Marcello (la bohéme)
“Todd Boyce, recently seen as Don Alfonso in Così fan tutte, can embody a truly young man here, which appeals to his physique, and vocally he can score with his agile youthful baritone - a great success for the young singer.”
-IOCO (Julian Führer, 11/29/2018)
“One also sees well the power and pluck of youth on Todd Boyce, who interpreted the young Marcello with compelling voice.”
-BASLER ZEITUNG (Simon Bordier, 11/29/2018)
“…the young painter Marcello (beautifully-voiced and flipped out in his acting: Todd Boyce)…”
-DER BUND (Marianne Mühlemann 11/26/2018)
“In general, director Wild can count on a strong vocal ensemble: For example, baritone Todd Boyce, who portrays the young Marcello with vocal agility and vulnerable coolness.”
-BERNER ZEITUNG (Maria Künzli, 11/26/2018)
“As a young Marcello we see and hear the American baritone and ensemble member Ted Boyce. He already convinced me as Don Alfonso. As Marcello, I like him even better, his personality as a lover, as a jealous lover, he plays more convincing than the cynic Don Alfonso. His vocal performance is convincing and precise, his powerful baritone always present with very good diction and intonation.”
-DEROPERNFREUND.DE (Peter Heuberger, 11/27/2018)
don alfonso (Cosi fan Tutte)
“The quick-change actor Todd Boyce remembered [the former Mozart productions]. Two years ago, he sang the Count Almaviva in ‘Figaro’. Last year, Don Giovanni. Now Don Alfonso as barkeeper, who manages to get revenge for the servant role he plays to the others. -In Boyce are shown the merits of the American school: slip into the part until the core is reached. Then the performance will be believable, and the performer differentiates himself from one role to the next. The Don Alfonso interpretation unites itself with the gravity of the production’s concept: the man, as beguiling as his singing may be, has gone astray. Whosoever gets involved with him, will lose his grip, and his world will fall into ruin.”
-STIMME DER KRITIK (Michel Schaer, 10/16/2018)
“Don Alfonso - who just once, briefly starts to sing an aria, otherwise contents himself with recitative - Don Alfonso virtuosically masters every scene. Different than usual, he is at the absolute center of the action; with his sonorous bass and his wonderfully smug attitude, Todd Boyce allows for no doubt of his function.”
-MITTWOCHS UM ZWÖLF (Peter Hagmann, 10/17/2018)
“The American baritone Todd Boyce as Don Alfonso became the ornament of the performance: a deep, beautifully colored timbre, a confident manner of singing, a wonderful player. The singer created an image of an experienced and cynical bartender who, with evident pleasure and with a sense of his own superiority, manipulates the heroes and destroys their perceptions about feelings and relationships.”
-OPERATIME.RU (Arina Timofeeva, 11/9/2018)
“Todd Boyce with appropriate coldness and severity…”
-MUSIK & THEATER (Reinmar Wagner, 10/16/2018)
“Already well-known in Bern…the noble baritone Todd Boyce (Don Alfonso)…”
-BASLER ZEITUNG (Sigfried Schilbli, 10/18/2018)
Don Giovanni (Don Giovanni)
"Todd Boyce, with his bright, slightly metallic baritone color, his agile creative power, and his dazzling looks, an ideal casting for the role of Don Giovanni, formed the epicenter of an evening that just flew by."
- MITTWOCHS UM ZWÖLF (Peter Hagmann, 10/18/2017)
"One year ago, Todd Boyce succeeded with Conte Almaviva, his colorful baritone has already started to darken, the voice of the American is versatile and sonorous. Whether "Finestra"-Serenade or the coke-fueled Champagne Aria: the phrasing strikes home."
-OPER! DAS MAGAZINE (Peter Wäch, Dec. 2017)
"The American baritone Todd Boyce fits perfectly in the role of Giovanni. With his slender and bright voice, he ensnares the women skillfully and sparkles with energy at his task."
-SPECTRUM (Laurent Oberson, Dec. 2017/Jan. 2018)
"Don Giovanni's demise begins when he kills the Commendatore. Todd Boyce portrays a good-looking, muscular leading man, who pleases with his acting and convinces with his well-placed voice."
-DER NEUE MERKER (Marcel Paolino 19. Oktober, 2017)
"Todd Boyce as Giovanni takes to this casino of life like a fish to water. He flirts, does cocaine, bludgeons, lies, and cheats one after another. Uninhibited and spoiled, compulsive and cynical. A rake and a creep, a noble pariah, who cares nothing about anything, and who remains consistent until his very own end. Boyce is an ideal casting for this cad. His bright, slenderly produced but still full-bodied baritone sets itself clearly apart from the darker voice of Michele Govi."
- DER BUND (Peter König, 10/16/2017)
"Todd Boyce is...a Don Giovanni, to whom one does not actually concede any special charisma, for whom one realizes that he has mainly bought himself his success with women. For him everything seems like a game, even the "Guest of Stone," who he has invited for dinner, is hardly more than a horror film association when the ghost of the murdered man appears on the surveillance cameras. Todd Boyce plays this very well and masters it vocally too."
