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  Baritones: Richard Burkhard - Reviews
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Zazà‚ Opera Holland Park
Opera Magazine (September 2017)


'Best of the bunch was Richard Burkhard as Cascart‚ Zazà’s kind‚ patient ex‚ whose baritone was warm and easy throughout. '

Radamisto‚ Northern Ireland Opera
Opera Magazine (July 2017)


'Richard Burkhard’s Tiridate was fulminating and flouncy.'

Zazà‚ Opera Holland Park
BachTrack.com (July 2017)


'The supporting cast was strong: the outstanding warmth of Richard Burkhard’s baritone and the ease with which he shaped his lines made him an ideal fit for Zazà’s ex-lover Cascart;'

Zazà‚ Opera Holland Park
Culture Whisper (July 2017)


'but for me the night went to the baritone Richard Burkhard as Zazà’s former lover‚ partner in her double act‚ and mentor. Each of his numbers is a high point‚ sumptuously sung‚ sympathetic in character‚ focused and authoritative.

Zazà should have stuck with him.'

Zazà‚ Opera Holland Park
Financial Times (July 2017)


'Only one singer makes the grade: the baritone Richard Burkhard‚ whose nuanced‚ vocally warm portrait of Cascart‚ Zazà’s former lover‚ gives us just a hint of what this opera‚ in more assured directorial hands‚ could have been.
'

Zazà‚ Opera Holland Park
MusicOMH (July 2017)


'As Cascart‚ Richard Burkhard is a model of consistency from the outset displaying his strong and secure baritone to excellent effect.
'

Zazà‚ Opera Holland Park
Seen & Heard International (July 2017)


'In fact‚ the two real star turns apart from Zazà herself are ...and an astonishingly strong vocal performance of Cascart‚ Zazà’s ex-lover‚ by Richard Burkhard‚ a singer who can coax out the most ravishingly tender phrases (his aria‚ “Zazà‚ piccolo zingara”) while exuding real stage presence at all times.'

Zazà‚ Opera Holland Park
The Daily Mail (July 2017)


'...Richard Burkhard is ­outstanding as Zazà’s long-­suffering ex-lover and chief handkerchief-carrier‚ Cascart.'

Zazà‚ Opera Holland Park
The Guardian (July 2017)


'Richard Burkhard makes an outstanding Cascart‚ Zazà’s worldly wise if occasionally jealous ex‚ to whom Leoncavallo allots some of the best music in the score.'

Zazà‚ Opera Holland Park
The Opera Critic (July 2017)


'As Cascart‚ Richard Burkhard found the perfect balance for the role in all respects‚ lending his music an understated (while vocally generous) reading‚ and creating the most sensitive and sympathetic figure of the evening.'

Zazà‚ Opera Holland Park
The Spectator (July 2017)


'...Richard Burkhard as her kindly co-star and old flame Cascart‚ whose warm‚ eloquent singing gave the whole sorry story its core of integrity.'

Zazà‚ Opera Holland Park
The Times (July 2017)


'...if the audience’s sympathies go anywhere‚ it’s to Richard Burkhard’s generously sung and tenderly vulnerable Cascart.'

Zazà‚ Opera Holland Park
What’s On Stage (July 2017)


'Richard Burkhard‚ by contrast‚ was magnificent as Zazà’s sympathetic ex-lover-turned-confidant‚ her co-star Cascart. His burnished baritone is an unsung national treasure. And a plethora of detailed cameos from the strong supporting ensemble ensured that the opera’s chaotic public side had zip and swagger.'

Radamisto‚ Northern Ireland Opera
Critics Circle (May 2017)


'Richard Burkhard did his usual brilliant turn as the villain in a part that could have been written for him...'

Radamisto‚ Northern Ireland Opera
The Arts Review (May 2017)


'Richard Burkhard’s resonant baritone is mesmerising‚ as is his delightfully cartoonish‚ over the top portrayal of king Tiridate.'

Queen of Spade‚ Opera Holland Park
Opera Magazine (October 2016)


'Richard Burkhard’s Tomsky provided a lively counterpoint to Herman‚ notably in the light relief offered by his ballad at the card table.'

Queen of Spades‚ Opera Holland Park
Mark Ronan.com (August 2016)


'Yet production aside the robustly lyrical singing of Richard Burkhard as Count Tomsky ... showed serious quality'

Queen of Spades‚ Opera Holland Park
The Express (August 2016)


'There is excellent work from the supporting cast‚ particularly Richard Burkhard as Count Tomsky ‚ whose tale of the Countess’s secret of the three cards sparks off Herman’s obsession.'

The Queen of Spades‚ Opera Holland Park
BachTrack.com (August 2016)


'Top honours went to Richard Burkhard as Tomsky‚ who brought the action to life in Act I with his “Once in Versailles” with its famous refrain of “Tri karty” as he unwittingly sows the seeds of Herman’s dementia by telling the tale of the three cards. In Act III’s drinking song “If pretty girls could fly like birds”‚ Burkhard once again showed the vocal and stage presence to grab the audience and carry us along with him.'

The Queen of Spades‚ Opera Holland Park
Seen & Heard International (August 2016)


'Richard Burkhard was a characterful Tomsky‚ excelling in his star turn aria'

The Queen of Spades‚ Opera Holland Park
The Guardian (August 2016)


'The smaller roles are cast from strength... Richard Burkhard’s Tomsky is witty‚ impish and snide...'

The Queen of Spades‚ Opera Holland Park
The Independent (August 2016)


' but Richard Burckhard’s Tomsky has such charisma that he lights up the stage'

L’elisir d’amore‚ Opera North
Opera Magazine (April 2016)


'Richard Burkhard’s silver-tongued Dulcamara was straight out of music-hall: pencil moustache‚ wavy fringe and striped waistcoat.'

L’elisir d’amore‚ Opera North
Manchester Evening News (March 2016)


'Richard Burkhard‚ as Dulcamara‚ is a gifted singer and comedian‚ and though his style was different from Purves’s‚ made the snake oil salesman … who arrives by hot-air balloon in this version … a thoroughgoing success.'

