“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.” -Lietmotif

"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 fearless Craig Colclough, a singer-actor at once vulnerable and charismatic, embodied the opera’s ironies. No mere cartoon figure, Colclough’s Pasquale seemed to revel in the quirks of the character, sympathetic despite his faults." -Opera News

"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 may be a degenerate, inside - you can hear that he is a beautiful soul." -Frankfurter Allgemeine

"...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

"And what a joy to encounter a bass-baritone voice as clear and powerful as Craig Colclough’s, especially when wielded by such a gifted comic actor" -TwinCities

" The large cast assembled had already made a significant mark on LA Opera... Colclough, as Simone, sang with flashes of authority" -Opera News

"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

"...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

"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

"...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

"Craig Colclough brought a manic brilliance to the attendant that might be called pioneering." -New York Times