review for zuniga in carmen with kentucky opera

Timothy Bruno’s Zuniga had a good swagger and was easy to understand and hear.
— Annette Skaggs, ArtsLouisville

reviews for colline in la boheme with des moines metro opera

Bewhiskered, brawny Timothy J. Bruno made for an endearing Colline, his orotund bass rolling out with ease and obvious enjoyment. When it came time for him to tug our hearts, Mr. Bruno did not disappoint and obliged with a moving Coat Aria.
— James Sohre, Opera Today
Timothy J. Bruno brought comedic charisma to the role of Colline, and he delivered a touching somber aria in the final act with vocal gravitas.
— Meghan Klinkenborg, Schmopera
The first pairing is Brian Vu as Schaunard and Timothy J. Bruno as Colline. These two were a comedic force that kept the show moving along, and brought light to the dark times the show takes place. Each time they came onstage I found myself laughing at some point, from Vu’s telling of Shaunard’s killing of the parrot to Vu and Bruno’s mocking of Rodolfo’s pining over Mimi, to their final entrance in Act 4. The lightheartedness they brought to their characters was a welcome contrast to the traumatic ending of the show.
— DC Felton, Broadway World

reviews for the first apprentice in wozzeck with des moines metro opera

Timothy Bruno’s rolling bass and burly presence made a fine impression as the First Apprentice.
— James Sohre, Opera Today
Timothy Bruno and Brian Vu as the two apprentices attempted to bring a bit of comedy to balance out Wozzeck’s angst. Their carousing vocals brought joviality to the chaos of the tavern even as Wozzeck’s world fell apart in front of him.
— Meghan Klinkenborg, Schmopera

Review for beleso in sardanapalo with the library of congress

Timothy Bruno brought a blend of authority and agility to the role of Beleso.
— Patrick Rucker, The Washington Post

Reviews for Osmin in die entführung aus dem serail at New Orleans Opera

The best performance of the evening was Timothy J. Bruno’s Osmin. Bruno offered many comedic moment in a engaging fashion, although he was unable to fully negotiate the lowest reaches of ‘O, wie will ich triumphieren.’ Elsewhere his warm, attractive bass sounded quite effective.
— George Dansker, Opera News
Timothy Bruno as the traditional bass “bad guy” was a standout both vocally and as a character actor in his role of Osmin...
— Dean M. Shapiro, The Advocate

Reviews for Daddy in taking up serpents at washington national opera

Timothy J. Bruno brought a robust, muscular bass to the role of Daddy and gave the part terrific dramatic weight.
— Tim Smith, Opera News
Timothy J. Bruno, who plays this patriarch, has contributed strongly to programs throughout his career at the WNO, first as a member of the Domingo-Cafritz Young Artist Program (2015-2018) and then most recently this Fall as the French General in Silent Night, but never have I seen him excel so as an actor of such depth and nuance. He completely inhabits this complex and troubling man, making sympathetic (at times) someone of crippling fear, great anger, religious ecstasy, and patriarchal self-righteousness. If one can say this about an opera singer without reproach, at times I forgot completely Bruno was singing I was so transported by the journey of his character’s arc.
— Susan Galbraith, DC Theater Scene
Timothy J. Bruno as the preacher man father is another standout in the small cast, with a bass as overpowering as his size, looming menacingly over the rest of the cast.
— Roger Caitlin, Broadway World
Timothy J. Bruno was also strong as the father, a defiant and troubled rebel who has a conversion moment in a parking lot when Kayla is 10.
— Anne Midget, Washington Post
Timothy Bruno was persuasive as Daddy, whose overbearing sense of entitlement suffused the two dramatic flashback scenes.
— Heidi Waleson, Wall Street Journal
Timothy Bruno, an alumnus of WNO’s Domingo-Cafritz Young Artists program, deployed his potent, rough-edged bass voice to characterize the misogyny and righteous anger of Daddy. He was absolutely loathsome in the pre-conversion scene, in which he drunkenly vaunts his power and influence over 10-year-old Kayla, played by a silent supernumerary double as Shiner narrated her memories.
— Charles T. Downey, Washington Classical Review

Reviews for the french general in silent night at washington national opera

Bass Timothy J. Bruno shone as the French General.
— David Friscic, DC Metro Theater Arts
Also of note... Timothy Bruno who embodied detached stoicism in the role of the French General.
— Molly Simoneau, Schmopera

Review for Doctor Grenvil in la traviata at washington national opera

Timothy J. Bruno plays Doctor Grenvil convincingly and offers a small sampling of an attractive bass.
— Kate Wingfield, Metro Weekly