L’elisir d’amore‚ Opera North
BachTrack.com (February 2016)


'Richard Burkhard makes Dulcamara‚ the fraudulent doctor‚ into an immensely likeable‚ fast and funny quack. His arrival by balloon and his aria “Udite‚ udite o rustici” (Listen‚ you rustics)‚ incongruously addressed to sophisticated coffee drinkers‚ is particularly amusing‚ and he excels in combination with Adina in Act II when he points out with excellent diction that he is rich and she is beautiful‚ as she teases him with her long scarf'

L’elisir d’amore‚ Opera North
Guardian (February 2016)


'Richard Burkhard great value as the straw-hatted charlatan Dr Dulcamara'

L’elisir d’amore‚ Opera North
Huddersfield Examiner (February 2016)


'Richard Burkhard similarly is a Dulcamara without buffo excesses. Smartly bespatted‚ he brings a slyly subtle agility and wit to the part'

L’elisir d’amore‚ Opera North
Seen & Heard International (February 2016)


'“Dr.” Dulcarama is one of opera’s great comic characters. Here is a man who can sell anything to anybody but whoever plays him must persuade an audience that he can. Simply arriving by balloon got Richard Burkhard off to a good start. He then dominated the stage with suitable strutting about aided by a powerful bass/baritone voice that has to cope with a deal of alarmingly rapid patter that he carried off with aplomb. He may not have been the largest of life Dulcamara’s I have seen but that is no bad thing. Overdo the role and the whole performance can become dramatically unbalanced'

L’elisir d’amore‚ Opera North
The State of the Arts.co.uk (February 2016)


'Completing a very fine quartet‚ Richard Burkhard’s Dulcamara makes the most of a rare comic role for a bass. The patter songs sparkle‚ his lyricism charms money from all-comers and his face conveys how a quick-witted opportunist should respond to every twist in an operatic storyline such as this.'

L’elisir d’amore‚ Opera North
The Times (February 2016)


'Constant pleasures elsewhere‚ though‚ in the Dulcamara of Richard Burkhard‚ a quack doctor natty in two-tone shoes and hair parted in the middle'

L’elisir d’amore‚ Opera North
York Press (February 2016)


'Richard Burkhard’s persuasive Dulcamara is straight out of music hall: pencil moustache‚ wavy fringe and striped waistcoat. His duet with Adina (and a long blue scarf) is the titillating highlight'

Gianni Schicchi (Il Trittico) Opera Holland Park
BachTrack.com (June 2015)


'Neat and dapper in his bowler hat‚ Richard Burkhard sang the title role with relish‚ producing comedy‚ lyricism and strength'

Gianni Schicchi (Il Trittico) Opera Holland Park
Classical Source.com (June 2015)


'Richard Burkhard had the just the right sort of comic charisma for the sharp-eyed‚ devious Schicchi‚ the socially unacceptable fixer commissioned by the ‘grieving’ relatives to re-write the will‚ and his virtuoso vocal characterisation was pure pleasure'

Gianni Schicchi (Il Trittico) Opera Holland Park
Financial Times (June 2015)


'Richard Burkhard is the strongly-sung Gianni Schicchi'

Gianni Schicchi (Il Trittico) Opera Holland Park
Guardian (June 2015)


'…solid ensemble work from the entire company‚ with Richard Burkhard delivering a confident Schicchi and Anna Patalong seizing her lyrical moment with his daughter Lauretta’s famous aria'

Gianni Schicchi (Il Trittico) Opera Holland Park
MarkRonan.com (June 2015)


'...fine performances from the whole cast made it a joy to watch. Excellent singing from Richard Burkhard as a wily Schicchi'

Gianni Schicchi (Il Trittico) Opera Holland Park
MusicOMH.com (June 2015)


'It is‚ however‚ Richard Burkhard’s Gianni Schicchi who steals the show as he adjusts his voice from Buoso’s to his own every time he sings of leaving possessions to ‘Gianni Schicchi’‚ and hides his hand in his sleeve to remind everyone of the consequences of giving the game away'

Gianni Schicchi (Il Trittico) Opera Holland Park
Opera Britannia (June 2015)


'At its heart is Richard Burkhard’s portrayal of the eponymous father‚ fixer and con-man. With his gorgeous baritone voice and natural flair for comedic timing‚ this is an assumption of the role that would be at home in any of the leading opera houses'

Gianni Schicchi (Il Trittico) Opera Holland Park
Opera Today.com (June 2015)


'Burkhard’s protean Schicchi‚ Sarah Pring’s slightly but not too outlandish Zita‚ and Anna Patalong’s beautifully sung Lauretta headed a cast of true depth in that final instalment'

Gianni Schicchi (Il Trittico) Opera Holland Park
Planet Hugill.com (June 2015)


'Within all the pretention‚ and middle-class attitudes of the horrifically grasping relatives‚ Richard Burkhard’s Gianni Schicchi came over as a breath of fresh air. Very much the cheeky chappie‚ a working class man with attitude (and a bowler hat)‚ Richard Burkhard showed firm sense of comic timing and a lovely vivid feeling for character‚ broad-brush at times but completely endearing'

Gianni Schicchi (Il Trittico) Opera Holland Park
Seen & Heard International (June 2015)


'Which brings us to the eponymous lawyer himself whom Richard Burkhard‚ in a masterly comic display‚ made a loveable rogue‚ sprightly and spruce in red waistcoat and bowler hat. Schicchi’s guile was simultaneously endearing and provocative; his inventive craftiness raised a smile‚ yet Burkhard did not neglect to show the ruthless schemer’s steely self-interest – the fact that the baritone’s voice is full and sweet-toned only sharpened the paradox'

Gianni Schicchi (Il Trittico) Opera Holland Park
Sunday Express (June 2015)


'Richard Burkhard is masterly as Schicchi'

Gianni Schicchi (Il Trittico) Opera Holland Park
Telegraph (June 2015)


'Gianni Schicchi returns in a smashing revival of Lloyd-Evans’s 2012 mise-en-scène: sharp and sour in flavour‚ it presents Buoso Donati’s ghastly clan as Dickensian monsters of venality rather than amiable twits and makes Schicchi himself (Richard Burkhard‚ underplaying it nicely) a sort of rogue music-hall conjuror who turns out to be the hero of the hour'

Gianni Schicchi (Il Trittico) Opera Holland Park
The Stage (June 2015)


'...with Richard Burkhard now dominating the stage in the title role'

Gianni Schicchi (Il Trittico) Opera Holland Park
The Times (June 2015)


'The evening ends on a high with Schicchi‚ in which Richard Burkhard’s wonderfully humane schemer outwits surely the ghastliest Italian family since the Borgias‚ who are so unconcerned by the death of their wealthy relative that his body is pitched on to the floor where it remains for most the evening'

Gianni Schicchi (Il Trittico) Opera Holland Park
What’s On Stage.com (June 2015)


'Richard Burkhard is as perfectly cast a Schicchi as he was mere months ago as Opera North’s Figaro. He’s an expressive‚ lyrical baritone with a comic gleam that’s never far from his eye — or his voice'

The Marriage of Figaro‚ Opera North
Opera (March 2015)


'Richard Burkhard was an entertaining Figaro‚ his voice and his acting all of a piece‚ a schoolboy schemer rather than an arch manipulator‚ at least until the darker devilry of the last act'

The Marriage of Figaro‚ Opera North (Theatre Royal‚ Newcastle)
Chronicle Live (March 2015)


'...this production has much to recommend it...Richard Burkhard as Figaro has the audience eating out of his hand'

L’elisir d’amore‚ Opera North
Leeds Guide (February 2015)


'But the bar was raised with the arrival of Doctor Dulcamara in an hot air balloon. Richard Burkhard’s characterization was amazing not only in voice but in interpretation‚ style and comedy timing and what a wonderful mover he is!'

