Verdi: Requiem Richmond SO Anton Coppola (c) 1997
"Soprano Rochelle Ellis, mezzo soprano Joyce Campana, tenor
Stephen O'Mara and baritone Philip Kraus are as accomplished and
finely balanced a solo quartet as I can recall hearing in a symphony
performance....Kraus is a rare baritone, with a low range as strong
as that of most basses and a gratifyingly lyrical top. Hearing him ride
above an orchestral crescendo in the Confutatis was a singular
Clarke Bustard Richmond Times-Dispatch
Brahms: Requiem Milwaukee SO Lukas Foss (c) 1996
"Kraus gives his baritone solos a tinge of urgency, of a reluctance to go
gentle into that good night."
Tom Strini Milwaukee Journal Sentinel
Shostokovitch: Sym. 14 Concertante di Chicago 1995
"Soprano Winifred Faix Brown and baritone Philip Kraus brought
vivid life to the 11 poems that Shostokovitch used in his symphony.
Kraus' voice sounded rich and dark, and every anguished word of the
isolated prisoner in In Prison seemed to come straight from his soul."
Wynne Delacoma Chicago Sun Times
Beethoven: Sym. 9 Roanoke SO David Wiley(c) 1997
"But the four solo vocalists were truly star quality- and special
mention must be made of baritone Philip Kraus' hair-raisingingly
masterful introduction of Schiller's poem "To Joy". Kraus has a
gorgeously burnished instrument with a focus and control and phrasing
fit to be compared to the likes of John Shirley-Quirk."
Seth Williamson Roanoke Times
Mahler: Knaben Wunderhorn Colorado Mahlerfest 2001
“ ... was ultimately overshadowed by baritone Philip Kraus. He plunged
into his three selections with relish, showing a comfortable feel for the
German and giving them the theatricality and interpretive involvement
the self-contained little musical worlds demand. Particularly worthy of
note was his delightful version of “Trost im Ungluck” (Solace in
Misfortune), which, as in the rest of the songs, was capably supported
by the orchestra’s fine performance of Mahler’s rich accompaniment."
Kyle MacMillan The Denver Post
Italian Night Owensboro SO Nicholas Palmer(c) 2000
“Despite the Germanic name, baritone Philip Kraus proved more than
equal to the task before him- to be Italian to the depth of his soul.
Kraus joined the orchestra in particularly sensitive readings of two of
Verdi’s most famous arias for baritone, ‘Di provenza il Mar’ from La
Traviata and ‘Credo in un Dio crudel’ from Otello. No stranger to these
roles, Kraus was able to switch from the loving and nuturing Germont
in Traviata to the arch villain Iago in Otello, who ‘believed in a cruel
God’ merely by adding a frown and putting an edge to his voice. Boito’s
Prologo to Mefistofele is a very ambitious piece. As the evil Mephisto,
Kraus delivered his most sinister role of the evening.”
Dwight Pounds Owensboro Messenger-Inquirer
Purcell: Fairy Queen Music of the Baroque 1996
"As the Drunken Poet and buffoonish Coridon, baritone Philip Kraus
conjured more riotous images. Watching his comic huffing and puffing
before the indignant sprites sung by Mabbs and Amy Cochrane, we
could all but smell the ale on his breath."
Wynne Delacoma Chicago Sun Times
Orff: Carmina Burana Pensacola SO 1994
"Visiting baritone Philip Kraus, who has worked both with the Chicago
Symphony and the Dallas Symphony, counts Carmina Burana as one
of his specialties, and with good reason. Vigorous in tone and
expressive in manner, Kraus performed beautifully. Perhaps most
notable for his power, Kraus performed the majority of the evening's
solos. Kraus' power was matched only by his showmanship, a fact
which certainly becomes a soloist of his caliber. Also of note was
Kraus' control of the vocal instrument, which he maintained very
well through several tricky pieces."
C.S. Morris Pensacola News Jornal
Rodgers and Hammerstein Pops Milwaukee SO 1990
"...soloists Lee Henning, Philip Kraus, Marjorie Fowler, and Cynthia
Anderson gave rousing voice to Hammerstein's fine words and
Rodgers' stirring tunes from South Pacific, State Fair, Oklahoma!
and The King and I. Kraus, a baritone, bounced his way
effectively through The Surrey with the Fringe on Top, emulated
the booming delivery of Ezio Pinza in Some Enchanted Evening and
reached his peak with a nicely thought out rendition of Billy
James Auer Milwaukee Journal
Vaughan-Williams Five Mystical Songs Beaumont SO 1990
"The highlight of the Beaumont Symphony Orchestra concert
Thursday night in Julie Rogers Theatre came in the form of two
arias sung by baritone Philip Kraus...it was as satisfying as an
evening at the Metropolitan. The most exciting from both singer
and orchestra was Behold then, the Dreadful City from Massenet's
opera Thais....Kraus' clear diction and resonant tones added brilliance
to the work....Kraus presented Five Mystical Songs by Vaughan
Williams. They were delightful and diverse, calling as much upon the
orchestra as on the singer."
Lela Davis Beaumont News
Mendelssohn: Elijah New Oratorio Singers 1996
"From the first notes of Philip Kraus's powerful bass to the final
"amen" from the more than 100 voice chorus, the work was splendid,
presented with conviction and flourish...There was a bonus in the
performance- the discovery of Kraus' powerful, expressive voice.
The bass takes comic roles so frequently that his musical abilities have
been eclipsed. Elijah gave him ample room to show us the full
range of his talents, and the audience rewarded him and Heatherington
with sustained and well-deserved applause."
Dorothy Andries Pioneer Press
Berlioz: Lelio Grant Park SO Zdenek Macal(c) 1990
"The vocal soloists were quite good....Song of the Brigands, typically
Berliozan in its rhythmic swagger, was lustily sung by baritone Philip
John Van Rhein Chicago Tribune
Handel: Messiah Margaret Hillis (c) 1978
"...while bass Philip Kraus had a wonderfully imperious command of
diction and phrasing."
Valerie Scher Chicago Sun Times
Durufle: Requiem Grant Park SO James Paul(c) 1996
"Baritone Philip Kraus and soprano Barbara Pearson were ardent and
full-throated in their solos."
Wynne Delacoma Chicago Sun Times
Opera Night Pops Milwaukee SO Neal Gittleman(c) 1990
"Brown and Kraus showed off their acting ability as well as their voices
in La ci darem la mano from Mozart's Don Giovanni. The comic
undertones to their performance made the lack of scenery or costumes
irrelevant...Kraus gave an affectionate account of Di Provenza il mar
from La Traviata...All three singers collaborated in the prison scene
from Gounod's Faust. The excerpt...gave the vocalists their finest
moment of the evening..."
John F. Eiche Milwaukee Sentinel
Bach: Mass in b Winter Park Back Festival 1994
"Baritone Philip Kraus sang the Quoniam with breadth and resonance"
Steve Brown Orlando Sentinel