“In his PBO debut, Timothy Bruno played up Don Basilio’s quirky personality without resorting to cartoonish excess, which (to this observer, anyway) made the character funnier. “La calunnia” grew organically and the “Buona sera” quintet was a highlight.”

“As the real music teacher Don Basilio, the bass Timothy Bruno took evident pleasure in his own intriguing, ineffective as it turned out to be. In “La calunnia è un venticello,” in which offers praise to the art of the slander the way others would praise the art of love, he dramatically lowered his voice and joined in a classic Rossini crescendo, with expert accompaniment in the pit, giving a lusty portrait of the plotter at work.”

“...the pleasantly awkward Don Basilio, Timothy Bruno.”

“Timothy Bruno had a brief but excellent turn as Polonius, who is a co-conspirator in the king’s murder in the opera.”

“Timothy Bruno’s Zuniga had a good swagger and was easy to understand and hear.”

“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.”

“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.”

“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.”

“Timothy Bruno’s rolling bass and burly presence made a fine impression as the First Apprentice.”

“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.”

“Timothy Bruno brought a blend of authority and agility to the role of Beleso.”

“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.”

“Timothy Bruno as the traditional bass “bad guy” was a standout both vocally and as a character actor in his role of Osmin...”

“Timothy J. Bruno brought a robust, muscular bass to the role of Daddy and gave the part terrific dramatic weight.”

“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.”

“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.”

“ 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.”

“Timothy Bruno was persuasive as Daddy, whose overbearing sense of entitlement suffused the two dramatic flashback scenes.”

“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.”

“Bass Timothy J. Bruno shone as the French General.”

“Also of note... Timothy Bruno who embodied detached stoicism in the role of the French General.”

“Timothy J. Bruno plays Doctor Grenvil convincingly and offers a small sampling of an attractive bass.”

“Timothy Bruno provided a delightfully fresh look at Basilio, with a winning “La calunnia,” complete with an explosion of glitter.”

“Timothy Bruno, with his flexible bass, shone as the oily Don Basilio.”

“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.”

“Especially hilarious is Timothy Bruno as Don Basilio, Rosina’s music teacher.”

“As Don Basilio, Timothy Bruno’s virile and luxuriant bass gleefully gave voice to the powers of rumor and slander.”

“Threatening bass Timothy Bruno’s show-stealing turn as the Sodbuster is downright terrifying.”

“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.”

“Timothy Bruno’s weighty, reliable bass and detailed acting conveyed the spooky threat of the Sodbuster, a kind of grim reaper of the Plains. ”

“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...”

“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.”

“Timothy Bruno’s King was spot on farcical.”

“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.”

“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”

“As the Mandarin, Timothy Bruno chanted his pronouncements with solid authority.”

“Timothy J. Bruno bellowed impressively as the Bonze.”

“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.”

“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. ”

“Timothy Bruno and Michael Adams, both current members of the Domingo-Cafritz program, did well as the Bonze and Yamadori”

“Some members of the Domingo-Cafritz Young Artist Program stood out for praise, especially the menacing Bonze of Timothy J. Bruno...”

“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!””

“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!””

“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.”

“Rounding out the cast [was] Timothy J. Bruno’s stentorian Commendatore.”

“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.”

“...Timothy J. Bruno, who was sympathetic as the Warden”

“Timothy J. Bruno’s distinctive bass made something special out of the character part of the Warden”

“As a worried dad protesting a death sentence for his son, bass Timothy J. Bruno offered a dark, evenly produced tone and impassioned phrasing.”

“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.”

“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.”

“A protester dad, played by Timothy J. Bruno, had a moving aria.”

“...bass Timothy J. Bruno was in fine voice as a man whose soldier son was going to be executed for desertion.”

“Timothy J. Bruno and Hunter Enoch filled out the rest of the cast capably as Hortensius and The Corporal.”

“We found... bass Timothy J. Bruno to be marvelously obtuse in his brief but pivotal role of Antonio, the drunken gardener.”

“Timothy J Bruno and Rexford Tester had solid comic outings as Antonio and Don Curzio”

“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.”

“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.”

“Timothy Bruno (Judge Judd) had good stage presence and a rich bass.”

“Fine vocal and musical hat tips go to bass Timothy J. Bruno who gruffly portrayed the judge presiding over the kangaroo court proceedings...”

“Basses Timothy J. Bruno and Wei Wu ably rounded out the male principals”

“Fine supporting performances came from bass Timothy J Bruno (the judge who decides the queen’s fate)...”

“...with Trooper James Fowler (a strong Timothy J. Bruno), who was belatedly convicted of killing Jimmie Lee Jackson.”

“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.”

“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.”

“[Another] lynchpin character was well-sung by bass Timothy J. Bruno as Abimélech, the satrap of Gaza, who gets killed off by Samson”

“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.”

“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.”

“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.”

“Bass Timothy J. Bruno played the Pirate-King with appropriate faux-gruffness”

“Bass Timothy Bruno’s Mephistopheles was a vocal triumph...”

“As Wotan, Timothy Bruno has both the look and power of the tormented god”

“The long, tender final scene with Brünnhilde and Wotan actually brought tears to these old, cynical eyes”

“As Wotan, bass Timothy Bruno offered an outstanding voice, big and opulent...”

“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.”

“Timothy J. Bruno contributed a gleeful Don Basilio, with a finely focused bass ideal for the slander aria”

“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.”

“Masetto, played by Timothy Bruno, was half bumpkin but all alpha male, protecting his rights”

“Bass Timothy Bruno (Masetto) returns to the local company with a growing list of successful performances in American opera and music”

“Bass Timothy Bruno achieved comedic perfection as Don Basilio”

“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.”

“Timothy Bruno, returning Young Artist Apprentice, {was} effective as Curio”

“In smaller roles, Lenora Green (Berta) and Timothy Bruno (Fiorello/Sergeant) were impressive.”

“MOT Young Artist Timothy Bruno returns as Fiorello/Sergeant, two roles that showcase his vocal and comedic performance skills.”

“Timothy Bruno capably doubles as Fiorello, the Count’s servant, and the sergeant/leader of the police.”

“Timothy Bruno, as the tipsy gardener Antonio was scruffy, bearded and hilarious as he tried to fill in the blanks.”

“Bass Timothy Bruno was outstanding as Timur, breaking into tears at Liu’s Death...”