Reviews for Don basilio in il barbiere di siviglia at glimmerglass opera

Timothy Bruno provided a delightfully fresh look at Basilio, with a winning “La calunnia,” complete with an explosion of glitter.
— Judith Malafrontev, Opera News
Timothy Bruno, with his flexible bass, shone as the oily Don Basilio.
— Heidi Waleson, The Wall Street Journal
Bass Timothy Bruno as Don Basilio -his aria, “La calunnia” was sufficiently dramatic, aided by some astonishing stage business, and his comic timing masterful- and Alexandria Shiner as Bertha... were remarkable.
— Jane Dieckmann,
Especially hilarious is Timothy Bruno as Don Basilio, Rosina’s music teacher.
— Liz Keill,
As Don Basilio, Timothy Bruno’s virile and luxuriant bass gleefully gave voice to the powers of rumor and slander.
— Rick Perdian, Seen and Heard International

reviews for the sodbuster in proving up with washington national opera

Threatening bass Timothy Bruno’s show-stealing turn as the Sodbuster is downright terrifying.
— Harry Rose, Parterre Box
Bass Timothy J. Bruno used his dark-hued voice and hulking frame, in a dust-covered, tattered costume (part of the effective design of Lynly Saunders), to sow terror from the moment he first lurched silently across the stage.
— Charles T. Downey, Washington Classical Review
Timothy Bruno’s weighty, reliable bass and detailed acting conveyed the spooky threat of the Sodbuster, a kind of grim reaper of the Plains.
— Tim Smith, Opera News
Timothy J. Bruno as the stranger, named The Sodbuster, pulled off a series of plunges into low notes that were impressively ominous. However strange at times the melodic writing, it was always compelling. ...Bruno, with less time on stage than the others, nonetheles creates a profoundly disturbing character as The Sodbuster...
— Susan Galbraith, DC Theatre Scene

Reviews for The King in the little prince with washington national opera

We all have our favorites. For my young friend Pete, bass Timothy J Bruno as the King, rolling in on a tipped high chair that defied gravity, knocked him out with his wild antics and deep swooping voice.
— Susan Galbraith, DC Theatre Scene
Timothy Bruno’s King was spot on farcical.
— Grace Jean, Washington Classical Review

reviews for il priore in la straniera with washington concert opera

Two of my favorites from their Wolf Trap Opera days were tenor Jonas Hacker... and bass Timothy Bruno, who played the Prior. Mr. Hacker is a fine young tenor and it was fun to hear Mr. Bruno’s bass once more; I very much enjoyed their performances with WTO and hold them in high regard.
— OperaGene
Not to be forgotten, there were also several fabulous young voices in male supporting roles including Mathew Scollin as Montolino, Jonas Hacker as Osburgo, and Timothy Bruno as Il Priore
— Erin Ridge, MD Theatre Guide

Review for The Mandarin in Turandot with Des Moines Metro Opera

As the Mandarin, Timothy Bruno chanted his pronouncements with solid authority.
— James Sohre, Opera Today

Reviews for The Bonze in Madame butterfly with washington national opera

Timothy J. Bruno bellowed impressively as the Bonze.
— Tim Smith, Opera News
Timothy Bruno, a WNO young artist who seems to find himself in just about every other mainstage production, lent his commanding bass to The Bonze and ably carried off more complicated stage business than is usually required of Bonzes.
— Alex Baker, Parterre Box
Let’s face it - you can’t dim the presence nor the voice of Timothy J. Bruno. As the Bonze he was given a mask and arresting costume. He took on and fulfilled a larger-than-life persona, something much more than (as written) Butterfly’s uncle. He became an almost ghost-like ancestor-figure, and manifested the iconic choreographic style with a presence that gave his character an eerie, unforgettable strength.
— Susan Galbraith, DC Theater Scene
Timothy Bruno and Michael Adams, both current members of the Domingo-Cafritz program, did well as the Bonze and Yamadori
— Anne Midget, The Washington Post
Some members of the Domingo-Cafritz Young Artist Program stood out for praise, especially the menacing Bonze of Timothy J. Bruno...
— Charles T. Downey, Washington Classical Review
Bass Timothy J. Bruno’s character of Butterfly’s Uncle -the Bonze- shows no compassion whatsoever for his niece and renounces her vehemently in his defiantly effective aria of exhortation “Cio-Cio San!”
— David Friscic, DC Metro Theater Arts
Bass Timothy J. Bruno raged chillingly as Lo zio Bonzo, exhibiting a solid top F in his declamation of ‘Cio-Cio-San! Cio-Cio-San! Abbominazione!”
— Voix Des Arts

Reviews for Il Commendatore in Don Giovanni with Washington national opera

Even without production values, smoke or fiery effects, when Giovanni meets his fate in the figure of The Commendatore the scene is spine-chilling. Timothy J. Bruno has that rare true bass sound that can thrill and a gravitas made for such roles in opera. As the power gets seasoned with the voice maturing further, this guy from Toledo, Ohio will be featured on major world stages I have no doubt.
— Susan Galbraith, DC Theater Scene
Rounding out the cast [was] Timothy J. Bruno’s stentorian Commendatore.
— Simon Chin, The Washington Post

