Verdi: Falstaff        Falstaff       Chamber Opera Chicago   1992
"Kraus' Falstaff was a wonderfully self-deluded, portly old lecher.  Collapsing 
into a hunch over his wine, snarling at his hangers-on, he was the very 
image of the cynical misanthrope. But his unshakable belief in his ability to 
seduce anything in skirts periodically transformed him into the eternal high 
school sophomore.  He spat out his honor aria with genuine world-weariness 
in the first act but was comically wide awake and ready to woo in his 
Act II aria Get on, Old John...There was no milking for laughs as Kraus 
lumbered about or lunged after an elusive lady. His baritone was robust 
and flexible, colored by appropriate rasps and gasps when the game of love 
became difficult. Kraus' Falstaff believed in the rightness of every foolish 
thing he did, and, as a result, we believed in the Falstaff he presented."
                                                Wynne Delacoma   Chicago Sun Times
G&S: H.M.S. Pinafore    Sir Joseph Porter   Cleveland Opera  1999
"Few characters in the Gilbert and Sullivan canon are as ludicrous or 
lovable as Sir Joseph Porter.  He is the consummate puffed pastry, a
mountain of pretension and incompetence who somehow has risen to 
the top.  We all know someone who has done likewise.  Cleveland Opera's 
production of Gilbert and Sullivan's 'H.M.S. Pinafore', which opened last 
night at the State Theater, can boast many charms.  But the chief delight
is Philip Kraus, who embodies Sir Joseph Porter with whimsical 
insouciance.  Kraus not only sings the part in bursts of sonorous glee; 
he brightens the proceedings whenever he ambles onto the quarter-deck 
of the Pinafore and almost single-handedly seems to make the stage tip to 
one side.  With a bounty of style, a quicksilver tongue and a knack for 
bringing nimble pomposity to every gesture, Kraus emerges as a cross 
between Charles Laughton and Robert Morely.  He is daffy, disarming, 
obviously in love with Gilbert's text and a jolly Falstaffian figure who can't 
possibly gauge how foolish he actually is….This 'Pinafore' is thoroughly 
engaging and, in the case of  Kraus, indubitably splendid."
                                               Donald Rosenberg     Cleveland Plain Dealer
Rossini: Barber of Seville    Bartolo   Chicago Opera Theater   1999
"The singers all know what they are doing, musically as well as 
dramatically.  The best of them is Philip Kraus, a baritonal Bartolo 
who sings every phrase beautifully, with close attention to the words.  
He makes the pompous doctor a powerful adversary; funny but not in a 
campy way."
                                               John Van Rhein       Chicago Tribune
Britten: Billy Budd      Ratcliffe       Lyric Opera Chicago   2001
"Richard Stilwell as Mr. Redburn, Stephen West as Mr. Flint, Philip Kraus 
as Lieutenant Ratcliffe, Kevin Langan as Dansker, and Neil Jenkins as 
Red Whiskers all gave vibrant and vocally assured performances."
                                               Anthony Tommasini     New York Times
Rossini: L'Italiana in Algeri  Taddeo     Hawaii Opera Theater   1997
"Philip Kraus as Taddeo, the Italian lady's traveling companion and 
not-so-distant admirer, does the best stage work, and also has a bass 
voice that insinuates itself into our ears."
                                           Gregory Shepherd         Honolulu Advertiser
Rossini: L'Italiana in Algeri Taddeo  Chicago Opera Theater   1996
"The evening's best performance was Kraus' Taddeo, the irritable, older 
suitor who loses Isabella to Lindoro.  Tall, with a reliable baritone, 
Kraus made himself the comic center of important scenes, and the 
opera's pulse quickened when he was in the spotlight.....Isabella came 
to exasperated life in her arguments with Philip Kraus' cranky but 
lovable Taddeo."
                                               Wynne Delacoma         Chicago Sun Times
Puccini: Gianni Schicchi             Chicago Opera Theater  2000
"Anchoring an uneven vocal ensemble is Philip Kraus, in top form as 
Schicchi, the clever rogue who outwits the greedy relatives of the late 
Buoso Donati as they conspire to alter his will in their favor.…Kraus 
was as good here as he was in COT's season-opening 'Barber of Seville'. 
Nobody else in the cast could match him vocally or comedically."
                                               John Van Rhein             Chicago Tribune
Janacek: Jenufa       Mayor       Lyric Opera Chicago         2000
"Supporting cast Melina Pyron, Dina Kuznetsova, Philip Kraus, Dorothy 
Byrne, and Maria Kanyova are strong."
