BIOGRAPHY

“… a superb tenor, radiating easily between lyric and heroic tones…”

American tenor Richard Cox possesses a remarkable voice that combines lyric and heroic qualities, and is equally suited to opera, concert, and recitals.

In the 2017/2018 season, Mr. Cox returns to the Metropolitan Opera for Die Zauberflöte (Live in HD), The Magic Flute, and debuts at the Palau de les Arts Reina Sofía in Willy Decker’s production of Peter Grimes.  He recently made an acclaimed debut with the Chicago Symphony Orchestra (with Maestro James Conlon), as the tenor soloist for Mahler’s Das Lied von der Erde.

Recent opera engagements have included Loge in Das Rheingold (Minnesota Opera and North Carolina Opera); Mitch in Andre Previn’s A Streetcar Named Desire; Laca in Jenůfa for Des Moines Metro Opera; the San Francisco Symphony Orchestra in semi-staged performances of Peter Grimeshis debut with Washington National Opera for Wagner’s Der Ring des Nibelungen (Das Rheingold and Die Walküre); Prinz Kalaf in Ferruccio Busoni’s Turandot for the Bard SummerScape FestivalBacchus in Ariadne auf NaxosSergei in Lady Macbeth of Mtsenskand Tichon in Káta Kabanová at the Teatro Municipal de Santiago de Chile; Froh in Das Rheingold,  Malcolm in Macbeth, First Armored Man in Die Zauberflöte, and the Celebrant in Nico Muhly’s Two Boys at the Metropolitan Opera; Don José in student performances of Carmen at the Lyric Opera of Chicago; the title role in Samson et Dalila at the New Orleans Opera; Ruprecht in Viktor Ulmann’s Der zerbrochene Krug at the Los Angeles Opera (released on DVD by Arthaus Musik); Adolar in Weber’s Euryanthe at the Sächsische Staatsoper Dresden; and Claudio in the first fully-staged North American production of Wagner’s Das Liebesverbot at the Glimmerglass Festival. A former ensemble member at Oper Frankfurt, Mr. Cox appeared in several new productions there, including The Tempest, Arabella, Owen Wingraveand Das Rheingold (released on CD and DVD by Oehms Classics)He was also seen as Florestan in FidelioPeter Quint in The Turn of the Screw, the Bishop of Budoja in Palestrina (released on CD by Oehms Classics), and Aegisth in Elektra.

An accomplished concert singer and recitalist, Mr. Cox has appeared as the tenor soloist in Mahler’s Das Lied von der Erde with I Musici de Montréal Chamber Orchestra, the Phoenix Symphony, the Britt Festival, Colorado Music Festival, and the Tucson Symphony Orchestra; in Beethoven’s Symphony No. 9 with the Seattle Symphony, National Symphony Orchestra, Corpus Christi Symphony, and Laredo Philharmonic;  with the Collegiate Chorale and Orchestra of St. Luke’s at Carnegie Hall; and Siegmund in a concert version of Act One of Die Walküre with the American Symphony Orchestra. Mr. Cox was on the roster of the Marilyn Horne Foundation and made his New York recital debut in the On Wings of Song recital series, and recently sang Schumann’s Dichterliebe as a part of The West End Collegiate Church Concert Series in New York.

“… tenor Richard Cox was the stalwart Samson, his voice ringing out quite splendidly at the musical climaxes.”

The recipient of numerous awards and scholarships, Richard Cox has earned grants from the George London Foundation, Sullivan Foundation, Opera Index Inc., the Olga Forrai Foundation, Licia Albanese-Puccini Foundation, and the Shoshana Foundation. He has been honored with a Lucrezia Bori Grant for foreign study, the Vocal Arts Honors Recital at Alice Tully Hall, and the Campbell Watcher Memorial Award for singers from Santa Fe Opera. He holds degrees from Tennessee Technological University, Florida State University, and The Juilliard School.

Der amerikanische Tenor Richard Cox besitzt eine aussergewöhnliche Stimme, die lyrische und Heldenqualitäten vereint, und gleichermaßen für Oper, Konzert und Liedgesang geeignet ist.

In der Saison 2017/2018 kehrt Mr. Cox in die Metropolitan Opera für Die Zauberflöte (Live in HD), The Magic Flute zurück, und debütiert im Palau de les Arts Reina Sofía in Willy Deckers Produktion von Peter Grimes. Vor kurzem debütierte er mit dem Chicago Symphony Orchestra (mit Maestro James Conlon) als Tenorsolist für Mahlers Das Lied von der Erde.

