Critical Acclaim

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

© Mark Crayton 2014