Madam Butterfly, Opera up Close January 2011
…..’airline pilot Pinkerton was sung by the Canadian tenor Randy Nichol with relentless power, and he was very convincing as a remorsless sexual opportunist’.
Peter Reed, Opera Magazine March 2011

The Magic Flute, Guildford Opera 2009
….’.the vocal talents of Randy Nichol, whose skilful portrayal of Tamino brought an exhilarating dynamic to the production’.
Peter Wagstaff for the Surrey Advertiser.

Fiddler on the Roof, Epsom 2004
‘Randy Nichol showed presence in his appearances as the Russian outsider.’
Tony Flook in the Surrey Mirror, 4 March 2004

The Merry Widow, March 2003
’With his strong tenor voice it is not surprising that Randy Nichol is in demand for operatic roles’
Reg Humby, Noda Review.

Manon Lescaut - April 2002
‘This is Kentish Opera at its very best. The Dancing Master, Randy Nichol, well groomed by Terry John Bates, was highly entertaining...’
Mark Fitz-Gerald for 'Words and Music'

The Pearl Fishers, Surrey Opera 2002
‘The Ashcroft Theatre welcomed Surrey Opera’s excellent production of Bizet’s The Pearl Fishers - and what an audio and visual feast it was. Randy Nichol as the principal tenor was superb as Nadir, with a strong voice and a good range.’
Margaret Getting in the Croydon Guardian

Street Scene (June 2001)
‘Sam Kaplan, the Jewish intellectual (surely a mixture of both Weill and Rice) strongly and hauntingly sung by Randy Nichol.
Neville Hargreaves

The Mikado, Epsom.
‘Although all the principals sang well, I particularly enjoyed the tenor of Randy Nichol as Nanki Poo, singing so strongly..................’
Reg Humby, Noda Review

The Magic Flute, Kenneth More Theatre.
‘Randy Nichol, he of the majestic, mellifluous voice, was a strong engaging Tamino’
Sue Ball, Reviewer

La Boheme, New Decade at Kenneth More Theatre, November 2000
‘Randy Nichol was wonderful as Rodolfo. He has a good tenor voice and was generally on fine form’.
Sue Leeman, The Recorder

La Traviata, Guildford Opera, November 1999
‘Randy Nichol as Alfredo gave a rich, lyrical interpretation and brought out the conflicts of his character with great aplomb’
Sue Kennett