Home
“Tenor Tyler Nelson handily portrayed the easily-overlooked role of Cacambo, the only character who inspires perfect confidence, and whose first appearance in Act II is as unexplained as the disappearance of the Fool after Act III of King Lear.”
–Mark Gresham, Earrelevant.net
“The second surprise came from lead man Tyler Nelson, who, as Tamino, delivered his first lines in such a soft-spoken manner that my heart sank. Then he began to sing, asking the gods to deliver him from the demon, and my fear vanished with the pure, ringing – yes, heroic – voice of his tenor.” – Orlando Sentinel
“Along with a stellar cast including. . . acclaimed tenor Tyler Nelson as Prince Tamino” – Park Ave Magazine
“The excellent male soloists were the soldiers on the battlefront, full of youthful vigor that turns to shock and confusion. Zapior displayed a restrained muscular intensity and was especially good in the Sanctus. Nelson was at his best in the Libera me, a beautiful soul at death’s door.
–Joseph Dalton Times Union
“The magician Nika Magadoff and his completely 
preposterous comic relief episodes are probably Menotti’s greatest lapse of taste and tone in this show, but tenor Tyler Nelson handled the role dapperly and with both vocal assurance and neat prestidigitation.
-David Shengold, Opera News
“Paul, who is an autistic adult in the libretto…was potently sung by Tyler Nelson.”
–Heidi Waleson Wall Street Journal
“It remains to say how much we appreciated the American
tenor Tyler Nelson. Velvety timbre, power, impeccable phrasing … and above all, dramatic commitment of every moment. Nelson is an exceptional character in this role, which is truly a glove for him, from his entry “Quanto è bella, quanto è cara” to the famous romance “Una furtiva lagrima”. The enthusiastic applause he receives at the end of the show shows that the public is aware of it.”
-Brigitte Cormier ForumOpera.com
“As Belmonte, Tenor Tyler Nelson sang like the perfect handsome hero.”
-The Oakwood Register
“The lone tenor in a name role, Tyler Nelson as Don Ottavio — Donna Anna’s fiancé — made the most of his limited opportunities, delivering his arias with ringing emotion.”
-Dean M. Shapiro, New Orleans Advocate
“Of course, there’s still no reason to doubt Rosina’s preference for the energetic and passionate Almaviva of Tyler Nelson.”
-Michael Dervan, The Irish Times
“Tenor Tyler Nelson makes a wonderful Almaviva. His smooth, lyrical voice is well suited for bel canto and he does a fantastic job with his role. He sang his arias and ensembles with cleanly defined phrases and finely crafted expressions.”
-Edward Reichel Reichelrecommends.com
“Possibly the most compelling singer in the whole evening and a great discovery for me is Tyler Nelson, who nearly steals the show in his heroic,heartfelt portrayal of Don Ottavio, the fiancé of Donna Anna.”
-Susan Galbraith, DCTheaterscene.com
“Tyler Nelson as Ottavio won over the crowd with his clean, sincere singing. Ottavio’s two arias (and two-dimensional character) often seem tedious, but here the musical delivery more than compensated.”
-Robert Battey, Washington Post
“Tenor Tyler Nelson has the ideal dulcet, warm and melodious tone for Mozart. His seamless, melting“Un’aura amorosa” (“A breath of love”) was enchanting while his cavatina “Tradito schernito” marvelously juxtaposes his bitter disappointment with his love for Dorabella.”
-William Thomas Walker, CVNC
“Tyler Nelson was hilarious as a travesti Delfa, managing the passaggio of his tenor with notable skill and looking for all the world like Mollie Sugden’s Mrs. Slocombe on Are You Being Served?”
-Mark Thomas Ketterson, Opera News