“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

“Paul, who is an autistic adult in the libretto…was potently sung by Tyler Nelson.”

–Heidi Waleson Wall Street Journal

“Standouts among the petitioners included Ms. Glyptis…and Mr. Nelson, who brilliantly supplied the opera’s single moment of comic relief as the Magician.”

-Heidi Waleson Wall Street Journal

 

“Finally, tenor Tyler Nelson lends vaulting, throbbing purity of voice to aningeniously devised portrayal of Paul as a jittery, ardent, and damaged naïf”

-Charles Geyer  La Scena Musicale

“Tenor Tyler Nelson deploys his clarion vocalism – and a very accomplished display of legerdemain (reportedly coached by director
Edelson, who is himself an inveterate sleight-of-hand enthusiast) – to the showstopping cameo role of magician Nika Magadoff. ”

-Charles Geyer  La Scena Musicale

“Amidst the group on the bench is a man in a glittering performer’s costume. He’s a Magician, and Tyler Nelson plays him with no end of charm…”

-B.A. Nilsson banilsson.blogspot.com

“The opera focuses on Ava’s relationship with her son Paul (the impressive Tyler Nelson)…The nuanced beauty of Nelson’s tenor and his emotional commitment to the character of Paul are a significant achievement and a major factor in the production’s success.”

-Xenia Hanusiak Classical Voice America

“Paul is played with intelligence and heart-breaking sensitivity by Tyler Nelson. If the material does not sound appealing to you – attend anyway just to say you saw him when. This is a gifted performer with a wonderful voice and the ability to get to the soul of a character. He has nothing but big things ahead of him.”

-Bib Goepfert The Saratogian

“Tenor Tyler Nelson, who played the magician, displayed great sleight of hand, much to the audience’s pleasure and sang quite wonderfully. He took pleasure in his role.”

–Geraldine Freedman The Daily Gazette

“In the end, it’s the soaring singing and Lopez and Nelson that nails the show’s success”

-Andrew Meacham Tampa Bay Times

“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

“He was a positive presence with an appealing voice.  His arias, including the often cut “Ich baue ganz,” were taken at a brisk clip and he negotiated the coloratura cleanly.”

-Joe Law Opera News

“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

She was well paired with tenor Tyler Nelson, who gave Don Ottavio a sweet voice, also colored with pleasing embellishments…His “Dalla sua pace” was golden.”

-Theodore P. Mahne, The Times-Picaynne

“In the role of Almaviva, Tyler Nelson gives a very pleasant performance. While he may not be convincing in his guise of romantic troubadour at the beginning of the opera, he more than makes up for it musically and comically in his interlude with Rosina, now in his guise of “tutor”.

   -P. McGovern, nomoreworkhorse.com

“Tyler Nelson’s Count Almaviva has a pivotal role to play…the quality was lyrical and expressive. He too, proved to be an excellent actor and as the opera wore on he stole many of the scenes. I admit to guffawing heartily at his wonderfully distracted music lesson as Don Alonso, while his drunken solider impression was a real crowd-pleaser.”

-Andrew Larkin, Bachtrach.com

“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

“As for solo voices, they demonstrated engagement and expressiveness. During about two hours of music, tension persisted and singers were fully invested to give their best. Here making his debut in France, the young American tenor Tyler Nelson magnificently led the story with his Mozartian colored voice, capable of flights and touching accents. Introducing interventions each, asking questions, describing the atrocious last step of Christ , this progress was very committed Evangelist drama always lived through a song.”

-Brigitte Cormier, forumopera.com

“Tenors Tyler Nelson and Cris Frisco sang Gonzalve and Torquemada respectively, and both with voices comfortable with the light, quavery, nuanced style of French Song.”

-Philip Kennecott, Washington Post

“Tyler Nelson, who was arresting last year as the ultra-serious Ottavio in Don Giovanni, here pulls out all the stops in a comic role that reminds me of the dandy Dalí played as a young Nathan Lane. In this role, his vocal agility is matched by an astounding and hysterically funny physical inventiveness. He arrives on a bicycle with an extravagant bouquet, pivots, flops, pounces up on a desk like a cat, and blind-staggers when he’s pushed under a tablecloth.”

-Susan Galbraith, DCTheaterscene.com

“Tyler Nelson, making his entrance on bicycle and sporting some seriously slicked-back hair, sang up a storm as Gonzalve and exuded no end of icky charm.”

-Tim Smith Opera News

“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. Often the role is reduced to a milquetoast, a character whose manliness is no
match for the steamy romantic power of Giovanni. I defy anyone to box this singer into such an interpretation! Imagine instead the dramatic sensibilities and looks of Leonardo DiCaprio in Titanic. Nelson delivers his big arias with impeccable phrasing and musicality. His “Dalla sua pace” in Act I is tender and heart wrenching, and his sustained notes later in “Il mio tesoro” linger on with beauty of tone and then cascade forward seemingly effortlessly. This tenor fulfills the role with great technical agility, warm tonal coloring, and a deep understanding of the gamut of emotions this character feels.”