Neueste Opernengagements haben eine Kritik gefeierten Debüt als Loge in Das Rheingold (Minnesota Opera und North Carolina Opera); Mitch in Andre Previns A Streetcar Named Desire an der Hawaii Opera Theatre; Laca in Jenůfa für Des Moines Metro Opera; Das San Francisco Symphony Orchestra in halbszenische Aufführungen von Peter Grimes; sein Debüt mit der Washington National Opera für Der Ring des Nibelungen (Das Rheingold und Die Walküre); Prinz Kalaf in Ferruccio Busonis Turandot für die Bard SummerScape Festival; Bacchus in Ariadne auf Naxos, Sergei in Lady Macbeth von Mtzensk, und Tichon in Káta Kabanová am Teatro Municipal de Santiago de Chile; Froh in Das Rheingold, Malcolm in Macbeth, Erster Geharnischter Mann in Die Zauberflöte, und Celebrant in Nico Muhlys Two Boys an der Metropolitan Opera; Don José in Schulaufführungen von Carmen an der Lyric Opera of Chicago; die Titelrolle in Samson et Dalila an der New Orleans Opera; Ruprecht in Viktor Ulmanns Der zerbrochene Krug an der Los Angeles Opera (herausgegeben auf DVD von Arthaus Musik); Adolar in Webers Euryanthe an der Sächsischen Staatsoper Dresden; und Claudio in der ersten nordamerikanischen Bühnenproduktion von Richard Wagners Das Liebesverbot am Glimmerglass Festival. In seiner Zeit als Ensemblemitglied der Frankfurter Oper hat Herr Cox in mehreren Neuproduktionen mitgewirkt: The TempestArabellaOwen WingraveDas Rheingold (herausgegeben auf DVD und CD von Oehms Classical). Des weiteren erschien er als Florestan in Fidelio, Peter Quint in The Turn of the Screw, Bischof von Bodoja in Palestrina (herausgegeben als CD von Oehms Classics), und Aegisth in Elektra.

Als erfahrener Konzert- und Liedersänger hat Herr Cox für die Marilyn Horne Foundation konzertiert. In New York hat er in der On Wings of Song Konzertserie debüttiert und sang vor kurzem Schumanns Dichterliebe als Teil von The West End Collegiate Church Concert Series in New York. Er hat auch als Tenorsolist in Beethovens 9. Symphonie mit dem Seattle Symphony, National Symphony Orchestra, Corpus Christi Symphony und Laredo Philharmonic erschienen; Das Lied von der Erde mit dem Colorado Music Festival, I Musici de Montréal Chamber Orchestra, Britt Music Festival, Phoenix Symphony, und Tucson Symphony Orchestra; mit dem Collegiate Chorale and Orchestra of St. Luke in der Carnegie Hall; und Siegmund in einer konzertanten Version des ersten Akts von Die Walküre mit dem American Symphony Orchestra.

Richard Cox ist Empfänger zahlreicher Preise und Stipendien: von der George London Stiftung, der Sullivan Stiftung, Opera Index Inc., der Olga Forrai Stiftung, der Licia Albanese-Puccini Stiftung, und der Shoshana Stiftung. Er wurde mit einem Lucrezia Bori Stipendium für Auslandsstudien und mit einem “Vocal Arts Honors Recital” an der Alice Tully Hall in New York geehrt, und erhielt den Campbell Watcher Memorial Preis für Sänger von der Santa Fe Opera. Studiert hat Herr Cox an der Juilliard School, Florida State University und Tennessee Technological University.

“His is an impressive, substantial tenor, rock solid in its delivery but malleable in its deployment.”

-James Shore, Opera Today

GALLERIES

Portraits

Portraits

Portraits
Arabella

Arabella

Production Photos
Ariadne auf Naxos

Ariadne auf Naxos

Production Photos
Fidelio

Fidelio

Production Photos
Jenůfa

Jenůfa

Production Photos
Kat’á Kabanová

Kat’á Kabanová

Production Photos
Lady Macbeth of Mtzensk

Lady Macbeth of Mtzensk

Production Photos
Das Liebesverbot

Das Liebesverbot

Production Photos
Oedipus Rex

Oedipus Rex

Production Photos
Das Rheingold (Froh)

Das Rheingold (Froh)

Production Photos
Das Rheingold (Loge)

Das Rheingold (Loge)

Production Photos
A Streetcar Named Desire

A Streetcar Named Desire

Production Photos
Samson et Dalila

Samson et Dalila

Production Photos
The Tempest

The Tempest

Production Photos
The Turn of the Screw

The Turn of the Screw

Production Photos
Der Zerbrochene Krug

Der Zerbrochene Krug

Production Photos

“…he dominated the cacophony of the ensemble with an ocean of sound…”

