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
Frederick Long has a whale of a time camping it up as the Sorceress
Rupert Christiansen, The Telegraph
Isménor, Dardanus : English Touring Opera
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
Zebul, 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
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
Frederick Long and John Savournin made at least as much of Schaunard and Colline as any artists I can recall
Mark Berry, Opera Today
...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
Frederick Long has a whale of a time camping it up as the Sorceress
Rupert Christiansen, The Telegraph
Isménor, Dardanus : English Touring Opera
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
Zebul, 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
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
Frederick Long and John Savournin made at least as much of Schaunard and Colline as any artists I can recall
Mark Berry, Opera Today