The Marriage of Figaro‚ Opera North
Observer on Sunday (February 2015)


'A combination of pinstripes and hair oil make Richard Burkhard’s Figaro seem a bit of a spiv. But he has a persuasively smooth tone...'

The Marriage of Figaro‚ Opera North
The Stage (February 2015)


'The show is excellent on a musical level‚ too‚ with standout vocal and dramatic performances...At the centre stands Richard Burkhard’s genial Figaro‚ a live-wire interpretation around whom the action revolves'

The Marriage of Figaro‚ Opera North
What’s On Stage.com (February 2015)


'The title role fits Richard Burkhard like a glove: he communes with the audience‚ subverts his superiors and flashes the cheekiest of grins; more importantly he sings Jeremy Sams’s familiar‚ felicitous translation with immaculate phrasing and diction'

The Marriage of Figaro‚ Opera North
BachTrack.com (January 2015)


'This gleeful production of The Marriage of Figaro made it hard to imagine any dark side at all to the comedy. The ever-mobile ensemble on stage delighted us again and again as we watched the classic story...How can we not laugh when Count Almaviva‚ in tweed jacket and riding boots‚ is the lean and hungry-looking Quirijn de Lang‚ with something of Basil Fawlty about him‚ and when Richard Burkhard makes such an immensely likeable Figaro‚ almost a character from a television sitcom?...All in all‚ this was a superbly entertaining evening‚ a Marriage of Figaro not to be missed'

The Marriage of Figaro‚ Opera North
Huddersfield Examiner (January 2015)


'Opera North’s production is strong on characterisation and unusually natural in the delivery of the recitatives. Richard Burkhard is a relaxed and mischievous Figaro – the humour underlined by his impeccable diction'

The Marriage of Figaro‚ Opera North
Opera Britannia (January 2015)


'Richard Burkhard as Figaro and Silvia Moi as Susanna come across as a likeable and engaging partnership of equals in wit‚ guile and cunning. Even their silences and exchanged glances are laden with suggestion. Burkhard brings rich sonority and colour to his arias. Changes of mood from comic to determination and anxiety are carefully nuanced in his Act I “Se vuol ballare” '

The Marriage of Figaro‚ Opera North
Telegraph (January 2015)


'Richard Burkhard makes a wry and sympathetic Figaro‚ who has met his match in Silvia Moi’s endlessly resourceful Susanna'

The Marriage of Figaro‚ Opera North
The Times (January 2015)


'...the cast tease out darker undertones. In particular‚ Richard Burkhard’s Figaro is a very nuanced interpretation‚ seemingly affable but with a dangerous streak of jealousy mingled with misogyny showing when he is pressurised by the deceptions of Act IV'

Cenerentola‚ Scottish Opera
Opera (December 2014)


'...one of the evening’s hits was Richard Burkhard’s Dandini‚ thanks to excellent patter'

Cenerentola‚ Scottish Opera
BachTrack.com (November 2014)


'Maltese tenor Nico Darmanin as Don Ramiro and Richard Burkhard as Dandini also made a comic pair‚ swapping clothes‚ throwing everyone into confusion and gleefully tricking the not-so ugly sisters...'

Cenerentola‚ Scottish Opera
Concerto.net (November 2014)


'Dandini est interprété avec beaucoup d’à propos par l’impeccable Richard Burkhard‚ idéal de projection .../// Dandini was interpreted perfectly by the impeccable Richard Burkhard with superb projection...'

Cenerentola‚ Scottish Opera
Opera Critic.com (November 2014)


'He has a good foil in Richard Burkhard’s Dandini‚ who relishes the opportunity to play the master‚ and hams shamelessly the effect on him of the sisters. There‘s a malicious glee in the way Burkhard at last reveals his true identity to Don Magnifico'

Adriana Lecouvreur‚ Opera Holland Park
Opera (October 2014)


'The most sympathetic character‚ the put-upon‚ yearning Michonnet‚ the Comédie’s stage manager‚ seemed more than a comprimario in Richard Burkhard’s finely acted and sung performance'

Cenerentola‚ Scottish Opera
Observer on Sunday (October 2014)


'Richard Burkhard’s excellent Dandini'

Cenerentola‚ Scottish Opera
Opera Britannia (October 2014)


'First up it is probably best to deal with the high points. This is simple – this opera is worth seeing in order to hear Victoria Yarovaya in the title role as Angelina and Richard Burkhard as Dandini. They are each in their way superb...Richard Burkhard’s Dandini‚ the valet‚ exuded confidence and it often felt as though he was taking command of the stage. His sexy swagger and knowing ways with the women were exciting in themselves but oh‚ his voice was a dream. Always cutting right through the chatter of the other voices and soaring above the over-eager orchestra‚ Burkhard could not only be heard but one wanted to hear him too. This was an outstandingly rich‚ would-you-like-cream-on-top-of-that-hot-chocolate of a voice. Like Ms Yarovaya‚ it is worth going to see this production just to hear him and to have the two of them in one show feels as though one has come up trumps twice'

Cenerentola‚ Scottish Opera
The Scotsman (October 2014)


'...the stage burst into life whenever his cohort Dandini (who’s disguised as the Prince for most of the opera – you know the story) made an entrance‚ such was baritone Richard Burkhard’s gleefully extravagant characterisation'

Adriana Lecouvreur‚ Opera Holland Park
BachTrack.com (July 2014)


'The show‚ however‚ was stolen comprehensively by Richard Burkhard as the put-upon stage manager Michonnet. It’s an appealing role: Michonnet is hopelessly in love with Adriana but soon realises that he has gone from being too poor for her to too old for her; none the less‚ he behaves with utter fidelity and sensitivity. Burkhard was wonderfully poignant and lyrical‚ a smooth voice delightful to listen to in every aria'