-Daniel Vasquez, newoutpost.com

REPERTOIRE

OPERATIC REPERTOIRE

 

ADÈS

The Tempest – King Alonso

BEETHOVEN

Fidelio – Florestan

BIZET

Carmen – Don José

BRITTEN

Owen Wingrave – Narrator

The Turn of the Screw – Peter Quint

Peter Grimes – Peter Grimes/Bob Boles

BUSONI

Turandot- Kalaf

FLOYD

Of Mice and Men – Lennie

Susannah – Sam

JANÁČEK

Jenůfa – Laca

Kat’á Kabanová – Tichon

PREVIN

A Streetcar Named Desire- Mitch

SAINT-SAËNS

Samson et Dalila – Samson

SHOSTAKOVITCH

Lady Macbeth of Mtzensk – Sergei

R. STRAUSS

Arabella – Matteo

Ariadne auf Naxos – Bacchus

Elektra – Aegisth

STRAVINSKY

Oedipus Rex – Oedipus

TCHAIKOVSKY

Yevgény Onégin – Lensky

WAGNER

Das Liebesverbot – Claudio

Lohengrin – Lohengrin

Das Rheingold – Loge/Froh

Die Walküre – Siegmund

WEBER

Euryanthe – Adolar

ORCHESTRAL REPERTOIRE

 

BACH

Magnificat

BARBER

Knoxville: Summer of 1915

BEETHOVEN

Mass in C major

Symphony No. 9

GOUNOD

Messe Solennelle de Sainte Cécile

MAHLER

Das Lied von der Erde

MENDELSSOHN

Elijah

SHOSTAKOVITCH

From Jewish Folk Poetry, Op. 79

R. STRAUSS

Vier Lieder, Op. 27

VAUGHAN WILLIAMS

On Wenlock Edge

“a strikingly attractive voice”

-Michael Johnson, www.concertonet.com

PRESS

“Mr. Cox is possessed of a veritable torrent of heldentenor sound – he sings Wagner’s Loge and the demanding Das Lied von der Erde of Mahler – and it seemed at first that the voice would be too overwhelming in the space. Within moments, though, he displayed a sure command of dynamic, taking the voice into a headier realm for the sweet expressions of the poet’s delight in his love. As the cycle proceeded, the tenor made canny use of both the sheer power of his tone and of his ability to hone it down; his colourings of the text were affecting, his emotional connection to the music – and to the listeners – deep and genuine… In “Ich grolle nicht” (‘I bear no grudge’), the singer’s fierceness of delivery belies the song’s title and brims over with anger and frustration. Mr. Cox’s strikingly dramatic reading – and the power of his voice – caused the audience to break in with applause after this monument to the pain of a lover’s despair.

The fluttery piano introduction to “Und wüssten’s die Blumen” offsets the emotional colours of the text, saying the flowers themselves would weep if they could comprehend his pain. The piano lingers on yet again after the singer stops. The waltzy “Das ist ein Flöten und Geigen” was sung large by Mr. Cox, brandishing a voice of Tannhauser-proportions, with Ms. Fader again relishing Schumann’s gift of another postlude.

A sense of mystery pervades at the soft piano introduction of “Hör’ ich das Liedchen klingen” (‘I hear the little song’); here Mr. Cox displayed fine vocal control as the lied becomes a sad reverie. The lilting, dance-like “Ein Jüngling liebt ein Mädchen” is a tale of love’s confusion and blame, followed by a the dreamy “Am leuchtenden Sommermorgen” which aches with quiet regret.

The voice alone introduces “Ich hab’ im Traum geweinet” (‘I have wept in my dreams’); the piano joins in haltingly. Here Mr. Cox again unleashed the great power of his voice which seemed to fill every centimeter of the chapel with a resounding despair.

Touching expressiveness and impressive vocal control carried the singer thru “Allnächtlich im Traume seh’ ich dich”; then a sparkling piano passage sets off “Aus alten Märchen winkt es hervor” which has an almost military fervor; eventually it cools down.

