writer and historian B.R. O’Hagan.
Voice Services
Per Hour
Styles: Opera, Musical Theatre, Folk
Levels: Professional, University, High School
Beyond the noise
Both as a performer and educator, Craig’s priority is the enrichment and betterment of all. Whether working on an opera production in a foreign country or teaching near his home in Southern California, Colclough believes that the purpose of art, both in its presentation and the process of its creation, is to “Spread Love”.
Verdi’s Macbeth has become a signature, serving as Colclough’s debut at the Metropolitan Opera, Lyric Opera of Chicago, Bayerische Staatsoper, Luxembourg Opera and most recently the Theatro Municipal de São Paulo, Brazil.
This season, Colclough depicted Gerhard in Mason Bates & Gene Scheer’s new opera The Amazing Adventure of Kavalier and Clay at the Metropolitan Opera, and in the spring, Colclough heads to the Los Angeles Opera to reprise the title character in Verdi’s Falstaff.
In the 2024-’25 Season, Colclough appeared in his favorite role, Nick Shadow, in Opera Omaha’s The Rake’s Progress, Scarpia in Seattle Opera’s Tosca, Badger/Parson in Des Moines Metro Opera’s The Cunning Little Vixen, as well as his role debut of Capulet in Romeo et Juliette at the Los Angeles Opera.
The ‘23- ‘24 season included role debuts as the title character in Der fliegende Holländer at the Göteburg Opera, Leporello in Don Giovanni at the Los Angeles Opera, and the title role in Sir John in Love at the Bard Festival. Colclough also debuted at the Concertgebouw, reprising his role of Alberich with the Radio Filharmonisch Orkest, Netherlands.
2022-2023 saw Colclough as Figaro in Le Nozze di Figaro at the Los Angeles Opera, Sharpless in Madama Butterfly at the Atlanta Opera, Monterone in Rigoletto at the Metropolitan Opera, Telramund in Wagner's Lohengrin at the Royal Opera House Covent Gardens, and his first Alberich in Der Ring des Nibelungen under the direction of Brigitte Fassbaender for the Tiroler Festspiele in Austria.
2018-19 included appearances as Peter in Hansel & Gretel at the Los Angeles Opera, Fra Melitone in La Forza del Destino for his company debut with Oper Fankfurt, as well as the Storyteller in A Flowering Tree for his company debut with Opera Queensland. During the summer, he returned to the title role of Don Pasquale with the Berkshire Opera Festival.
Mr. Colclough’s 2017-18 season included debuts with the Royal Opera House, Covent Garden as Pistola in Falstaff, Opera Vlaanderen as Falstaff in Falstaff (directed by Oscar-winning actor Christoph Waltz), Boston Lyric Opera as Hare in the world premiere of Burke and Hare, and Dallas Opera as Peter Vogel in Der Ring des Polykrates. He also returned to Minnesota Opera as the title role in Don Pasquale and Los Angeles Opera as Monterone in Rigoletto.
Biography
The autumn of 2016 found Colclough returning to London for Scarpia in Tosca with English National Opera, a role which served as his debut at Canadian Opera Company later in the season. He also joined the Minnesota Opera for Doristo in L’arbore di Diana, and spent the summer singing the title role in Verdi’s Falstaff with Opera Saratoga.
In the 2015-2016 season, performances included appearances with Arizona Opera as the title role in Falstaff, Simon Bolivar Symphony Orchestra of Venezuela, for Timur in Turandot, conducted by Gustavo Dudamel. Additionally, he returned to English National Opera for his role debut of Kurwenal in Tristan und Isolde, and Los Angeles Opera for Simone in Gianni Schicchi. On the concert stage, he debuted at the Hollywood Bowl with the Los Angeles Philharmonic as Dottore Grenvil in La traviata.
In the 2014-2015 season, Colclough made his European debut with the English National Opera as Jack Rance in La Fanciulla del West, also with the Atlanta Opera as Figaro in Le nozze di Figaro, and Lyric Opera of Kansas City as Lieutenant Gordon in Silent Night.
Additional credits include the Israeli Philharmonic Orchestra, California Philharmonic, Capitol Records, Abbey Road Studios and the soundtrack of the film Rolled.
Contact Craig
Lessons -or- AudioBooks? Contact Craig directly using the form on this page. He looks forward to hearing from you!