Adriana Lecouvreur‚ Opera Holland Park
Classical Source.com (July 2014)


'Richard Burkhard periodically stole the show as Michonnet – the stage-manager whose unrequited love for Adriana is a unifying thread‚ musically and dramatically‚ throughout'

Adriana Lecouvreur‚ Opera Holland Park
Classical-Music.com (July 2014)


'Richard Burkhard was in burning voice as the sympathetic stage manager Michonnet‚ whose love for Adriana goes unnoticed'

Adriana Lecouvreur‚ Opera Holland Park
Financial Times (July 2014)


'Richard Burkhard sings very well as Michonnet‚ the stage manager'

Adriana Lecouvreur‚ Opera Holland Park
Guardian (July 2014)


'There is‚ thank goodness‚ one genuinely touching character – Michonnet‚ the loyal impresario whose love for Adriana is unrequited‚ and whose performance here by baritone Richard Burkhard is richly sung and quite beautifully judged'

Adriana Lecouvreur‚ Opera Holland Park
MarkRonan.com (July 2014)


'Richard Burkhard as Michonnet the stage manager who adores Adriana was sheer delight. His soliloquy about his dreams at the end of Act I was wonderful and his portrayal of the role was one of the joys of this performance'

Adriana Lecouvreur‚ Opera Holland Park
MusicOMH.com (July 2014)


'As Michonnet‚ on the other hand‚ Richard Burkhard is perfect in his timing‚ expressions and mannerisms. His baritone voice is strong and hardy‚ yet produces a highly pleasing sound'

Adriana Lecouvreur‚ Opera Holland Park
Telegraph (July 2014)


'On the plus side‚ Richard Burkhard vivified the hapless stage manager Michonnet'

Adriana Lecouvreur‚ Opera Holland Park
The Stage (July 2014)


'Stealing several scenes as Adriana’s besotted but ultra-loyal friend Michonnet is Richard Burkhard‚ in what is a perfectly judged character performance'

Adriana Lecouvreur‚ Opera Holland Park
The Times (July 2014)


'...it is Adriana’s devoted stage-manager Michonnet (Richard Burkhard) who steals our sympathy and sings with clear‚ healthy eloquence'

Adriana Lecouvreur‚ Opera Holland Park
What’s On Stage.com (July 2014)


'More roundedly written are l’Abbé de Chazeuil (the ever-dependable Robert Burt) and the stage manager Michonnet‚ played in a beautifully measured performance by Richard Burkhard as a quiet victim of unrequited love'

Rodelinda‚ English National Opera
Opera (May 2014)


'But it was Richard Burkhard who stole the most scenes as Garibaldo‚ the supporting villain‚ pacing louchely on the treadmill as he revealed his dastardly intentions‚ and singing in a warm and resonant baritone that seems ready for greater things here'

Rodelinda‚ English National Opera
Musical Criticism.com (April 2014)


'One can only praise the superb artistry of tenor John Mark Ainsley (Grimoaldo)‚ mezzo-soprano Susan Bickley (Eduige) and baritone Richard Burkhard (Garibaldo); all of them delivering every aspect of Handel’s glorious music'

Rodelinda‚ English National Opera
Classical Source.com (March 2014)


'Richard Burkhard’s suavely devious Garibaldo'

Rodelinda‚ English National Opera
Classical-Music.com (March 2014)


'...who could resist this classiest of British casts... Richard Burkhard took on the murderer with richly resonant aplomb...'

Rodelinda‚ English National Opera
Observer on Sunday (March 2014)


'Richard Burkhard’s Garibaldo‚ sidekick to Ainsley’s overbearing but convincing Grimoaldo‚ conjures lively villainy'

Rodelinda‚ English National Opera
Opera Britannia.com (March 2014)


'Impressively cast with some of the best Baroque talent that Britain has to offer...My award for the singer who appeared least disrupted by the extreme demands of the director‚ who stayed in character and delivered the smoothest‚ most natural coloratura of all was Mr Burkhard. I cannot recommend this baritone more highly. Watch out for his performances at Opera Holland Park and with Opera North later this year'

Rodelinda‚ English National Opera
Seen & Heard International (March 2014)


'The baritone Richard Burkhard (Garibaldo) was gorgeously focused of voice in his act one aria as Grimoaldo'

Rodelinda‚ English National Opera
Telegraph (March 2014)


'Susan Bickley‚ Christopher Ainslie and Richard Burkhard all rise splendidly to the challenges posed by the subsidiary roles'

Rodelinda‚ English National Opera
The Times (March 2014)


'Richard Burkhard is a reliably dastardly Garibaldo'

Rodelinda‚ English National Opera
Wales Online.com (March 2014)


'...the superb Eduige from Susan Bickley and Grimoaldo’s brutal sidekick Garibaldo from Richard Burkhard'

Rodelinda‚ English National Opera
What’s On Stage.com (March 2014)


'English National Opera has assembled unbeatable casts for its current crop of operas and Rodelinda is no exception...Richard Burkhard as Garibaldo is thrillingly malevolent'

Candide‚ Opéra national de Lorraine‚ Nancy
Financial Times (December 2013)


'In the young hopefuls category‚ Richard Burkhard and Charles Rice provide solid support in a number of roles'

Die Fledermaus‚ English National Opera
Opera Today.com (November 2013)


'Richard Burkhard presented an assured Falke‚ a confident‚ slick Nick Shadow figure'

Die Fledermaus‚ English National Opera
Classical Source.com (October 2013)


'Performances overall were a mixed bag‚ with Richard Burkhard’s Dr Falke (imagined here as a Freud variant) the pick of the cast for his all-round impact'

Die Fledermaus‚ English National Opera
Opera Britannia.com (October 2013)


'Of the singers‚ Richard Burkhard impressed as a particularly menacing Dr. Falke‚ a long black cape draping behind him in the likeness of a bat. His sonorous baritone gave authority to his portrayal as he directed the course of events and led his patients‚ notebook in hand'

Die Fledermaus‚ English National Opera
Telegraph (October 2013)


'At least Richard Burkhard’s Falke - complete with ten-foot batwings - sings with focus and verbal clarity'

Die Fledermaus‚ English National Opera
The Arts Desk.com (October 2013)


'Richard Burkhard’s Freudian Dr Falke is dispatched with rigour'

Die Fledermaus‚ English National Opera
The Stage (October 2013)