The final poem, “Die alten, bösen Lieder” (‘The old, angry songs’), seems to depict the composer and his beloved Clara packing all their past pain and woe into a coffin and casting it into the sea. A big, passionate piano phrase and an oddly dancing air evolve to the slow expressiveness of the poet’s musings. The music takes on an eerie quality; Mr. Cox beautifully scales back the voice…

As Mr. Cox and Ms. Fader today took us along on this poetic journey, I sometimes looked around the room to see how people were reacting to their music-making: everyone seemed so engaged, leaning forward so as to catch the nuances, whilst alternately reveling in the power of the voice and and expressiveness of the pianist. The performance served as a memorial to a great and ultimately tragic love.”
-Philip Gardner, Oberon’s Grove, June 5, 2017

“Richard Cox was equally strong (stepping in for an ailing Stephen Gould). Cox’s lyricism was always present, even in the more stentorian passages of his three songs. In the first one, the passionate outcry of ‘Ein Aff’ist’s! Hört ihr, wie sein Heulen / Hinausgellt in den süßen Duft des Lebens!’ showed the métier of a heldentenor, while other passages had the intimacy of a lieder singer. His phrasing always underscored the line with ease and accomplishment, making him a tenor to watch.”
-James L. Zychowicz, Seen and Heard International, April 2, 2017

“The twists didn’t end with Conlon’s 11th-hour rescue. Tenor Stephen Gould sang through illness on the first night before withdrawing, to be replaced by Richard Cox. I didn’t hear Gould, but on the second night Cox turned in one of the smartest, most nuanced performances I’ve heard in Mahler’s technically exacting and psychologically fraught music….Two of the tenor’s three songs dwell on the dark side – the opening “Drinking Song of Earth’s Sorrow” and “The Drunkard in Spring.” But it also falls to the tenor to sing about youth, that state of careless confidence and assumed immortality. Cox was captivating, his voice authoritative, his inflection precise, aggressive, knowing.”
-Lawrence B. Johnson, Chicago On the Aisle, April 2, 2017

“Richard Cox, tall and well-cast, delivered a great Mitch, his voice big but sensitive, virile but vulnerable.”
-Ruth O. Bingham, Honolulu Star-Advertiser, January 29, 2017
“And Nathan Berg (Alberich) and Richard Cox (Loge) were, to my mind, the heroes of the evening, creating complex, riveting characters—abused and abusive in Berg’s case, neurotic and sexually ambiguous in Cox’s—that made the 153-minute performance seem, if anything, too short.”
—Larry Fuchsberg, Opera News, February 2017

“Stand outs were Nathan Berg as Alberich and Richard Cox the Loge. What gave them my extra vote came from their rich characterizations.The pain and anger of Alberich, the nonchalance of Loge – came through very well.”
-Martin Kirschen, wagnersociety.us, November 17, 2016

“Richard Cox’s Loge, fervently sung, was sly and manipulative”
-Michael Anthony, Star Tribune, November 15, 2016

“…tenor Richard Cox, who sings the role of trickster Loge splendidly…”
-Rob Hubbard, Twin Cities Pioneer Press, November 13, 2016

“Richard Cox is intensely interesting as Loge and his theatricality keeps you engaged throughout the show – he’s definitely a focal point.”
-Becki Iverson, Compendium, November 12, 2016

“I Musici de Montréal pour chanter Le chant de la terre (Das Lied von der Erde) de Gustav Mahler. La joie de la voix remarquable de Richard Cox était contagieuse quand il chantait Der Trunkene im Frühling (L’ivrogne au printemps)…”
-Duygu Özmekik, Bizim Anadolu/Notre Anatolie, 9 november 2016

“Jean-Marie Zeitouni avait très bien distribué son Chant de la terre, puisque le ténor américain Richard Cox n’a pas été moins impressionnant. Il a chanté ses trois mouvements avec une voix solaire et beaucoup d’éloquence, surtout le passage onirique printanier de la chanson du buveur.”
– Christophe Huss, Le Devoir, 13 octobre 2016

“As the trickster Loge, tenor Richard Cox, a veteran of Robert Lepage’s Ring project at the Met (he sang the minor part of Froh), was particularly convincing. His narrations in Scene ii were all projected with lithe tone and slippery carriage, an all-but ideal imitation of a lighter-than-air being. When volume was called for, Cox was able to fling his finely focused instrument ahead of the orchestra, no mean feat when given the NCO’s potency.”
-Josmar F. Lopes, paperblog.com, November 26, 2016

“Richard Cox stole the show. His Loge was nuanced and well-phrased with a keen sense of musicality, very good projection and a beautiful timbre. I thought that Mr. Cox was the best singer in this performance, which helps because Loge’s role is quite extensive.”
-Luiz Gazzola, operalively.com, September 20, 2016

“…American tenor Richard Cox sang a charming and wicked Loge.”
-Dustin K. Britt, triangleartsandentertainment.org, September 19, 2016