Reviews For Warden George Benton in Dead Man Walking with Washington National Opera

Timothy J. Bruno as Warden George Benton demonstrates he has a voice that can fill a major opera auditorium and the physical presence and dignity for big classic roles. You could say he has the “title role” for “Dead Man Walking”, repeating musically the line that seems to shake the entire Opera House. He also defines his role as a sympathetic man but who has been caught in a terrible job and thus implicated. He delivers all that in the weight of his walk and his clean, commanding gestures.
— Susan Galbraith, DC Theatre Scene
...Timothy J. Bruno, who was sympathetic as the Warden
— Anne Midget, The Washington Post
Timothy J. Bruno’s distinctive bass made something special out of the character part of the Warden
— Alex Baker, Parterre Box

Reviews for death row dad in the dictator's wife with washington national opera

As a worried dad protesting a death sentence for his son, bass Timothy J. Bruno offered a dark, evenly produced tone and impassioned phrasing.
— Tim Smith, Opera News
Timothy J. Bruno had a poignant aria singing about his son on death row, and we got a glimpse about how a good voice and a strongly defined emotion can create a memorable character.
— Susan Galbraith, DC Theater Scene
There’s an puzzling scene where Ms. Holy attempts to persuade one of the protestors (Timothy Bruno) that if his son, who’s on death row, comes out as gay, his life might be spared. The whole scene comes off as awkward and Hanif seems unsure of what he wants to accomplish. It’s a shame because Bruno’s bass voice lovingly conveys the impassioned fight of his son.
— Benjamin Tomchik, Broadway World
A protester dad, played by Timothy J. Bruno, had a moving aria.
— OperaGene
...bass Timothy J. Bruno was in fine voice as a man whose soldier son was going to be executed for desertion.
— Charles T. Downey, Washington Classical Review

Review for Hortensius in daughter of the regiment with washington national opera

Timothy J. Bruno and Hunter Enoch filled out the rest of the cast capably as Hortensius and The Corporal.
— Charles T. Downey, Washington Classical Review

Reviews for Antonio in The Marriage of Figaro with Washington National Opera

We found... bass Timothy J. Bruno to be marvelously obtuse in his brief but pivotal role of Antonio, the drunken gardener.
— Terry Ponick, Communities Digital News
Timothy J Bruno and Rexford Tester had solid comic outings as Antonio and Don Curzio
— Charles T. Downy, Washington Classical Review

Review for Colline in La Boheme with Wolf Trap Opera

Shea Owens’s Schaunard and Timothy Bruno’s Colline rounded out the hilarious quartet of friends who provided comic relief with split-second accuracy but who also showed moving devotion toward each other in the scenes leading to the opera’s inevitable conclusion.... A sparkling
up-and-coming cast and company dived into Puccini’s score with enthusiasm.
— Grace Jean, The Washington Post

Reviews for Judge Judd in Better Gods with Washington National Opera

Lorrin Thurston (Rexford Tester) and Judge Albert Judd (Timothy J. Bruno) represent the American businessmen and government presence on the island. The tenor and bass, respectively, are forceful and demeaning to the Queen. Tester and Bruno imbue their characters with a pomp and self-righteousness that makes them perfectly appalling.
— Kendall Mostafavi, DC Metro Theater Arts
Timothy Bruno (Judge Judd) had good stage presence and a rich bass.
— Arnold Saltzman, Washington Jewish Week
Fine vocal and musical hat tips go to bass Timothy J. Bruno who gruffly portrayed the judge presiding over the kangaroo court proceedings...
— Terry Ponick, Communities Digital News
Basses Timothy J. Bruno and Wei Wu ably rounded out the male principals
— Alex Baker, Parterre Box
Fine supporting performances came from bass Timothy J Bruno (the judge who decides the queen’s fate)...
— Charles T. Downey, IonArts

Reviews for James fowler in appomattox with Washington national opera

...with Trooper James Fowler (a strong Timothy J. Bruno), who was belatedly convicted of killing Jimmie Lee Jackson.
— Heidi Waleson, The Wall Street Journal
The dialogue is cruelly on target, and the characterizations excellent... Timothy J. Bruno as Fowler seems to admire his fellow murderer, and both men typify the dark heart of extreme racism.
— Sophia Howes, DC Metro Theater Arts

Review for Louis XVI in The Ghosts of Versailles with Wolf Trap Opera

King Louis XVI (Timothy Bruno) was full of snarky one-liners, and a memorable scene that began as a passionate swordfight [and] ended in a fit of giggles.
— Julia L. Exline, DC Metro Theater Arts

