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​Guglielmo, Cosi fan tutte : English Touring Opera

​ ...but it was Frederick Long’s strutting, Flashheart-style Guglielmo who dominated – natural comic timing paired with a lovely open, unforced tone making him the boy we all love to hate
Alexandra Coghlan, The Arts Desk

...charmingly sung...
Jenny Stafford and Frederick Long are both naturally ebullient comedians, cheerfully enjoying the chance to overact as Despina and Guglielmo
Rupert Christiansen, The Telegraph

Frederick Long sang with a lovely fresh and relaxed tone as Guglielmo, dashing in his knee-boots and flying suit as he swept Dorabella to the clouds
Claire Seymour, Opera Today

The Sorceress, Dido and Aeneas : English Touring Opera 

​A performance of blazing conviction
​Tim Ashley, The Guardian

The Sorceress (a superb Frederick Long) is less a malign force than a dark alter ego
Alexandra Coghlan, The Spectator

The magic of the Sorceress is wild, frightening, even sadistic
Rebecca Franks, The Times
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Frederick Long has a whale of a time camping it up as the Sorceress
Rupert Christiansen, The Telegraph

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Isménor, Dardanus : English Touring Opera

Long has a gorgeous voice and eschews affectation – this is one place where ‘stand and sing’ is most effective
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​​​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


Zebul, Jephtha : Iford Arts Festival

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​There were outstanding performances by Frederick Long as Zebul, entirely focussed, forceful and convincing, completely subsuming the histrionics around him...
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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


Papageno, 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


Schaunard, La Bohème ​: Opera Holland Park
Frederick Long’s Schaunard was excellent – few will have heard so much of this character’s contribution to the start of the second Act

Alexander Campbell, Classical Source
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Frederick Long and John Savournin made at least as much of Schaunard and Colline as any artists I can recall
Mark Berry, Opera Today

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