Singing Career 












Krause sculpts his material unerringly. At the same time he maintains an equally notable balance of taste and proportion. Listening becomes a luxury; one comfortably relaxes, with never the slightest urge to quibble over details.
Los Angeles Times

The most convincing achievement of the evening was reached by Tom Krause as the title hero (Don Giovanni). It is hard to say what one should praise highest; the enchanting timbre of his bass-baritone, his elegant gestures full of Spanish grandeur, or the intense characterization which brings out the dynamic and grand side of this figure.
Hamburger Abendecho

Baritone Tom Krause, was in magnificent voice, presenting as strong and moving a performance as can be imagined. His was a definitive achievement that reached and grabbed one’s emotions by the throat, without resorting to tricks or arch phrasing.
His "Herr lehre doch mich," the third of the seven sections, offered the greatest
moment of the performance.
San Francisico Chronicle

Tom Krause’s powerful Count was sublime.
New York Magazine

With his youthful-manly baritone, his beautiful timbre, his singing impetus and his sympathetic appearance, Tom Krause brought pleasure to the audience. For George London, a very dangerous competitor is coming into being here [...] In Don Giovanni’s Champagne Aria the feminine hearts began to glow for Tom Krause, and in the aria of Gerard from Andre Chenier, they completely went up in flames.
Abendzeitung München

En tête d’une distribution très fournie, Tom Krause, est un Lorenzo da Ponte sensationnel, a la fois dèsinvolte et inquiet, une espèce de Jules Berry ètincelant et èmouvant: sans cesse en scène, il mène le jeu avec une splendide maîtrise.
Le Figaro, Paris

At the top of a long list of the cast is the gloriously singing Tom Krause, in the lead as Da Ponte, a characterization of great spontaneity who also moves one with his humanity.
Die Presse, Wien

Überwältigend ist der erste Eindruck von der Stimme dieses Baritons. Sanftes, angenehmes Timbre, Kraft im Piano, fantastische lockere Höhe [...] und eine grenzenlose Tiefe, bei der der ganze Körper resoniert. Perfekt der Stimmsitz, mit dem er auch die zartesten Linien unbeeinträchtigt in die letzen Reihen trägt.
Kölner Stadt-Anzeiger

Tom Krause in den vier Bösewichter-Rollen: Weg von der Schurkenschablone, tragik- und geheimnisumwittert; mit baritonaler Wucht, gefährlichen Nuancen, bedrohlichem Belkanto.
Kölner Stadt-Anzeiger

Baritone Tom Krause was in magnificent voice, presenting as strong and moving a performance as can be imagined.
San Francisco Chronicle

The heaviest burden for the soloists falls on the baritone who assumes the role of Elijah. In Tom Krause, the Finnish baritone, the orchestra secured a superb singer. Whether in the declamatory authority of his recitative or the legato of his arias such as "It Is Enough" and "Lord God of Abraham," Mr. Krause was outstanding. His excellently placed voice has a fine flow and vigor and is modulated at the direction of a superior musical instinct.
The Evening Bulletin

Tom Krause’s voice sounds extremely beautiful. His interpretation had at the same time refined expressiveness and holy naivete.
Uusi Suom, Helsinki

Mr. Tom Krause’s strong, flexible, most musicianly voice and impeccable English enunciation were exceptionally advantageous.
The Times, London

Mühelos nun hob [Tom Krause] sich über das breite Kalvierfundament and mit einzigartiger Steigerung bis zum Ausbruchschrei: "Der Wahnsinn faßt mich an!" wuchs die beschwörende Glut des in seiner erotischen Religiösität so gespaltenen "Benedeit die sel’ge Mutter." Wie traumverloren-weich dann die Wiederholung des Beginns, ein flehendes Gebet, das um seine Vergeblichkeit weiß, und doch was in diesem ganz schwerelosen Timbre der Stimme eine Schwingung von Paradieserinnerung.
Neuss-Grevenbroicher Zeitung

Mr. Krause proved to be a perfect partner [...] In his own set of solo songs Mr. Krause proved to be the master of his voice. It had virility but it was never brash. Moreover, Mr. Krause had an enormous amount of sensitivity. The "Revelge", perhaps the high spot of the evening, was a masterful delineation of the little vignette and the "Lob des hohen Verstand" an amusing song, was produced with just the right amount of lightness.
Pittsburgh Post-Gazette

With the Finnish singer as the baritone soloist, we experienced "Freunde, nicht diese Töne" with a power and authority that is memorable.
Politiken, Copenhagen

There have been fine Ferrandos before [...] but none has had a partner to touch Tom Krause, the best Guglielmo on records.
High Fidelity Magazine

He [Tom Krause] is in command of his dark, colorful bass-baritone of rare size and beauty. It is a splendorous voice, fascinating by it’s strong, virile color and in spite of its dimension it is amazingly modulating.
Arbeiter Zeitung, Wien

The best Pizzarro on record, past or present.
Chicago American

It was Krause’s soaring voice which took top honors. It reached out through the massive choral and orchestral sounds in the poignantly sorrowful "Lord make us to know" and again in the powerful prophecy of the Resurrection "Here on Earth".
San Jose Mercury

The conservatory was filled to its last place, an unusual happening in our days, and the ovations of the audience fixed the impression of the festivity which marked the concert.
Hufvudstadsbaldet, Helsinki

Mozart Hall didn’t see anything like this for a long time: an enthusiastic, enduringly ecstatic public, tremendous encore repertoire. There was a huge crowd requesting autograms before the artist’s dressing room. All this happened as a result of having heard the sensual charm of a big voice in full bloom. The artist brought the magic atmosphere of the operatic world into the Konzert Saal.
Die Presse, Vienna

Excellent vocally and artistically.
La Notte, Milano

To tell that this Finnish baritone, who unites temperamentally as well as vocally an unconcerned "Naturbursch"-personality with high intelligence, is an interesting Lieder-singer was not an easy thing to predict. The powerful voice lets us presume that he is an operasinger and the singing would eventually become less nuanced, as it usually does in the case of Lieder-singing. It might jump through the volume and limit of the intimate. But after Schubert’s heroic and dramatic "An die Leier" and "Dythirambe", and following the technically difficult piece "Nacht und Träume", sung entirely piano, and also with Wolf’s splendid "Verschwiegene Liebe" it becomes evident that he can do more that just "play the organ". He is enormously musical, his singing technique is exquisite and keeps his beautiful and big voice under absolute control. He handles it with a youthful temperament giving the song new impulses, even a new naturalness of expression. The "singing-spirituality" of Fischer-Diskau is opposed here by a virile, forceful Lieder-interpretation. A young man is singing here with an internal drive (engagement) and fire, with an almost tempestuous conviction and with such an eruptive expression that the memories of such nice Lieder recitals as the ones given by Prey, Schreier or Adam are being simply - pardon me- swept away. The public applauded wildly and ecstatically.
Express, Vienna