“The last character on stage is the half-god, Loge, the source of fire; dangerous and unpredictable, crafty and witty. The role was interpreted by Richard Cox with lyrical and playful charm.”
-Ken Hoover, cvnc.org, September 16, 2016

“The performers in this semi-staged presentation were all excellent. Kalaf was played by tenor Richard Cox; Turandot was soprano Melody Moore…”
-Charles Geyer, La Scena Musicale, August 19, 2016
“The three tenor movements were taken by Richard Cox. The difficulty of the first movement cannot be underestimated. Mahler asked the singer to scream out high B-flats against a frenetic and angry orchestral background. A heroic, Wagnerian voice is required, and Cox possesses one. The threefold refrain, “Dark is life, is death,” was delivered with chilling conviction. This is contrasted with the silky lightness of the third movement and the uproarious black comedy of the fifth. Throughout, Cox was an excellent foil for O’Connor’s artistry.”
– Kelly Dean Hansen, Daily Camera, August 5, 2016
“The best descriptive for the performance of the work by TSO is “pure.” Mahler’s orchestration is magical, including the human voice as soloist. Both mezzo Sasha Cooke and tenor Richard Cox were imported specifically because of their vocal prowess and experience. Cooke specializes in the lieder, performing it with both San Francisco and the New World Symphonies under Michael Tilson Thomas. Richard Cox’s bio includes appearances at the Metropolitan, Lyric and Washington National Operas. Both have the perfect range and timbre for the Mahler and for Wagner, which Cox has done in Tannhäuser, Rheingold and Walküre. Both artists were outstanding. Hanson was at his best for his TSO swan song.”
-Dr. Donald J. Behnke, Green Valley News, January 31, 2016
“… and Richard Cox, as a poignant Laca who immediately secured audience sympathy through a masculine timbre of appropriate weight for the Slavic repertory.”
-Mark Thomas Ketterson, Opera News, October 2015

“Richard Cox proved to be a coiled spring of a hot-headed Laca Klemeň. His focused, intense tenor was so powerful upon first utterance that I thought he may have been amplified. His is an impressive, substantial tenor, rock solid in its delivery but malleable in its deployment. Mr. Cox devised a characterization that was first quite terrifying in its volubility, then devolved into almost a Baby Huey like vulnerability that was enormously persuasive. Never before have I felt so completely that he is a changed man, and one that Jenůfa could love. A towering achievement.”
-James Shore, Opera Today, July 19, 2015

“The men in this village were equally compelling, starting with the Laca of tenor Richard Cox. The young artist possesses a well-produced, luminous Heldentenor which he molded expertly from tones ranging the contemptuously accusatory to loving and tender in the last act. When the village turned on his bride, he dominated the cacophony of the ensemble with an ocean of sound, and they were smart to listen. Tall and kind faced, he cut a sympathetic figure onstage even when wielding a knife.”
-Daniel Vasquez, newoutpost.com, August 3, 2015

“Steva was raised by his and Jenufa’s grandmother (the excellent soprano Joyce Castle), who also took in as his step-brother the older, less favored Laca, now a laborer in the mill, who has yearned after Jenufa in vain for most of his life (movingly sung by tenor Richard Cox, also a DMMO debutant).”
-Bruce Carr, The Des Moines Register, July 6, 2015

“Tenor Richard Cox sang with pulsating zeal as Bob Boles, a fisherman and Methodist believer (with a bent for alcohol).”
-Richard Scheinin, San Jose Mercury News, June 27, 2014

“Tenor Richard Cox as the firebrand Methodist fisherman was so effective, he could double the membership of any megachurch.”
-Jeff Dunn, SFCV.org, June 26, 2014

“Richard Cox (Bob Boles), Kim Begley (Horace Adams), and Kevin Langan (Hobson) sang with distinction.”
-Georgia Rowe, Opera News, June 26, 2014

“Equally superb dramatic and vocal contributions were made by … tenor Richard Cox as the ever-drunk Methodist fisherman Bob Boles;”
-David Wiegand, SF Gate, June 27, 2014

“…Tichon, was precisely portrayed by the American tenor Richard Cox (who sang in the Chilean debuts of Lady Macbeth of Mtsensk and Ariadne auf Naxos).”
-Joel Poblete, Biobío Cultura,  May 4, 2014

“The craven Tichon, Kabanicha’s son, has no major opportunities of vocal brilliance, except in the duet with Katia and the opera’s final scene,  but both were excellent.”
-Gilberto Vera Ponce, visionescriticas.cl, May 5, 2014

“Strong tenor, Richard Cox knew how to sing and create interest in the thankless role of Tichon.”
-Juan Antonio Muñoz H., El Mercurio, May 4, 2014