'The men are better‚ led by Tom Randle’s urbane‚ opportunistic Eisenstein‚ Richard Burkhard’s confident Falke‚ Edgaras Montvidas’s game and handsomely sung Alfred and Andrew Shore’s bewildered Frank. Add in Eun Sun Kim’s spirited conducting‚ and you have a spicy rendition of a classic too often played too safely'

Die Fledermaus‚ English National Opera
What’s On Stage.com (October 2013)


'Under the influence of a Dr Mesmer-like Falke (Richard Burkhard)‚ Strauss’s characters are whirled into a nightmarish world where pain threatens to overwhelm pleasure‚ and a vengeful vampire gloats over their discomfort'

La bohème‚ English National Opera
British Theatre Guide (May 2013)


'Amidst this world‚ the leads swagger‚ shiver and sing. All command the stage with strong characters and an energetic presence‚ but it is Marcello (Richard Burkhard) who steals the show. His marvellous technique and rich tone is accompanied by an innate musicality with charm‚ peppered with passionate fits of jealous rage against Musetta'

La bohème‚ English National Opera
Classical Source.com (May 2013)


'If it’s a while since you’ve been moved rather than sadly delighted by La bohème‚ then be prepared for a performance that tightens its grip by stealth...She (Musetta) was well matched by Richard Burkhard’s impressive and imaginatively played Marcello‚ equally at home in boisterous student ensembles‚ slyly diverting attention away from Musetta‚ and giving a high level of heartbreak to his scene with Mimì in Act Three...In three words: Don’t Miss It'

La bohème‚ English National Opera
Edward Seckerson (May 2013)


'Like all the great music theatre pieces you only really see and feel their greatness when the acting is honest‚ true‚ and sure. In the case of Puccini’s La Boheme youth is a factor‚ too‚ and when that youth is largely home-grown there is double the cause for celebration...It’s funny how some productions only come into their own on the second or even third revival – and there is no question that – collectively speaking – this cast more than trumps the original and raises the poignancy stakes to an altogether different level. How easy it is in this piece to turn the camaraderie of our young creatives into an all-knowing‚ all-mugging‚ cheesiness. But the sentiments here were genuine and the laughs for real and we didn’t think for a moment that these were friendships forged only nightly on stage. Richard Burkhard (Marcello)‚ amply‚ mellifluously‚ voiced'

La bohème‚ English National Opera
Financial Times (May 2013)


'Jonathan Miller’s revived production is English National Opera’s most entertaining La bohème for some time...this revival finds a stronger personality...The most striking performances come further down the cast list...Richard Burkhard’s impressively sung Marcello'

La bohème‚ English National Opera
Guardian (May 2013)


'...it has become a beautifully integrated piece of music theatre‚ sung with great fluency and acted with an understated veracity that makes it immensely moving...It’s a staging in which men are seen as immensely vulnerable. Richard Burkhard’s Marcello – played as a shy charmer‚ rather than boisterous – hankers timidly after Angel Blue’s classy Musetta...The performances are glorious...This is one of the best Bohèmes to be heard in London in recent years'

La bohème‚ English National Opera
Londonist.com (May 2013)


'The singers are uniformly excellent...Richard Burkhard‚ Duncan Rock and Andrew Craig Brown are all thoroughly convincing as the other bantering bohemians'

La bohème‚ English National Opera
Observer on Sunday (May 2013)


'...the fresh young cast were uniformly strong...Richard Burkhard’s Marcello likable and sane'

La bohème‚ English National Opera
Opera Britannia.com (May 2013)


'Richard Burkhard sang Marcello with flair‚ his on-again‚ off-again passion for Musetta a constant source of entertainment in their effective scenes together'

La bohème‚ English National Opera
Opera Today.com (May 2013)


'Richard Burkhard’s Marcello impressed'

La bohème‚ English National Opera
Seen & Heard International.com (May 2013)


'Richard Burkhard’s robustly sung Marcello was a star turn and totally believable in his jealousy over Musetta; he sang throughout with warmth and vigour'

La bohème‚ English National Opera
Whats Onstage.com (May 2013)


'Richard Burkhard is an unconventional Marcello‚ in that he replaces the usual bravado and bluster with more nuanced characteristics‚ which help to underline his insecurities. This sheds new light on his relationship with Musetta‚ here voiced thrillingly by house debutante Angel Blue‚ and makes their interaction far more believable than is often the case...Given the superb cast‚ focussed staging‚ and exemplary playing from the ENO orchestra this is as enjoyable and rewarding performance of Puccini’s masterpiece that you’re likely to encounter'

La bohème‚ English National Opera
The Arts Desk.com (April 2013)


'...the excellence of the finest quartet yet of leads in this production... making his role debut is Richard Burkhard’s Marcello‚ leading the all-male scenes with warmth of tone and some beautiful phrasing‚ and managing not to be entirely eclipsed by Angel Blue’s Musetta – quite the feat'

The Magic Flute‚ Scottish Opera
Opera (December 2012)


'Richard Burkhard’s Papageno kept the audience entertained in a way that never smacked of vulgarity'

The Magic Flute‚ Scottish Opera
Belfast Telegraph (November 2012)


'Scottish Opera has brought to the Grand Opera House a new production of Mozart’s opera The Magic Flute which‚ for once‚ is truly full of magic...there are several performances of outstanding merit. Baritone Richard Burkhard’s Papgeno is a masterclass in comic stagecraft‚ and is sung immaculately...This is a Magic Flute to cherish in the memory'

The Magic Flute‚ Scottish Opera
Edinburgh Guide (November 2012)


'How well Richard Burkhard fitted the role. His performance made the show‚ there’s no doubt. His very character‚ his demeanour‚ his singing and his style gave us a huge amount of pleasure‚ and yet it seemed all so natural for him. No doubt his training at RSAMD helped him on his way'

The Magic Flute‚ Scottish Opera
Informed Edinburgh.co.uk (November 2012)


'The spiel between song provides the story with its contemporary nods (“I don’t think we’re in Edinburgh anymore”) with much of this dialogue delegated to the adorably bleak character of Papageno‚ performed brilliantly by Richard Burkhard with an unmatched physical energy'

The Magic Flute‚ Scottish Opera
Scotsman (November 2012)


'Stealing the show with aplomb is the fool Papageno‚ Richard Burkhard‚ who deftly gives a masterclass in the sort of tomfoolery that the word ‘pantomime’ was invented to describe'

The Magic Flute‚ Scottish Opera
Telegraph - Seven Magazine (November 2012)


'...the show has a star in Richard Burkhard’s warmly sung Papageno'

The Magic Flute‚ Scottish Opera
The List.co.uk (November 2012)


'Reminiscent of how Baldrick plays sidekick to Lord Blackadder‚ Richard Burkhard’s Papageno made the most of Kit Hesketh-Harvey’s brilliant new translation as wit and repartee passed between his captivating and ceaselessly endearing birdman portrayal...'