- SÜDOSTSCHWEIZ und MUSIK & THEATER (Reinmar Wagner, 10/16/2017)
"Baritone Todd Boyce plays the lady-killer in the Bernese production, which is presented in the Viennese version of the opera. He does it with vocal charisma and nibleness..."
- BERNER ZEITUNG (Maria Künzli, 10/15/2017)
"The role of the immoral seducer is portrayed by the American baritone Todd Boyce consistently and with vocal brilliance."
- BKA (Stephan Ruch, 10/18/2017)
"Alongside the appealing, creative production by Matthew Wild (Las Vegas in the 80's), Todd Boyce (baritone) in the main role of Don Giovanni was convincing. The American, who belongs to the ensemble of the Stadttheater, commands with a pure, powerful voice, and plays the ladies man Don Giovanni impressively, authentically and convincingly in every aspect."
- BÜMPLIZWOCHE (Hans Amrein, 26. Oktober, 2017)
"Among the men, the gold medal goes to the Clodomiro from Todd Boyce, who as the spiritual authority demonstrated enormous vocal presence and virility."
- OPERN WELT (Jürgen Otten, 7/2017)
"Todd Boyce's Clodomiro is simply amazing at each of his appearances. Dressed in a long black cape, the young American baritone develops a marvelous projection, which propels this relatively secondary character of the plot to the foreground. Each of his arias is rewarded with warm applause: 'Se il mar' in the first act, the breathtaking 'Non t'inganni' in the second act with a sword in his hands, and again the bewitching 'Alza il ciel' in the third act. The low is round and fleshy, the diction flawless, a real singing lesson!"
"A sturdy baritone with good impact from bottom to top, Todd Boyce composed a sexy Clodomiro from whom a lot was demanded by the staging."
"The difficult baritone role of Clodomiro is in best hands and a virtuosic throat with Todd Boyce."
"It is a shame that Todd Boyce in the role of Clodomiro only had a few opportunities to distinguish himself. His baritone has a very distinct conciseness and in his few coloraturas he showed what he was made of. It remains to be hoped, that in good time he will get some more space in Göttingen."
"Another American singer, Todd Boyce, sang the bass role of Clodomiro...His fine strong resonant voice and stately presence enhanced the production, which was very warmly received."
"...striking and powerful: Todd Boyce..."
"Todd Boyce rounded off the soloist ensemble superbly as Clodomiro with dark and powerful bartione."
"Standing at the side of the power-hungry schemer, Matilda,[...] was Clodomiro (the dark, and vocally even in the most difficult coloraturas, razor sharp singing baritone, Todd Boyce)."
"With his robust, beautifully timbered baritone, the dependable Todd Boyce (Clodomiro) rounded off the ensemble."
"...this character is assigned a prominent role, not lastly due to the dramatically and vocally impressive performance of Todd Boyce. His Valentin is an unfeeling and charismatic leader, under a shroud of piety and convention it seethes dangerously."
"...the Valentin of young American baritone Todd Boyce, endowed with a noble instrument and a committed performance, was especially inspiring in "Avant de quitter ces lieux", and culminated in a touching scene of his death."
"Valentin was imposingly sung by Todd Boyce,..."
"As fourth to be incorporated into the pack of main characters is Todd Boyce, whose Valentin was given a more eminent role than usual by the director. His slender, effortless baritone and the delicately austere appearance were believable counterparts to tenor and bass."
"Now and then, Todd Boyce as Valentin stole the show from his adversary with vocal finesse and stage presence."
"...Todd Boyce performs his Valentin with a strong, richly-faceted baritone..."
"...Todd Boyce was imposing as Valentin with gripping and agile baritone..."
- DER LANDBOTE (1/31/2017, Herbert Büttiker)
le nozze di Figaro (Conte Almaviva)
"Dominating the stage, American baritone Todd Boyce (Conte Almaviva) imposingly fills his dignified role with a social distance natural to the character. Capable of varying his vocal colors, his immaculate diction (...) contributes to the excellent impression he leaves throughout the show..."
- RESMUSICA, LA SCÈNE, OPÈRA (Jacques Schmitt, 12/14/2016)
"[Kevin John] Edusei need not have any worries about the voices of his male singers. The protagonists were resistant to even massive orchestral surges...Todd Boyce, new to the Bernese ensemble, was equally successful vocally as he was dramatically in managing a versatile portrait of Count Almaviva."
- SÜDOSTSCHWEIZ (Reinmar Wagner, 11/28/2016)
"Best regional theater tradition can also be heard in the achievements of the singers of this show, in particular, a true ensemble performance where each competes with the other, and in the end a greater whole comes to life. Todd Boyce is in this respect a confident, not only hormonal Count Almaviva..."
