The Student Prince, Prince
"Richard Fracker's Prince lifts his golden tenor in lovely song, and the naive personality he presents seems exactly right."
-Allen Young, Rocky Mountain News

Orfee, Heurtebise
"Richard Fracker was wonderful as Heurtebise, his face reflecting every subtle shade of feeling, his lyric tenor exaclty right as a vehicle for the French language."
-Ellen Pfeifer, The Boston Herald

Orfee, Heurtebise
"The opera's Heurtebise (Richard Fracker) is a sensitive tenor, whose love for Eurydice and the loyalty to the Princess are poignant."
-Heidi Waleson, The Wall Street Journal

Tales of Hoffman, Hoffman
"E.T.A. Hoffman, the piece's poet-hero, gets his biggest moments in the prologue and epilogue that frame the opera's three acts, and Richard Fracker, who sang the role of the all-too-impressionable romantic dreamer, made the most of these moments to shine."
-Earl George, Syracuse Herald-Journal

Tales of Hoffman, Hoffman
"Richard Fracker was superb as Hoffman. This is one of the greatest roles for a tenor, giving him robust party songs at the beginning and running the gamut from love songs to tragic arias throughout the rest of the opera. Fracker did not waver in any of them. His strong yet delicate tenor voice was as expressive as it was accurate. Singing in most of this four-hour opera, Fracker's super range was smooth and facile, and he acted the part of the troubled Hoffman very well."
-Ken Glickman, Lansing State Journal

Tales of Hoffman, Hoffman
"In his company debut, Richard Fracker proved a real 'find' at ease throughout his range, gifted with bright sound. His top is full and he can mold his sound to lyrical or dramatic demands."
-Charles Staff, The Indianapolis News

Tales of Hoffman, Hoffman
"Making his Syracuse debut in the title role was tenor Richard Fracker, who proved to be a find. His voice is of decent size and elegantly produced. There's also a nice ring at the top, and he still sounded fresh at the end of the evening."
-Larry McGinn, The Post

Albert Herring, Albert
"Albert is not a conventional hero, since we wonder how he permitted himself to get in this situation. His liberation is long overdue. Richard Fracker does a convincing job of transformation, and he makes us like Albert from the first."
-Robert C. Marsh, Chicago Sun Times

Albert Herring, Albert
"Richard Fracker looked and sounded right as the wide-eyed naive Albert, his clear, strong lyric tenor often evoking the distinctively sweet timbre of the role's originator, Peter Pears."
-John von Rhein, The Chicago Tribune

The Diary of One Who Vanished, Jan
"Richard Fracker sang Janacek's songs with extraordinary fervor and a touch of finesse, too."
-Martin Bernheimer, Los Angeles Times

The Diary of One Who Vanished, Jan
"Jan, sung with riveting conviction by tenor Richard Fracker and accompanied splendidly by music director Neal Stulberg, pointed a gun at his temple during his sad farewell to home and country."
-Scott Duncan, The Orange County Register

The Lighthouse, Sandy
"Richard Fracker as the confused Sandy brought touching pathos to his Victorian love ballad, virtuosic aplomb to the high tessitura."
-John von Rhien, The Chicago Tribune

Pagliacci, Beppe
"Richard Fracker, making his house debut as Beppe, displayed a lyric tenor of easy carrying power and pleasant quality."
-Will Crutchfield, The New York Times

Rigoletto, Borsa
"Pavarotti was again a likeably caddish Duke...while Birgitta Svenden's sexy Maddalena and Richard Fracker's interesting Borsa were standouts."
-Bill Zakariasen, Daily News

The Daughter of the Regiment, Tonio
"As her sweetheart, Tonio, Richard Fracker didn't emit a sound that fell harshly on the ear. His singing was clear and often graceful, and in his Act I aria he delivered the famous string of high C's with complete sincerity."
-Steven Brown, The Orlando Sentinel