One of the most exciting heldentenors in America, Ric Furman possesses an electrifying stage presence that is rapidly bringing him to a variety of roles on stages everywhere.

Cincinnati Wagner Society

"Ric Furman sang Siegmund's narrative "Ein Schwert verhiess mir mein (sic) Vater" and the iconic "Winterstürme" with galvanizing vocalism and intensity."

Seatle Opera

"big voice of beautiful timbre, he also had no difficulty with Florestan’s vocal part, and his acting was the more convincing"

"with a mellifluous tone ... he demonstrated a much more beguiling sense of dynamic shading, and he was thoroughly compelling in his evocation first of utter despair and eventually of exultant joy."

Kentucky Symphony Orchestra

"Furman, who looks, acts and sounds like a Siegfried of the future, sang Wagner’s hero with heft and beauty, yielding nothing to Thompson’s formidable Brunnhilde, and leaving one wishing to hear more from him."

"Furman seemed eminently capable of walking off the stage into a production of Wagner’s 'Ring' at any time."

Opera Theater of Pittsburgh

Ric Furman captivated the audience in the first United States staged production of L’Incantesimo (The Love Spell) by Montemezzi.

Cincinnati Opera

Ric Furman, singing both the Count de Lerma and the Royal Herald, earned kudos for elegant singing and acting, particularly for the completely exposed (unaccompanied) effulsions of the Herald, each note solidly nailed.

Opera Co. of Middlebury

Tenor Richard Furman looked and acted the part of Rodolfo, the young and romantic poet. His tenor was also perfectly suited to the character's youth.

Regina Opera

The Duke of Mantua was sung by Richard Furman, whose clarion sparkling tenor offered much pleasure. Furman’s opening aria “Questa o Quella” was sung with just the right nuance and with a touch of whimsical insouciance. Furman’s singing of the treacherous “Ella Mi Fu Rapita” with some ravishing grace notes at the finale was impressive indeed!

Da Capo Opera

Tenor Richard Furman as Juliette’s cousin, Tybalt, also gave a strong and believable performance, both physically (nice sword fighting) and vocally

Sorg Opera

The best performance came from Richard Furman as Beppe, brightly ringing, a bit tight on top, quite personable with an attractive stage persona.