Dardanus : English Touring Opera
It may not be obvious how magic goes with machine guns, but in English Touring Opera’s production of Dardanus the combination of technologies works. It helps that the magician – Frederick Long as the soothsayer Isménor - is believably flesh-and-blood and probably not above wielding a machine gun should the need arise. Long has a gorgeous voice and eschews affectation – this is one place where ‘stand and sing’ is most effective.
Catriona Graham, The Opera Critic
Frederick Long as the haggard sorcerer Isménor was in commanding voice, and at moments his tensile bass was suggestive of Jochanaan in Strauss' Salome, and his terrifying powers of insight, placing him between the worlds of god and man, were beguilingly summoned in the dark hues of his lower register.
Benjamin Poore, Bachtrack
Bass-baritone Frederick Long was equally well-defined as the magician, Isménor, establishing his occult power compellingly in Act 2...
Claire Seymour, Opera Today
Jephtha : Iford Arts Festival
There were outstanding performances by Frederick Long as Zebul, entirely focussed, forceful and convincing, completely subsuming the histrionics around him...
Robert Thicknesse, Opera Now
Frederick Long's wonderfully assured and fixedly unhinged Zebul, erstwhile leader of the Israelites and here chief cult creep par excellence, comes across vividly thanks to Long’s gloriously smooth, strong baritone as well as his faultless dramatic instinct.
Charlotte Valori, Bachtrack
The Magic Flute : Mid-Wales Opera
...the fine, unforced foolery of Frederick Long’s Papageno, a role as important here as are the Fools in Shakespeare, affirmations of the value of common humanity just as other aspects of the work laud idealism. I particularly loved the way in which Long contrived to be simultaneously moving and absurd in his ‘attempted suicide’ at the close of Act II.
Glyn Pursglove, Seen and Heard International
Frederick Long brings a comic panache to Papageno.
Adam Somerset, Theatre in Wales
La Bohème : Opera Holland Park
Frederick Long’s Schaunard was also excellent – few will have heard so much of this character’s contribution to the start of the second Act.
Alexander Campbell, Classical Source
Frederick Long and John Savournin made at least as much of Schaunard and Colline as any artists I can recall.
Mark Berry, Opera Today
Frederick Long, John Savournin and David Woloszko gave sharp turns in the subsidiary parts.
Geoff Brown, The Times
The Fairy Queen : Iford Arts Festival
Frederick Long's luscious, forensically clear bass makes for a thought-provoking and memorable Puck, an adept and intelligent sprite who may love his Fairy King but also clearly thinks for himself, deeply. Long’s sweetly self-effacing Starveling the tailor gets the finest, roundest moon costume I have ever seen.
Charlotte Valori, Bachtrack
Two highlights are Frederick Long's singing of "O Solitude" (here allocated to Puck) and Stuart Jackson's of "One Charming Night".
Rupert Christiansen, The Telegraph
Perhaps the star of this ensemble was Frederick Long, born in Manchester, an alumnus of Bristol University and playing Puck and Robin Starveling with huge panache and charm, using his flexible bass-baritone to stunning effect.
GP-W, The Fine Times Recorder
Lakmé : Opera Holland Park
Frederick Long made much of the potentially unsympathetic Nilakantha. We see that his murderous intentions are motivated as much by fear for his daughter as religious fanaticism. He voiced the part in rounded, beautiful tones...this is a distinguished performance.
Sebastian Petit, Opera Britannia
Frederick Long has a lovely, grainy baritone voice and sang Nilakantha with a lovely sense of line...this was a very impressive debut.
Robert Hugill, Planet Hugill
The Brahmin Nilakantha was taken by the large-voiced Frederick Long, who also had an imposing stage presence. His biography lists mainly cover roles, but on this evidence he will be ready to blossom into his own.
Colin Clarke, Seen and Heard International
It may not be obvious how magic goes with machine guns, but in English Touring Opera’s production of Dardanus the combination of technologies works. It helps that the magician – Frederick Long as the soothsayer Isménor - is believably flesh-and-blood and probably not above wielding a machine gun should the need arise. Long has a gorgeous voice and eschews affectation – this is one place where ‘stand and sing’ is most effective.
Catriona Graham, The Opera Critic
Frederick Long as the haggard sorcerer Isménor was in commanding voice, and at moments his tensile bass was suggestive of Jochanaan in Strauss' Salome, and his terrifying powers of insight, placing him between the worlds of god and man, were beguilingly summoned in the dark hues of his lower register.
Benjamin Poore, Bachtrack
Bass-baritone Frederick Long was equally well-defined as the magician, Isménor, establishing his occult power compellingly in Act 2...
Claire Seymour, Opera Today
Jephtha : Iford Arts Festival
There were outstanding performances by Frederick Long as Zebul, entirely focussed, forceful and convincing, completely subsuming the histrionics around him...
Robert Thicknesse, Opera Now
Frederick Long's wonderfully assured and fixedly unhinged Zebul, erstwhile leader of the Israelites and here chief cult creep par excellence, comes across vividly thanks to Long’s gloriously smooth, strong baritone as well as his faultless dramatic instinct.
Charlotte Valori, Bachtrack
The Magic Flute : Mid-Wales Opera
...the fine, unforced foolery of Frederick Long’s Papageno, a role as important here as are the Fools in Shakespeare, affirmations of the value of common humanity just as other aspects of the work laud idealism. I particularly loved the way in which Long contrived to be simultaneously moving and absurd in his ‘attempted suicide’ at the close of Act II.
Glyn Pursglove, Seen and Heard International
Frederick Long brings a comic panache to Papageno.
Adam Somerset, Theatre in Wales
La Bohème : Opera Holland Park
Frederick Long’s Schaunard was also excellent – few will have heard so much of this character’s contribution to the start of the second Act.
Alexander Campbell, Classical Source
Frederick Long and John Savournin made at least as much of Schaunard and Colline as any artists I can recall.
Mark Berry, Opera Today
Frederick Long, John Savournin and David Woloszko gave sharp turns in the subsidiary parts.
Geoff Brown, The Times
The Fairy Queen : Iford Arts Festival
Frederick Long's luscious, forensically clear bass makes for a thought-provoking and memorable Puck, an adept and intelligent sprite who may love his Fairy King but also clearly thinks for himself, deeply. Long’s sweetly self-effacing Starveling the tailor gets the finest, roundest moon costume I have ever seen.
Charlotte Valori, Bachtrack
Two highlights are Frederick Long's singing of "O Solitude" (here allocated to Puck) and Stuart Jackson's of "One Charming Night".
Rupert Christiansen, The Telegraph
Perhaps the star of this ensemble was Frederick Long, born in Manchester, an alumnus of Bristol University and playing Puck and Robin Starveling with huge panache and charm, using his flexible bass-baritone to stunning effect.
GP-W, The Fine Times Recorder
Lakmé : Opera Holland Park
Frederick Long made much of the potentially unsympathetic Nilakantha. We see that his murderous intentions are motivated as much by fear for his daughter as religious fanaticism. He voiced the part in rounded, beautiful tones...this is a distinguished performance.
Sebastian Petit, Opera Britannia
Frederick Long has a lovely, grainy baritone voice and sang Nilakantha with a lovely sense of line...this was a very impressive debut.
Robert Hugill, Planet Hugill
The Brahmin Nilakantha was taken by the large-voiced Frederick Long, who also had an imposing stage presence. His biography lists mainly cover roles, but on this evidence he will be ready to blossom into his own.
Colin Clarke, Seen and Heard International