Countertenor Mark Crayton acquitted himself well as the dutiful counselor Unulfo. (9 March 2010)
John von Rhein, Chicago Tribune
In Chichester Psalms, the soloist was countertenor Mark Crayton. He had a
gorgeous sound — fuller and more polished than often heard from the
voice type. He applied it well and sensitively.
Charles Ward, Houston Chronicle
Crayton also sang very well … Of all his arias, the most moving was the lengthy "He Was Despised."
Martha A. Fawbush, Classical Voice of North Carolina
Major props to Mark Crayton for singing and dancing at the same time (Bitter Tears, SF Ballet, 2007)
San Francisco Civic Center Blogspot
… the silvery countertenor of Mark Crayton ... (Bitter Tears, SF Ballet, 2007)
San
Francisco Sentinel
I loved ... Muriel Maffre curling herself around countertenor Mark Crayton (Bitter Tears, SF Ballet, 2007)
Leah Garchik, www.sfgate.com
Mark Crayton ... an effective Tolomeo (Seattle Opera,
Giulio Cesare, 2007)
Seattle Post-Intelligence
Mark Crayton in the San Diego Opera revival (2006) of Handel's Giulio Cesare in Egitto
Vivifying revival! - the role of Nireno was well sung by Mark
Crayton and complimented the talented cast of this excellent production.
Forum Opéra, April 18 2006
All the singers were so superb… for this listener, the evening flashed by in anticipation of the next terrific bits - and that includes singing by Mark Crayton as Nirenus.
Operawest.com,
April 15 2006
Spectacular, sumptuous
‘Caesar’ reigns - … a superlative company
headed by Polish contralto Ewa Podleś in the title role… other roles
are well handled by countertenor Mark Crayton…
La Jolla Village
News, April 19, 2006
Regal ‘Caesar’ offers beauty
in music and design- …thanks to a world-class
cast and conductor, the exquisitely sung baroque opera will be
remembered as the highlight of the San Diego Opera’s 2006 season.
North County
Times, April 21, 2006
‘Caesar’ takes San Diego:
Powerful cast leads S D Opera’s colorful march into the baroque - With celebrated contralto Ewa
Podleś heading a strong cast … not to be overlooked were the
reliable contributions of cast members including Mark Crayton. That was
all the more reason to value San Diego Opera’s handling of Handel.
Union-Tribune, April 17, 2006
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Crayton has a nice way with this kind of music. He is not at all an operatic sort of countertenor. He sounds comfortable in the range, handles the texts as if he cares about them and clearly understands this idiom.
Joan Reinthaler, Washington Post
What a super performer… sweet, clear
timbre, excellent
diction… excellent in every way: phrasing, breath management,
intonation, presentation, variety and imaginative ornaments.
Faith Esham, judge, 2004 Classical Singer
Competition (Mark Crayton, inaugural first prize, professional division)
Mark Crayton, a fine countertenor, was an amusingly
dissolute Bacchus.
Allan Kozinn, The New York Times
The second movement is led by the soloist, who in this
case was the amazing countertenor Mark Crayton. A fresh-faced big guy,
he
breathes effortless beauty into the startlingly high register that
countertenors command. His time on stage was too short
Rebecca Lincwall, Cedar Rapids Gazette
Crayton’s bright, crisp sound made him an ideal as an ill-mannered satyr
Wynne Delacoma, Chicago Sun-Times
Countertenor Mark Crayton coped well with the piece’s
low-lying alto lines, his pure rounded upper register and baritonal low
notes
made to sound all of a piece
Joe Banno, Washington Post
The vocal surprise of the evening was an elegant
countertenor duet in Schütz’s Der
Heiligen by Mark Crayton and Steven Rickards
Gilbert R Johns, Chicago Tribune
All of the vocal soloists were good, but the trio of
countertenor Mark Crayton, tenor Gary Rebholz and bass Eric Rees was
especially
impressive
John von Rhein, Chicago Tribune
...the pure and stratospheric alto of Mark Crayton
compelled attention
Lawrence Johnson, Chicago Tribune
Mark Crayton brought a lovely timbre to his solos
Wilma Salisbury, Cleveland Plain Dealer
Its smooth flow of alternating recitative and aria ... displayed Mark Crayton’s technical security, his ability to vary dynamics without spoiling the line and a fair way with ornamentation. More troubled emotions ruffle Perfidissimo cor! by Antonio Vivaldi. Crayton met the intense demands put upon the singer in the first aria’s repeated climax in the elaborately divided words disdain and cruelty
Jay Harvey, Indianapolis Star
The scenes featuring the Sorceress were sung with great clarity and flair by countertenor Mark Crayton
Donald Rosenberg, Cleveland Plain Dealer