The Magic Flute‚ Scottish Opera
ThePublicReviews.com (November 2012)


'Richard Burkard’s Papageno was the show’s true star‚ a fine vocal talent...'

The Magic Flute‚ Scottish Opera
TVBomb.co.uk (November 2012)


'There is such a wealth of talent across the board; even more astonishing is the commanding calibre of the acting. The result is formidable performances from the entire cast‚ and total audience immersion into the simple yet involving plot...Papageno (Richard Burkhard) is equally vital to the pace of the production‚ and with a deftness of physical clowning‚ steals the show'

The Magic Flute‚ Scottish Opera
BachTrack (October 2012)


'The dapper Richard Burkhard was certainly the star turn of the evening'

The Magic Flute‚ Scottish Opera
Financial Times (October 2012)


'Richard Burkhard’s Papageno keeps the audience entertained without descending into vulgarity'

The Magic Flute‚ Scottish Opera
Glasgow Herald (October 2012)


'...unquestionable star of the show‚ Richard Burkhard’s Papageno‚ endlessly witty and frequently hilarious'

The Magic Flute‚ Scottish Opera
Guardian (October 2012)


'Richard Burkhard’s excellent Papageno is full-voiced and sweetly funny'

The Magic Flute‚ Scottish Opera
Observer (October 2012)


'The cast is blessed with one of the funniest Papagenos since Allen himself: Richard Burkhard‚ like many of the ensemble‚ is an alumnus of Glasgow’s Royal Scottish Academy for Music and Drama‚ a near neighbour to Scottish Opera. He sang beautifully but also proved himself a natural comedian‚ with a touch of the Eric Idle in his boyish clowning and bendy physicality'

The Magic Flute‚ Scottish Opera
Scotsman (October 2012)


'There’s hardly a weak link in the exceptional cast. Richard Burkhard’s hilarious wide-boy Papageno threatens to steal the show (making the most of Kit Kesketh-Harvey’s arch English translation)'

The Magic Flute‚ Scottish Opera
Scottish Mail on Sunday (October 2012)


'The performances across the board are first-rate: happy-go-lucky bird-hunter Papageno (Richard Burkhard) is the undoubted star of the show‚ creating a laughable‚ loveable‚ roguish character who balances energetic physical performance with wonderful singing'

The Magic Flute‚ Scottish Opera
Stage (October 2012)


'...Scottish Opera’s brilliantly crowd-pleasing new Magic Flute. Director Sir Thomas Allen even has Richard Burkhard’s Papageno as an emcee figure‚ step out onto the apron during the overture to summon Nicky Spence onto stage - his modern dress soon replaced with Tamino’s princely white togs...Kit Hesketh-Harvey’s often earthy translation gives plenty of space for asides and embellishments in the comic business. The Ladies of the Night relish the freedom as does Papageno...The big central relationships all play out well‚ Burkhard’s livewire nervousness antidote to Spence’s stern sincerity. Ruth Jenkins’ Papagena rises easily to equal Burkhard’s vocal eloquence'

The Magic Flute‚ Scottish Opera
Sunday Telegraph (October 2012)


'Richard Burkhard is a dapper Papageno‚ all the more charming for not being too cuddly and definitely the star of the show'

The Magic Flute‚ Scottish Opera
Sunday Times (October 2012)


'Richard Burkhard’s blissfully funny‚ prickly and athletic Papageno'

The Magic Flute‚ Scottish Opera
Telegraph (October 2012)


'Richard Burkhard is a dapper Papageno‚ all the more charming for not being too cuddly and definitely the star of the show'

The Magic Flute‚ Scottish Opera
Times (October 2012)


'From the moment in the overture when Richard Burkhard’s blissfully funny‚ prickly and athletic Papageno‚ doubling as master of ceremonies‚ plucks the charming‚ ardent Nicky Spence out of the audience to play Tamino‚ the action has the rumbustious exuberance and the gaudy look of an old-time music hall in full pelt'

Ruddigore‚ Opera North
Scotsman (June 2012)


'In a first-class line-up of soloists‚ Heather Shipp sang and acted the odd part of Mad Margaret with gusto. Richard Burkhard’s Sir Despard Murgatroyd was outstanding'

The Death of Klinghoffer‚ English National Opera
Opera (May 2012)


'Richard Burkhard was good in the two arias given to Mamoud‚ the most ardent and romantic of the hijackers'

Sevastapol‚ OperaShots‚ Royal Opera House
Telegraph (April 2012)


'His 40-minute opera‚ based on the young Tolstoy’s visit to the Crimea in 1854‚ takes place in eight loosely connected episodes: the tone is naturalistic‚ with the figure of Tolstoy himself (the excellent Richard Burkhard) providing a linking commentary'

The Death of Klinghoffer‚ English National Opera
Forum Opéra.com (March 2012)


'Parmi les terroristes‚ le baryton Richard Burkhard fait forte impression en Mamoud'

The Death of Klinghoffer‚ English National Opera
MusicalCriticism.com (March 2012)


'The vividness of this production’s narrative scenes‚ for example‚ brought a sense of momentum‚ whilst the highly emotively charged singing of Richard Burkhard in the role of Mamoud gave the first half some real depth. Mamoud’s duet with the Captain towards the close of the first act is an emotional and musical highpoint of the production'

The Death of Klinghoffer‚ English National Opera
So So Gay.com (March 2012)


'However‚ what still makes this rewarding and well worth seeing are some strong performances‚ especially from‚ Richard Burkhard as Mamoud'

The Death of Klinghoffer‚ English National Opera
Bloomberg.com (February 2012)


'The performances are all good. Richard Burkhard is dreamy and menacing as hijacker Mamoud'

The Death of Klinghoffer‚ English National Opera
Evening Standard (February 2012)


'Goodman’s richly poetic‚ often elusive text is couched in attractively lyrical lines delivered admirably by a uniformly strong cast. Deserving of special mention are Christopher Magiera as the Captain‚ Alan Opie as Klinghoffer and Richard Burkhard as Mamoud'

The Death of Klinghoffer‚ English National Opera
Opera Britannia.com (February 2012)