“In an exciting way to start the bottom of the show, Tenor, Richard Cox, delivered a powerful and booming version of “Winterstürme” from Richard Wagner’s Die Walküre as Siegmund. Richard Cox is a very powerful tenor, who deserves to be continuously watched in the Opera World as his career follows in the path of his talents.”
-Cheryl Dearborne, http://sociallysuperlative.com, April 16, 2013
“Other newcomers included . . . Richard Cox, a fresh-sounding tenor in the role of Froh.”
-Mike Silverman, The Huffington Post, April 8, 2013

“Richard Cox sang with a suave legato as he remarked on Freia returning to their possession.”
-David Salazar, Latinos Post, April 8, 2013

“Tenor Richard Cox provided Samson with a burly, commanding voice, making the appropriate shifts in character along the way. In the first act, he captured with the strength of a heldentenor the arrogance and pride of Samson, which is as responsible for his downfall as his haircut. In the second act, a rich lyricism was added as he falls prey to Dalila’s seduction. His third act, “Vois ma misère, helas,” was a moment of aching beauty.”
-Theodore P. Mahne, NOLA.com/The Times-Picayune, March 16, 2013

“In his company debut, tenor Richard Cox was the stalwart Samson, his voice ringing out quite splendidly at the musical climaxes. He made effective use of voix mixte at certain moments — a nice effect that singers don’t always employ to their advantage. . . there was no denying that the tenor had the voice and stamina for the role and the power to ride over the orchestra.”
-George Dansker, Opera News Online, June 2013

“The tenor duet with Richard Cox singing the role of Malcolm, who also sang well, was an interesting and exciting pairing.”
-Caitlin McKechney, The Classical Review, March 21, 2012

“The best vocal performances came from Richard Cox and Claudia Waite in the unglamorous duties of Malcolm and the Lady-in-Waiting.”
-David Shengold, Gay City News, Apri 25, 2012

“ . . . and Richard Cox a strong Malcolm.”
-Vivein Schweitzer, The New York Times, March 16, 2012

“Richard Cox was a bright-toned authoritative Malcolm.”
-www.operaobsession.blogspot.com, March 16, 2012

“Richard Cox as “Bacchus” was heroically gallant, singing the role with a strong, expressive voice.”
-José Luis Arredondo, Círculo Lírico, June 22, 2011

“The role of Bacchus is designed for a heroic tenor and even though he sings a little over 15 minutes, the role makes tremendous demands, which tenor Richard Cox assumed with professionalism and strength…”
-Juan Antonio Muñoz, El Mercurio, June 14, 2011

“Once on the stage, [tenor, Richard Cox] demonstrated a voice of great wealth…”
– Antonio Nuñez, Círculo Lírico, June 14, 2011

“Richard Cox (tenor Bacchus) assumes his brief role with keen security and good high notes. . .”
-Mario Córdova, Las Últimas Noticias, June 15, 2011

“The Bacchus of Richard Cox was every bit as heroic and seductive as it should be. Dressed in a costume that evokes Louis XIV, especially the “sun rays” emanating from his back, sang his part with great ease and comfort.”
-José Luis Arredondo, Círculo Lírico, June 14, 2011

“Dietrich Volle and Richard Cox were appealing as Donner and Froh.”
-Hans-Klaus Jungheinrich, Opernwelt, June 2010

“The god siblings Freia (Barbara Zechmeister), Froh (Richard Cox), and Donner (Dietrich Volle) gave strong, individual portrayals.”
-Christoph Wurzel, www.omm.de, May 2, 2010

“Dietrich Volle and Richard Cox are well matched as Donner and Froh, and Barbara Zechmeister is an ingratiating Freia.”
-Hugo Shirley, www.musicalcriticism.com, May 26, 2010

“The abstracted, almost demonic, manner in which Richard Cox , as the Butler, sang the ballad again at the end of the work made a powerfully lasting impression.”
– Manfred Langer, www.deropernfreund.de, January 28, 2010

“Michael Nagy in the title role and Richard Cox as the Narrator, whose ballad at the opening of the second act made a deep impression, were outstanding. This was one of the most impressive evenings that I have spent at the opera for some years.”
– Rein A. Zondergeld, OPERA Magazine, May 2010

“. . . and Richard Cox impressed as the Ballad Singer.”
– Jürgen Gahre, Opera Now, May/June 2010

“Richard Cox sang the [Peter] Pears-part of the Narrator and his ghostly ballad with a flowing tenor.”
– Martin Freitag, www.deropernfreund.de, February 28, 2010

