From the House of the Dead, Opera North
"The performances have a directness that hardly requires additional annotation. Jeffery Lloyd-Roberts is supremely forceful as the far-from-gentle giant, Luka; Robert Hayward's Shishkov is a startlingly impenitent wife-murderer; only Richard Morrison's political prisoner Goryanchikov carries the wounded look of someone who doesn't deserve to be there." The Guardian
"But the opera's great heart beats strongly throughout, animated by an impressive ensemble boldly led by Robert Hayward (Shishkov), Jeffrey Lloyd Roberts (Luka), Alan Oke (Skuratov) and Richard Morrison (a last-minute substitute for Roderick Williams as Goryanchikov), all of whom sharply etched their characters and their harrowing back stories. Diction was excellent throughout." Daily Telegraph
"Another all-too-brief glimmer of the hope of humanity can be seen in the relationship that blossomed between Goryanchikov and Alyeya. Played by Richard Morrison (standing in for an unfortunately indisposed Roderick Williams) and Claire Wild, their vocal dexterity and emotional intelligence served as a welcome break from the coarseness of the other prisoners. The smooth clarity of Morrison's voice elegantly portrayed the father-like quality needed for his interaction with Alyeya" Opera Britannia"Richard Morrison was suitably dignified and sang the part impressively." What's On Stage
"In a large cast, there are no true principals. But Jeffrey Lloyd-Roberts as Luka, Alan Oke's Skuratov, Richard Morrison's Goryanchikov and, above all, Robert Hayward's sterling Shishkov - delivered from halfway up a ladder, as if on a cross, with fellow-criminals similarly trapped - make powerful contributions." York Press
"The central role itself was finely presented at this performance by Richard Morrison, standing in for an indisposed Roderick Williams." The Stage
Tom Jones, Naxos"The baritone, Richard Morrison, delights in the title role. He displays a gallant, controlled voice with a robust middle, virile and dominant in performance." Das Opernglas
"In those leading roles Richard Morrison and Marianne Hellgren Staykov do the work proud, matching well the standard set by Frederick Harvey and Cynthia Glover in EMI's 1966 excerpts recording reissued on CD." Gramophone Magazine
"Richard Morrison as Tom manages to provide that carefree charisma needed to attract attention and sings well with clear diction in "West Country lad"." Music Web International
"Tom's role is very well taken by Richard Morrison, tonally focused in his songs, including 'A Foundling Boy', one of the bonuses. The booklet lists Germont, Enrico and Don Giovanni among his operatic repertoire, so one will expect the strong tone, with which comes an easy top. He produces a winning performance." International Record Review.
Il barbiere di Siviglia, Staatstheater Mainz
"Enter Figaro, The Barber Of Seville, in easy-going black with white shoes, his hat pulled deep into his face, taking the stage for himself and not giving it up again. It is his world, his opera. He pulls the strings. He directs the fate. And Richard Morrison does this with such a born coolness and elegance that this in itself makes it worthwhile to travel to Mainz to see his Barber Of Seville. His baritone flies supply through Rossini's part, effervescent and playful, but always precise." Frankfurter Rundschau
"Onto the stage burns Figaro - Richard Morrison - sparkling his fireworks with his usual success. And he does this so well that you have to laugh even when you feel you shouldn't anymore." Frankfurter Allgemeine Zeitung
Werther, Staatstheater Mainz
"...in an extraordinarily perceptive portrayal of his role, Richard Morrison brings the mounting aggression behind the facade of the insipid bureaucrat Albert to a perfectly-timed explosion." Allgemeine Zeitung
Don Giovanni, Staatstheater Mainz
"… in particular Richard Morrison in the title role who, in his seductive Serenade to Donna Elvira's maid, delivered a brilliant show of subtle, artistic shading." Darmstädter Echo
"One rarely hears Don Giovanni's Serenade more subtly delivered and Richard Morrison is always a convincing seducer." Mainzer Rhein Zeitung
"Richard Morrison's Don Giovanni sings almost too beautifully to be true." Wiesbadener Kurier
La traviata, Staatstheater Mainz
"Giorgio Germont ... with a voice of profound stature: Richard Morrison" Frankfurter Rundschau
"Richard Morrison lent the Father Germont a soothing, noble baritone" Wiesbadener Kurier
Pelléas et Mélisande, Staatstheater Mainz
"With his smooth timbred voice Richard Morrison inhabits the dual world of tenor-baritone that Debussy intended for Pelléas." Frankfurter Allgemeine Zeitung
"Richard Morrison gives his Pelléas as a youthful baritone with beguiling melodiousness" Mannheimer Morgen
Lucia di Lammermoor, Staatstheater Mainz
"Richard Morrison portrayed in his vocal interpretation of Enrico the full extent of the conflict within the character." Opernwelt
The Secret Marriage, Opera North
"The exception here, making his company debut, was Richard Morrison's excellent Count Robinson, homing unerringly in to the wrong girl. Here is a Figaro in the making … the baritone is well-placed and flexible and he carries himself well." Opera Magazine
"Richard Morrison, as the suave Count Robinson, made a more than promising debut" The Independent"Best of all, Richard Morrison presents a poised, subtly under-played Lord Robinson, rooting comedy in character not business." The Stage
"Richard Morrison's Count was highly successful both vocally and visually. He is a singer of high potential, the voice having grown in stature, its round, warm and unforced quality a constant joy to the ear." Yorkshire Post