'Burkhard’s performance of Mamoud was for me the performance of the night. He sings of his younger brother’s decapitation by the unnamed Israeli enemy in a crowded internment camp‚ and yet he has not lost his poeticism and humanity‚ despite his suffering. Burkhard’s singing was beautiful and utterly poignant'

The Death of Klinghoffer‚ English National Opera
Seen & Heard International (February 2012)


'His scene with the hijacker Mamoud‚ the young baritone Richard Burkhard‚ was well delivered on all sides. Adams sets the scene well here in his frozen scoring (a magnificent bassoon solo was a highlight here). Mamoud’s aria at the end of the first act‚ “Those birds flying above us”‚ carried much beauty'

The Death of Klinghoffer‚ English National Opera
Telegraph (February 2012)


'Outstanding among an admirable cast are Alan Opie (Klinghoffer) and Richard Burkhard (Mamoud)'

The Death of Klinghoffer‚ English National Opera
Guardian (January 2012)


'All of the solo roles are taken memorably too‚ whether it’s the cameos or the major contributions...Richard Burkhard as the hijacker Mamoud'

Ruddigore‚ Opera North
Opera (December 2011)


'It might be invidious to single out performances from so cohesive an ensemble‚ but Richard Burkhard found precisely the right vowel sounds for Sir Despard'

Ruddigore‚ Opera North
Comprimario.com (November 2011)


'The final scenes between Mad Margaret and Despard then Dame Hannah and Roderic were probably the strongest (‘Basingstoke!’ being the easiest to recall). Heather Shipp‘s Margaret stood out dramatically‚ with Richard Burkhard making the best impression vocally as Despard'

Ruddigore‚ Opera North
JildySauce.com (November 2011)


'The performances are tip-top‚ and of these I’d pick out Richard Burkhard as the bad‚ bad baronet (no one can swish a cape as he can) and Heather Shipp as the deliriously Mad Margaret'

Ruddigore‚ Opera North
The Public Reviews.com (November 2011)


'Mad Margaret (Heather Shipp) has gone beyond that point after being jilted by Sir Despard Murgatroyd (Richard Burkhard). Shipp delivers a scene-stealing performance as someone who can only be restrained by the use of a code word. But it is the contrasting and moving relationship she forms with a suave and urbane Burkhard that adds heart to the show'

Ruddigore‚ Opera North
Whats On Stage.com (November 2011)


'Richard Burkhard is totally in control in all aspects and he steals the show as Sir Despard giving a stylish and commanding performance'

Ruddigore‚ Opera North at Barbican
Classical Source.com (November 2011)


'Inevitably‚ it is the more extrovert characters that make the greatest impact: Richard Burkhard’s moustache-twirling Despard'

Ruddigore‚ Opera North at Barbican
Express (November 2011)


'...the great set piece in the Haunted Picture Gallery is wonderfully inventive. Every one of the principals is pitch perfect but special mention must be made of Steven Page‚ as the ghostly Sir Roderic‚ Grant Doyle and Richard Burkhard‚ as his two wicked nephews‚ and Heather Shipp‚ as a vocally and physically fearless Mad Margaret. An unmitigated triumph!'

Ruddigore‚ Opera North at Barbican
Stage (November 2011)


'The cast is impeccable‚ giving due and equal value to Gilbert’s words and Sullivan’s notes. Heather Shipp’s blissfully unruly Mad Margaret is partially tamed by Richard Burkhard’s suavely supercilious Sir Despard Murgatroyd. Steven Page is a mellifluous military martinet as Sir Roderic Murgatroyd. Indeed it is rare to see a production in which every member of the cast meets the highest standards and integrates so flawlessly into the overall dramatic momentum. Ruddigore used to be regarded as a poor relation amongst the Savoy canon‚ but here it comes over as a comic masterpiece'

Ruddigore‚ Opera North at Barbican
The Arts Desk.com (November 2011)


'...there’s a consummate moustachio-twirling turn from Richard Burkhard as Sir Despard Murgatroyd‚ and the Act II scene of his sober exchanges with the once jilted‚ now slightly less Mad Margaret (Heather Shipp) is a highlight'

Ruddigore‚ Opera North
Guardian (October 2011)


'Richard Burkhard’s Despard takes the prize for most expressive eyebrows'

Ruddigore‚ Opera North
Leeds Student.org (October 2011)


'Richard Burkhard and Heather Shipp are perfectly cast as the bad‚ bad baronet and the witchy Mad Margaret. But it’s how they transform into middle-class married respectability in Act II that impresses‚ faultless in their singing and choreography. A brilliant satirical take on criminality by the rich and moral hypocrisy‚ that with only a few extra lines becomes also a contemporary political satire: fiddling expenses‚ duck-houses‚ Greek debt‚ not even the Speaker’s wife escapes. How the audience laughed'

Ruddigore‚ Opera North
Opera Britannia.com (October 2011)


'Sir Despard Murgatroyd is sung by the wonderfully saturnine Richard Burkhard who with white face make -up‚ top hat and swirling cloak epitomises the villain of Victorian melodrama. His Act I entrance amidst the 1920s seaside paraphernalia of a Punch and Judy theatre is a masterstroke'

Ruddigore‚ Opera North
The Arts Desk.com (October 2011)


'...the villainous Sir Despard (a superb Richard Burkhard)'

Don Pasquale‚ Opera Holland Park
Opera (August 2011)


'Richard Burkhard brought suavity and sophistication to Dr Malatesta‚ joining Donald Maxwell’s expertly-delivered Pasquale in a song-and-dance routine version of ’Cheti cheti’ that duly did the business'

Tannhäuser‚ Northern Wagner Orchestra
Wagner News (July 2011)


'The high point for me was Wolfram’s song in Act III Scene 2‚ Wie Todesahnung Dämm’rung deckt die Lande. Pure magic from Richard Burkhard! No one told me that Wagner could be so deeply and quietly touching'

Don Pasquale‚ Opera Holland Park
Evening Standard (June 2011)


'Best of all‚ perhaps surprisingly‚ is Richard Burkhard’s Malatesta‚ a triumph of vocal style allied to understated humour. His is not the central role but he gives the impression of controlling the whole stage'

Don Pasquale‚ Opera Holland Park
Guardian (June 2011)


'Richard Burkhard makes a classy Malatesta: his patter duet with Pasquale offers a rare chance to see Maxwell allowing himself to be upstaged'

Don Pasquale‚ Opera Holland Park
MusicOMH.com (June 2011)