Click here for an interview featured on Wolf Trap Opera's Blog

Review for AbiMélech in Samson et Dalila with the atlanta symphony orchestra

[Another] lynchpin character was well-sung by bass Timothy J. Bruno as Abimélech, the satrap of Gaza, who gets killed off by Samson
— Mark Gresham, Arts Atlanta

Review for Osmin in Die Entfürung aus dem Serail with Queen City Chamber Opera

Osmin was a riot. From the moment he makes his first ominous entrance, Timothy Bruno used the deep thunder of his voice and comical temper to create a memorable portrayal of Osmin. His towering height only added to the dominant impression he makes as the opera’s comic villain.
— Larry Brown,

reviews for der wanderer in siegfried with queen city chamber opera and the wagner society of cincinnati

On Sunday, there were some issues with balance in the tenor voices, but there was no issue with bass Timothy J. Bruno. He was sensational as The Wanderer, and his powerful presence and robust voice filled the hall.
— Janelle Gelfand, The Cincinnati Enquirer
Bruno, in a grey cloak and carrying a spear, brought a big, burnished voice to his role of The Wanderer and could easily be heard over the orchestra.
— Mary Ellyn Hutton,

Review for The Pirate King in The Pirates of Penzance with Opera Per Tutti

Bass Timothy J. Bruno played the Pirate-King with appropriate faux-gruffness
— Daniel Hathaway,

Review for Méphistophélès in Faust with Winter Opera St. Louis

Bass Timothy Bruno’s Mephistopheles was a vocal triumph...
— Chuck Lavazzi, KDHX

Reviews for Wotan in Die Walküre with Union Avenue Opera

As Wotan, Timothy Bruno has both the look and power of the tormented god
— Mark Bretz, Ladue News
The long, tender final scene with Brünnhilde and Wotan actually brought tears to these old, cynical eyes
— Bob Crowe,
As Wotan, bass Timothy Bruno offered an outstanding voice, big and opulent...
— Sarah Byan Miller, St. Louis Post Dispatch
The Wotan of Timothy Bruno was also very effective (he was much better than last year’s I thought). At times I felt he displayed a little vocal unevenness , but this disappeared by the farewell scene at the end and he did a really outstanding job of bringing the audience into his own pain and struggle. Ultimately Wotan is not a terribly sympathetic character- he is arrogant and cruel. But Timothy Bruno found a way to make us actually care for this god, even in the midst of his heartless cruelty towards his Wälsung twins.
— Blake Duncan,

Reviews for Don Basilio in Il barbiere di Siviglia with Opera Circle

Timothy J. Bruno contributed a gleeful Don Basilio, with a finely focused bass ideal for the slander aria
— Donald Rosenberg, The Plain Dealer
Bass Timothy Bruno, a Cincinnati Conservatory graduate and veteran of some eighteen roles, was very successful in bringing out Don Basilio’s quirky personality. His lovely dark color added to the effect.
— Robert Rollin,

Review for Masetto in Don Giovanni with Toledo Opera

Masetto, played by Timothy Bruno, was half bumpkin but all alpha male, protecting his rights
— Sally Vallongo, Toledo Blade

Press for Toledo Opera's Don Giovanni

Bass Timothy Bruno (Masetto) returns to the local company with a growing list of successful performances in American opera and music
— Sally Vallongo, Toledo Blade

Reviews for Don Basilio in Il barbiere di Siviglia with Opera Western Reserve

Bass Timothy Bruno achieved comedic perfection as Don Basilio
— Kelly Ferjutz,
Timothy Bruno’s Don Basilio, the scheming music master, was attractive and engaging. His darkly attractive voice further enlivened the role. Bruno’s aria [La calunnia] was especially effective.
— Robert Rollin,

Review for Curio in Giulio Cesare with Michigan Opera Theater

Timothy Bruno, returning Young Artist Apprentice, {was} effective as Curio
— Michael H. Margolin,

Reviews for Fiorello & The Sergeant in Il barbiere di Siviglia with Michigan Opera Theater

In smaller roles, Lenora Green (Berta) and Timothy Bruno (Fiorello/Sergeant) were impressive.
— John Guinn, Opera News
MOT Young Artist Timothy Bruno returns as Fiorello/Sergeant, two roles that showcase his vocal and comedic performance skills.
— Patty Nolan, The Examiner
Timothy Bruno capably doubles as Fiorello, the Count’s servant, and the sergeant/leader of the police.
— Michael H. Margolin,

Review for Antonio in Le nozze di Figaro with CCM Opera

Timothy Bruno, as the tipsy gardener Antonio was scruffy, bearded and hilarious as he tried to fill in the blanks.
— Mary Ellyn Hutton,

Review for Timur in Turandot with CCM Symphony

Bass Timothy Bruno was outstanding as Timur, breaking into tears at Liu’s Death...
— Mary Ellyn Hutton,