                                              Bernard Holland              New York Times
Puccini: Tosca       Scarpia      Battle Creek Symphony     1993
"Philip Kraus was completely evil as the villainous Baron Scarpia. His 
dramatic portrayal was certainly the strongest of the evening. His 
powerful baritone voice rode formidably on the crest of sound..."	      
	           Narciso Solero          Battle Creek Enquirer
Cimarosa: Il Maestro di Capella  Concertante di Chicago  1990
"Then came Cimarosa's Il maestro di capella with Philip Kraus in a white 
wig and watered silk as the beleaguered maestro and the orchestra ready 
and eager to make his life miserable. Oh, those naughty basses!  Oh, 
those wicked woodwinds!  Those horrid horns! This finely calculated 
dramatic interlude, sung with exemplary diction in an excellent new 
English translation, was a tour de force for all concerned. Kraus created 
a comic character frustrated by an orchestra that would not play the way 
he wished, yet eagerly grasping for any wisp of praise. It was musical 
humor on a high plain."
                                              Robert C. Marsh           Chicago Sun Times
Weill:  Lady in the Dark    Paxton       Light Opera Works  1989   
"The inadvertent center of the show actually was Philip Kraus, who is an 
absolute panic as the mincing staff photographer, Russell Paxton, and 
as the clown/judge in the circus sequence. His rendition of the tongue
twisting 'Tchaikovsky' was masterful"
                                                Michael Bonesteel        Pioneer Press
Britten: Albert Herring    Vicar    Chicago Opera Theater  1989
"Philip Kraus as the unctuous Vicar Gedge gave a precise, sharply observed 
performance...Kraus' diction proved the best of any of the principals."
                                                 John Van Rhein           Chicago Tribune
G&S: Utopia Limited   Paramount    Light Opera Works      1984
"Philip Kraus is a presence as an actor who grabs hold of a character with 
masterful timing in delivery.  His namby-pamby King Paramount was no 
exception.  Best male vocal accolades belong to Kraus...paragon of patter 
songs with syllable-perfect articulation."
                                                  Stephanie Ettleson        Lerner Papers
Mozart:  The Magic Flute   Papageno    Opera Midwest    1980
"Philip Kraus, with his fine baritone and fluttery flair for physical comedy, 
was an exceptional Papageno, funny but not outlandishly silly, with a 
rather endearing, childlike quality. He also delivered the dialogue better 
than anyone else."
                                                 John Van Rhein            Chicago Tribune
G&S: The Mikado      Pooh-Bah      Light Opera Works      1986
"Light Opera Works has moved Gilbert and Sullivan's The Mikado lock, 
stock and Lord High Executioner back a few centuries to Elizabethan 
England...Kraus, as Cardinal Wolsey, turned Pooh-Bah into a brilliant 
mix of pompous prelate and venal courtier.  Voices were generally 
strong, especially Kraus..."
                                                Wynne Delacoma         Chicago Sun Times
Verdi: Rigoletto   Rigoletto   Chamber Opera Chicago    1987
"Philip Kraus was a committed, pathetic jester, spinning long lyrical lines 
and spitting out declamatory ravings with equal musicality."
                                                  John Van Rhein                Opera News
G&S: H.M.S. Pinafore  Deadeye    Cleveland Orchestra  1993
"The menacing Dick Deadeye was sung by Philip Kraus, who had just 
the right snarl in his voice..."
                                                Donald Rosenberg       Cleveland Plain Dealer
Floyd: Susannah   Elder MacLean   Lyric Opera Chicago  1993
"Saturday's performance, directed by Robert Falls, was populated 
by vivid, multidimensional characters.  They ranged from the smug 
and embittered Elder and Mrs. McLean strongly sung by Philip Kraus 
and Jean Kraft to the rock-solid decency of Fleming's radiant Susannah."
                                                       Wynne Delacoma    Chicago Sun-Times
G&S: Pirate of Penzance     Major General     Michigan Opera 2004
"But if Saturday night's roaring audience could have caught its breath 
long enough to vote, it might have given the laurel to Philip Kraus, the 
"modern" (meaning clueless) Major General Stanley. I'm convinced that 
only the few, the proud, the determined can master the tongue-twisting 
lyrics, the insanely tormented rhymes of Stanley's show stopping patter 
song,"The Very Model of a Modern Major General." But Kraus did all 
that, in perfect deadpan, and more. He added a wonderfully clever, 
equally tortured verse-tribute to Motown that threatened to bring the 
audience right out of its seats and onto the stage. The place was out of 
			                Lawrence B. Johnson    The Detroit News