“However, a domestic had the most thankful part: Richard Cox sang the touching ballad of the “Wingrave Boy” – none other than Peter Pears has sung the song- that connects the scenes.”
– Gerd Döring, Wiesbadener Kurier, January 27, 2010

“Richard Cox received special applause for his role as the Narrator.”
– Anita Kolbus, Gießener Allgemeine, January 26, 2010

“Richard Cox repeated his incisive performance from the night before (Owen Wingave) with a superb tenor, radiating easily between lyric and heroic tones as Alonso, King of Naples.”
– Martin Freitag, www.deropernfreund.de, January 29, 2010

“Richard Cox portrayed King Alonso with a concisely expressive tenor.”
– Friedon Rosen, Der neue Merker, January 10, 2010

“Both tenors Richard Cox (Alonso, King of Naples) and Peter Marsh (Caliban, as a cheeky punk), supplemented the ensemble on a high level.”
– Midou Grossman, www.klassik.com, January 10, 2010

“Simon Bailey as Gonzalo and Richard Cox as Alonso, perfectly cast for these two characters, sang with expressive vocal variety.”
– Franz R. Stuke, www.opernnetz.de, January 10, 2010

“. . . the resident ensemble boasts excellent young singers such as Claudia Mahnke (Miranda), Carsten Süss (Ferdinand), and Richard Cox (Alonso).”
– Hugh Canning, The Sunday Times, January 21, 2010

“[Richard Cox’s Sergey] . . . cut a vocally secure figure, especially in his last-act scenes with the excellent Sonyetka of Katherine Rohrer.”
– Orlando Alavarez Hernandez, OPERA Magazine, December 2009

“. . . and the tenor Richard Cox (Sergei), of clear and decided timbre, sang eloquently giving a special primitivism to his role.”
– Claudia Ramirez Hein, La Tercera, July 23.2009

“The Sergei of Richard Cox continued his ascent throughout the work, reaching the vocal summit in the final scene with the sensual Sonyetka.”
– Andres Yaksic, El Mercurio, July 22, 2009

“Ägisth was in good hands with Richard Cox, his loud and sharp tenor voice was particularly suited for this role.”
– Guillaume Maijeur, www.operagazet.be, April 15, 2009
“Richard Cox was an excellent Matteo, clear of voice and inventively dramatic.”
– James Sohre, Opera Today, February 25, 2009

“Richard Cox was convincing as Matteo, with powerful top notes and agility . . .”
– Susanne Benda, Stuttgarter Nachrichten, January 27, 2009

“The ensemble doesn’t have to stand back one bit – including the powerful and robust tenor Richard Cox as the rebuffed admirer . . .”
– Offenbach Post, January 28, 2009

“Britta Stallmeister (Zdenka), Richard Cox (Matteo) and Peter Marsh (Elemer) along with conductor Sebastian Weigle and the Frankfurt Museumsorchester contribute to a successful night at the opera . . .”
– Stefan M. Dettlinger, Mannheimer Morgen, January 31, 2009

“Richard Cox was convincing with rich nuances as the diabolical seducer Quint.”
– Markus Gruendig, www.kulturfreak.de, November 2008

“Richard Cox proved ideally cast as Peter Quint. Cox showed . . . that he could master challenges that match the possibilities of his tenor voice, which is full of character and has startling penetration in Forte passages.”
– Andreas Schubert, www.klassik.com, November 23, 2008

“Cox also sang the prologue at the beginning and showed off his substantial and technically adept voice.”
– Frankfurter Neue Press, November 21, 2008

“Richard Cox sang compellingly as her [Isabella] brother Claudio, whose music evokes that of Wagner’s Erik.”
-David Shengold, Opera, December 2008

“Richard Cox displayed a full, open tenor as Claudio.”
-Joanne Sydney Lessner, Opera News, November 2008

“Tenor Richard Cox showed great vocal size in the role of Isabella’s brother Claudio -a convincing singer-actor, whom one would gladly hear as Erik [in ‘Die fliegende Holländer’].”
-Opernwelt, September 2008

“Richard Cox, a tenor, was eloquent and lyrical as Claudio.”
-Steve Smith, The New York Times

“As Claudio, Richard Cox displays a strikingly attractive voice; one looks forward to hearing him in the youthful Wagnerian roles.”
-Michael Johnson, www.concertonet.com

“. . . tenor Richard Cox as Claudio had a large yet plangent tenor tone.”
-Eli Jacobson, Gay City News

“Tenor Richard Cox handles the heroic dimension of Claudio’s music.”
-George Loomis, Financial Times

