“Timothy Stoddard astonished us with his vocal agility, so often in the highest reaches of the tenor tessitura. I must confess that absorbing Stoddard’s vocal prowess distracted me from following the story line.”

Opera News, Arlo McKinnon, July 2017

“In contrast, Stoddard exploited his fine, strong voice and physical gifts to the fullest in an over-the-top performance—really, cartwheels during an aria?—that seemed rather garish amid the nuanced comedy of this production. But then, if Mercury can’t be mercurial, who can?  (The cartwheels were about a 9.3.)”

New York Classical Review, David Wright, 13 August 2017

“Not far behind was the Milord of Timothy Stoddard, who dripped silver-spoon noblesse oblige and offered a lean, sweet-toned tenor.”

Opera News, Joanne Sydney Lessner, 18 August 2018

“Walter is sung with great beauty and variety by tenor Timothy Stoddard. We meet him as a pair of splayed fingers hanging over the backyard fence. He is the voice of reason, a Harvard man, who helps Cheryl withstand the crushing mania of her family.”

ConcertoNet, Susan Hall, 31 May 2019

“Timothy Stoddard was a standout as George Westinghouse with a strong and supple lyric tenor and fervent declamation.”

South Florida Classical Review, Lawrence Budmen, 29 September 2017

“As the younger Scrooge seen in Christmas past, Timothy Stoddard transitioned well from the bashful apprentice to the bitter penny-pincher who drove away his darling Belle…The real transformation for Stoddard came in Act two when he donned the mantle, wreath, and stole of the Ghost of Christmas Present. His sweeping entrance and flamboyant charm elicited many laughs from the audience and much displeasure from Scrooge…This part for me was the high-point of the show not only due to the mirthful antagonism Stoddard displayed toward Scrooge, but for the heartfelt moment Tiny Tim…musters the strength to sing ‘God Rest Ye Merry Gentlemen’ before his family…”

Operawire, Logan Martell, 5 December 2017

“Mr. Stoddard brought an ideal combination of vocal grace and princely bearing to this part. He and Ms. Barker-Asto made their duet of mutual attraction a vocal highlight of the long-running second act.”

Oberon’s Grove, 27 August 2018

“…tenor Timothy Stoddard brought gravitas to the ignorant main character. His blindness to Mandela’s greater global significance does not belittle him so much as paint him as a tragic, disconnected “Everyman” figure of modern society – both unexpectedly moving and disheartening.”

Seen and Heard International, Daniele Sahr, 24 May 2017

“Tenor Timothy Stoddard sang fluidly as Milord.”

Broadway World, Richard Sasanow, 27 August 2018

“Stoddard was an exciting and kinetic performer, wholly embodying his character’s high-strung persona and displaying a beautiful voice and crystal-clear diction.”

I Care If You Listen, Lauren Alfano, 13 June 2017

“Peals of laughter greeted the campy performance of Tim Stoddard as the Ghost of Christmas Present. Comic relief is always welcome. This versatile artist was excellent as the serious Young Scrooge!”

Voce di Meche, Meche Kroop, 2 December 2017

“He was a strong icy Tito, playing with the ambiguities of the character’s relationship with the loyal Sesto, a little fey in a tight wool tunic and a dictator’s military cape. In the second act, Mr. Stoddard projected the Emperor’s inner conflict and delivering his arias with style and a weighty, solid tone.”

Superconductor, Paul J. Pelkonen, 12 August 2013

“Luke Miller’s Bundle of Sticks boldly opened the second act with…Hugo Wolf gloriously sung by tenor Timothy Stoddard.”

Stagebiz, Jacquelyn Claire, 3 July 2018

“Called upon to do triple duty as Abigail’s fiancée, a beekeeper and Walter, tenor Timothy Stoddard was his most whacky and endearing as Cheryl’s friend and soulmate. Stoddard’s Walter was a tall, goofy kid, whether wearing outsized sunglasses or a Harvard sweater, and seemingly dropped into LA from another planet.”

Seen and Heard International, Rick Perdian, 6 May 2019

“We enjoyed [Rachel Barker-Asto’s] duet with Mr. Stoddard, replete with tenderness and exquisite 18th c. harmonies.  If serious drama requires comic relief, can we say that comedy requires some romantic relief? Mr. Stoddard also did some fine work in his arias and in the male trio in Act I.”

Voce di Meche, Meche Kroop, 23 August 2018

“Mercury was played by Timothy Stoddard, and how could I not fall for a tall, slim, blond, fey tenor in a Bubblicious pink suit?  Oh, and he sang well too.”

Divamensch, 3 September 2017

“As Milord Fideling, Timothy Stoddard balanced the absurdity of the opera’s events with a mercurial temperament.”

Operawire, Logan Martell, 24 August 2018

“The more exalted members of the cast…were principally represented by Timothy Stoddard, who brought a likably flowing tenor to Milord.”

Parterre Box, John Yohalem, 20 August 2018

“Timothy Stoddard’s sweet lyric tenor…took special honors.”

Miami Herald, Lawrence Budmen, 9 June 2015

“Timothy Stoddard brought suitable hardness to the roles of Lucano and Liberto.”

Opera News, Judith Malafronte, 18 November 2018