'Humour is almost omnipresent‚ with one of the highlights being the Act III duet between Malatesta and Don Pasquale‚ which was transformed into an extremely entertaining all-singing all-dancing music-hall number‚ with twirling canes‚ jazz hands and pyrotechnics...The singing‚ however‚ was uniformly excellent... For me‚ however‚ the evening belonged to Richard Burkhard‚ whose rounded‚ open baritone projected beautifully above the orchestra'

Don Pasquale‚ Opera Holland Park
Opera-Britannia.com (June 2011)


'His singing of the role was alert and very musical'

Don Pasquale‚ Opera Holland Park
Seen & Heard International (June 2011)


'Richard Burkhard is as sly as he is smooth as Dr Malatesta'

Don Pasquale‚ Opera Holland Park
Stage (June 2011)


'Aiding and abetting him is Richard Burkhard‚ as a silky-smooth Malatesta. Their famous patter duet‚ is a song and dance routine that would fit neatly into a West End musical'

Don Pasquale‚ Opera Holland Park
The Arts Desk.com (June 2011)


'...and the double act with the slick Dr Malatesta (smoothly sung by Richard Burkhard)‚ which reaches its climax in a scene-stealing Broadway routine for Act III duet "Aspetta‚ aspetta" complete with umbrellas‚ can-can kicks and jazz hands‚ is truly a thing of beauty'

Don Pasquale‚ Opera Holland Park
The Classical Source.com (June 2011)


'Richard Burkhard as Malatesta...is the possessor of a solid‚ firmly focused baritone and his enunciation of the Italian text was notably clear. He played the part with great assurance and a fine stage-presence. There was always a certain ambivalence about the character in his hands. His “Bella‚ siccome un angelo” was sung as if to himself‚ like a romantic suitor'

The Portrait‚ Opera North
Independent on Sunday (February 2011)


'Nicholas Sharratt’s sinister Lamplighter shares the sweetest music with Richard Burkhard’s sympathetic Nikita'

The Portrait‚ Opera North
The Arts Desk.com (February 2011)


'Richard Burkhard is appealing as Chartkov’s assistant Nikita'

The Merry Widow‚ Opera North
Opera Britannia (October 2010)


'Among the excellent supporting cast‚ a stand-out performance is given by Richard Burkhard as a saturnyn and absurdly punctillious Kromov‚ the Consular Attache'

The Merry Widow‚ Opera North
Telegraph (October 2010)


'...and Richard Burkhard‚ Nicholas Sharratt and James McOran Campbell are jolly good as the stuffed shirts'

The Duchess of Malfi‚ English National Opera
Observer (July 2010)


'Bosola‚ Malfi’s treacherous manservant (Richard Burkhard)...He sings magnificently'

The Duchess of Malfi‚ English National Opera
Opera-Britannia.com (July 2010)


'This final scene was‚ at least‚ of those that I saw‚ by far the most effective dramatically and musically. This was partly because of the glorious Wagnerian textures emerging in the vocal and orchestral writing‚ partly because the length of the scene and the fact that one heard it from start to finish allowed time to absorb more of the musical qualities‚ and partly because of simply being close to the wonderful‚ rich‚ vibrant singing of Richard Burkhard and Claudia Huckle in the heart-wrenching ending‚ where she accepts her death with dignity and earns the assassin’s respect'

Ruddigore‚ Opera North
Independent on Sunday (February 2010)


'...a series of sparkling star turns from...Richard Burkhard (Sir Despard Murgatroyd)'

Ruddigore‚ Opera North
Opera-Britannia.com (February 2010)


'Richard Burkhard makes a splendidly over-the-top Sir Despard. Another G&S ‘natural’‚ he was clearly relishing every word of his text and sang with a rich‚ resonant bass - powerful enough to make a dramatic impact during his song “Oh why am I moody and sad?” but still possessing suitable agility to easily cope with the rapid-fire patter numbers'

Ruddigore‚ Opera North
Stage (February 2010)


'It’s a strong cast‚ too‚ from top to bottom...Heather Shipp’s crazed Mad Margaret eventually finds happiness and a sort of sanity in the arms of Richard Burkhard’s stylishly satanic Sir Despard Murgatroyd'

Ruddigore‚ Opera North
Telegraph (February 2010)


'Heather Shipp has great fun as a tragedy queen of a Mad Margaret‚ with Richard Burkhard as the sly‚ dry Sir Despard'

Ruddigore‚ Opera North
Times (February 2010)


'Richard Burkhard’s admirably poker-faced Sir Despard'

The Adventures of Mr Broucek‚ Opera North
Independent on Sunday (October 2009)


'...and Richard Burkhard is strong as the Student‚ Brilliant Cloud and Vacek'

Werther‚ Opera North
Opera-Britannia.com (September 2009)


'Tenor Joshua Ellicott and baritone Richard Burkhard were well cast in the minor roles of Schmidt and Johann'

Werther‚ Opera North
Stage (September 2009)


'Richard Burkhard and Joshua Ellicott provide a nice double act as Johann and Schmidt‚ who drink their lives away in the local pub'

Let ’em Eat Cake‚ Opera North
Independent (February 2009)


'...and Richard Burkhard is a bright-voiced revolutionary Kruger'

Let ’em Eat Cake‚ Opera North
Stage (February 2009)


'Highlights include...Richard Burkhard’s sinister Kruger'

Let ’em Eat Cake‚ Opera North
Times (February 2009)


'And there are memorable cameos from...Richard Burkhard as the revolutionary Kruger'

Die Zauberflöte‚ NBR New Zealand Opera
New Zealand Herald (June 2006)


'Richard Burkhard’s Papageno‚ in a flurry of feathers‚ is a practised hand at camp scamper a la Frankie Howerd‚ with a warm baritone that serves the music well'

Die Zauberflöte‚ NBR New Zealand Opera
Opera Critic.com (June 2006)


'But musically there is also much to enjoy. Perhaps not surprisingly the most engaging character onstage is Richard Burkhard’s delightful Papageno. His cocky manner and easy acting style endear him immediately to the audience‚ hamming it up in true pantomime fashion. The dialogue is given in a quirky modern translation‚ which is a big plus in terms of comprehension and enjoyment. Combined with this Burkhard has a rich baritone voice‚ which he uses to add vocal finesse to his portrayal of the loveable bird catcher'

The Marriage of Figaro‚ Opera Holland Park
Guardian (August 2004)


'...a cast led by Mark Stone’s Almaviva‚ Kate Ladner’s Rosina‚ Richard Burkhard’s Figaro and Sarah Redgwick’s Susanna...offer alfresco Mozart as intelligent‚ witty and affecting as it gets'