“Tenor Richard Cox as Isabella’s brother Claudio is definitely a big-voice Wagnerian in the making . . . ”
-Paula Citron, www.globeandmail.com

“Claudio’s prison scene at the beginning of the second act affords Richard Cox an opportunity to move from a bereft lament at his impending death to noble outrage on Isabella’s behalf when he hears of the proposed deal to hopeful pleading that she might save him. Facing her rage at this weakness, he pleads forgiveness. This is one of many roller-coaster scenes in the opera, but Cox pulls it off and the emotions ring true.”
-Heidi Holder, The Berkshire Review for the arts

“Tenor Richard Cox gave a ringing account of Claudio, Isabella’s culpable brother. His Act 1 appeal to Luzio to find his sister (“Du kennest jenen stillen Ort”) was marked by clear, beautiful singing and excellent diction, and his increasing anxiety while waiting for her in prison (“Wo Isabella bleibt?”) was performed with an expressive passion.”
-Stephen G. Landesman, Ithaca Journal

“Richard Cox was an especially good, vocally rich Claudio.”
-Wayne Myers, The Oneida Daily Dispatch

“Finally, a consensus pick had to be tenor Richard Cox, who re-created the memorable mad scene from “Peter Grimes” with a dark sense of characterization, a large armamentarium of emotions and a room-filling voice. Definitely ready for prime time.”
-Fred Kishnit, New York Sun
“Tenor Richard Cox sang Ruprecht (Eve’s beau) with silken point.”
-Timothy Mangan, The Orange County Register
“The tenor and bass in the Beethoven, Richard Cox and the always admirable Clayton Brainerd, both sang their parts splendidly.”
-Bernard Jacobson,www.musicweb-international.com
“‘Dreams,’ a song recital performed Saturday night at the Hope Club, proved to be an elegant end to this weekend’s Fall Humanities Weekend. As for the singers, both [soprano Meagan] Miller and Cox commanded their pieces with nuanced emotion and superior vocal skill. Cox’s rich tenor also carried a powerful punch. His haunting rendition of Korngold’s In meine innige Nacht was one of the shows most captivating moments . . . both performers managed to revive songs that could have sounded dusty and stilted to a contemporary audience.”
-Allissa Wickham, The Brown Daily Herald
“Tenor Richard Cox was a perfect Don José, a real jock looking like a football lineman. In fact I found myself concocting a Eurotrash version with all the guys as athletes and the gals as cheerleader/groupies. This slightly dense tough-guy exterior made his unraveling all the more touching and understandable. It also made Carmen’s reactions more than merely whimsical.”
-Paul M. Somers, Classical NJ Society
“Tenor Richard Cox, remembered from Juilliard Opera Center performances, and bass Ryan McKinney, as Macduff and Banquo, stirred up some drama in that last Macbeth excerpt, when they discovered the body of the slain King Duncan. Cox was a bright-voiced Cassio in the Otello act and also participated in the Falstaff ensemble. “
-Bruce-Michael Gelbert, theatrescene.net
“Richard Cox and Matt Boehler sang their solo lines here with distinction.”
-Bruce-Michael Gelbert, theatrescene.net
“Richard Cox was an emotional and believable Don José, trying to be true to the values and love of his earlier life. Carmen simply overwhelmed him. His voice was strong and lyrical, and his acting intense. In the final scene, taunted by Carmen, as his tears fell, he may have been wearing a tuxedo in Hackensack, but the audience saw the crazed, broken Don Jose outside the bull ring in Sevilla.”
-Charlene Frank, operanotes.com
“Richard Cox proved a powerful Oedipus.”
-Allan Kozinn, New York Times

“Tenor Richard Cox made a dulcet-toned Oedipus, with a prominent head voice and ease in executing the melismas.”
-Bruce-Michael Gelbert, theatrescene.net

“Tenor Richard Cox’s Lensky had more treble overtones than one expects in his music, but this made for a haunting account of the lyrical “Kuda, kuda,” before the fatal duel with Onegin.”
-Bruce-Michael Gelbert, www.theatrescene.net

“As the doomed Lensky, Richard Cox was vocally effective.”
-Glenn Loney, nytheatre-wire.com

“Richard Cox sang with a suave legato”

-David Salazar, Latinos Post

CONTACT

Richard Cox is represented by Caroline Woodfield at Opus 3 Artists.

Caroline Woodfield
Opus 3 Artists
470 Park Avenue South, 9th Floor
New York, NY USA
10016

Phone: +1 (212) 584-7526
Fax: +1 (646) 300-8200
cwoodfield@opus3artists.com

You may contact Mr. Cox directly by using the form below.

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