-Susan Galbraith, DCTheaterscene.com

“Tyler Nelson’s Ottavio hit the mark with the friendly opening night audience. He handled his role with feeling and authority, lending some authentic decisiveness to his character who is weakly drawn in the libretto. His clear voice and impeccable phrasing provided a much-needed center of elegance in this production.”

-Terry Ponick, Communities Digital News

“Audience favorite Ottavio (tenor Tyler Nelson) had a smooth, creamy tone”

-Michael Lodico, Ionarts.blogspot.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 truly shined in his arias. Previously having sung with SLCA for their performance of the Mozart Requiem a few weeks ago, Nelson sang magnificently throughout. Most notable was his performance of the aria “Behold Him.” Nelson really sparkled through the melismatic passages and long-held notes. His performance was effortless and polished.”

-Clifford King, cliffsmusicpicks.blogspot.com

“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 as Ferrando, Dorabella’s intended, had a great range of comic expressions and a pleasing vocal tone.”

– Roy C. Dicks, Newsobserver.com
“Mr. Nelson’s singing very elegant and well in tune with Mozart’s delicate phrasing.”

-Luiz Gazzola, Opera Lively

“Singers Tyler Nelson as the lovestruck Count and Tyler Simpson as the ““cuckholded”” guardian Dr. Bartolo gave Jonathan Beyer a run for his money with their ever sharper vocal abilities and comedic assuredness in this performance.

Nelson’s second act duet with Hall became an hysterical romp as he alternatingly seduced her while trying to keep up the pretense of accompanying her, pounding on imaginary keys to simulate an entire orchestral score.  Their little musical tryst, with Il Conte’s pompadour wig rising and shuddering, grew steamier than what Malkovich pulled off in Liaisons Dangereuses.”

-Susan Galbraith, DC Theater Scene

“Singing Count d’Almaviva, Tyler Nelson, a tenor with a small but appealing sound…has great musicality, and his performance of “Se il mio nome” in Act 1 demonstrated a refined sensibility and a voice capable of haunting tenderness.”

-Philip Kennicott, philipkennicott.com

“Tyler S. Nelson sang beautifully as Mayor Upfold, and looked just enough out of it to suggest that Lady Billows was really in charge.”

-Jason Victor Serinus, San Francisco Classical Voice

“Tyler Nelson, a fine young Castleton-groomed tenor, made quite a positive impression, too, in an aria from ‘Falstaff.’”

-Tim Smith, Clef Notes

“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

“Julius Ahn and Utah tenor Tyler Nelson are natural comedians and manage, respectively, a hunchbacked, short-legged, stuttering servant and a cross-dressing, Eddie Izzard-looking confidante with both humor and, truly, dignity.”

-Andrew Patner, Chicago Sun Times

“Tyler Nelson (Delfa) and Julius Ahn (Demo) were particularly impressive.”

–Chicago Critic
“Tyler Nelson commits comic operatic highway robbery by embodying all that is hysterical about drag, as Delfa the maidservant to Medea, while simultaneously delivering some of the production’s most superb singing.”

-Venus Zarris, Chicago Stage Review

“Tenor Tyler Nelson, who has a big, penetrating sound, was funny in the cross-dressing role of Medea’s bawdy servant Delfa…”

-Heidi Waleson, The Wall Street Journal

“Tyler Nelson’s portrayal of Delfa, Medea’s servant, was quite funny, albeit just one cigarette away from being a cliché.”

– Mark D. Bell, Chicago Theater Blog

“There is not a weak link in the young, attractive, energetic cast. The comic roles of stuttering hunchback Demo and drag nurse Delfa are winningly taken by tenors Julius Ahn and Tyler Nelson, respectively.”

-John von Rhein, Chicago Tribune

“Tenor Tyler S. Nelson, given a single, impossibly high assignment, got better with each repeat, and by the third stanza the lower resonance of the voice had clicked in. His glowing ease and sweet, sterling top suggest a great future.”

– Jason Victor Serinus, San Francisco Classical Voice

“Nelson delighted with his darkly humorous “Roasted Swan.”

– Jack Neal, Music Reviews

“Tyler Nelson, a young tenor living in Florida, did a captivating number on Justice Shallow. His diction was impeccable and his animation as the silly, ridiculous squire won for him alone laughs that were independent of the lines. His bright, keenly focused, vibrant tenor invites Mozart. He has a big future.”

– Robert Commanday, San Francisco Classical Voice

“Tyler Nelson, as that erstwhile clergyman could steal the show if he tried. As it was, he nearly brought down the house with I Aim to Please.”

– Kelly Ferjuitz, Coolclevelander.com

“Again OLO did its best at reviving the piece, with Kohl, Pfrimmer, Tyler Nelson, Boover, and Byess turning out strong performances.”

–American Record Guide