- NEUE ZÜRCHER ZEITUNG (Christian Wildhagen, 11/28/2016)
"...director Markus Bothe...drew clear and differentiated characters, which believably travel over the fore-stage. That applies to the Todd Boyce's Count as well, who on the one side chases every skirt he sees, but on the other side awkwardly must try to keep up appearances when he is once again jumped on by the spider-monkey, Barbarina...)"
- DER BUND (Daniel Allenbach, 11/28/2016)
Sweeney Todd (Sweeney Todd)
"[...] baritone Todd Boyce played the embittered barber with a remarkable calm indeed, but cast Sweeney's hatred just as excellently as his madness verging on despair when Sweeney's first attempt to take revenge on Turpin is unsuccessful. Boyce also knew how to please vocally, whether singing reverently to his razor or expressing longing for his wife and daughter."
-MUSICALS MAGAZINE (Gunnar Habitz, Feb / March 2016)
"...the two excellent main characters stand out. Baritone Todd Boyce gives the title role many facets: with grief, rage, and madness in expression as well as in his sonorous, flowing voice, he underlayed the musical-thriller with vast, even stirring emotions. (...) Also in the numerous small and large ensembles, which count as musical highlights of the piece, this duo is unbeatable."
-NEUE LUZERNER ZEITUNG (Urs Mattenberger, 10/27/2015)
"With their multilayered acting and thrilling singing, Marie-Luise Dressen as Mrs Lovett and Todd Boyce as Sweeney Todd pull the audience immediately into their wake."
-BLICKPUNKT MUSICAL 06/15 (Martina Friedrich, Nov. 2105-Jan. 2016)
"Seldom have people been done away with as sardonically and appreciatively as at Luzerner Theater by Todd Boyce, who gave an impressively tragic - brutal Sweeney Todd...brilliantly diabolical Todd Boyce..."
-INNERSCHWEIZ ONLINE (Léonard Wüst, 12/27/2015)
"Todd Boyce as Sweeney and Marie-Luise Dressen as Mrs. Lovette jut out vocally and dramatically. His full-bodied, warm baritone and her radiant soprano made the operatic moments glow."
-DER NEUE MERKER (Flabio Sepulchri, Nov. 2015)
"Todd Boyce was outstanding as Sweeney Todd..."
-ANZEIGER LUZERN (Lisa Brunner, 10/28/2015)
"The two protagonists, Todd Boyce as Sweeney Todd and Marie-Luise Dressen as Mrs. Lovett stab out favorably..."
-RADIO SRF 1 (Tuuli Stalder, 10/26/2015)
MARCELLO (LA BOHEME)
"Todd Boyce lends his elegantly powerful baritone to Marcello (Rodolfo's less-sentimental artist friend), whom he plays with an extremely attractive nonchalance. Both singers hail from the playful, diversely-populated and yet balanced, high-quality house ensemble..."
- NEUE ZÜRCHER ZEITUNG (Felix Michel, 3/1/2015)
"From the start, Todd Boyce shines as "Marcello," steals the show a little bit from the actual male lead "Rodolfo," which in no way subtracts from the achievement of "Rodolfo," but simply ennobles the performance of American baritone Boyce."
- INNERSCHWEIZ ONLINE (Léonard Wüst, 2/28/2015)
"The secure, supple, and powerful baritone with which Todd Boyce draws Marcello made one sit up and take notice."
- MUSIK & THEATER (Reinmar Wagner, 2/28/2015)
"Todd Boyce as the painter Marcello deserves praise, for his voice is so nobly timbred, his character identification was so thrilling, that a strong portrait arose."
- DER NEUE MERKER (Inge Lore Tautz, 3/1/2015)
"Also brilliantly cast is the vocally-powerful [Marcello] of baritone Todd Boyce..."
-BASLER ZEITUNG (Sigfried Schibli, 03/02/2015)
"Todd Boyce's portrayal of Marcel was dramatically skillful with a supple baritone."
- OPERA POINT BLOG (Ruta Akelyte Hermann, 3/7/2015)
Harlekin (Ariadne auf Naxos)
"As Harlequin, Todd Boyce convinced with his pleasing baritone."
- DAS OPERNGLAS (W. Kutzschbach, July/2015)
CLAUDIO (BEATRICE ET BENEDICT)
"Todd Boyce was the most convincing of all the men with an elegant, sonorous baritone."
-DAS OPERNGLAS (C. Fischer, March/2016)
SID (ALBERT HERRING)
"...antagonist Sid, a Butcher's assistant (Todd Boyce), likewise excellent."
-DEUTSCHLANDRADIO (Jörn Florian Fuchs, 9/5/2015)
"...dramatically and vocally agile, the butcher-boy Sid (Todd Boyce)..."
-TAGES ANZEIGER, Zürich (Tom Hellat, 9/7/2015)
"Utku Kuzuluk was capable of portraying Albert Herring's transformation vocally as well as dramatically, and had in Todd Boyce a confident Sid at his side."
-NEUE ZÜRCHER ZEITUNG (Michelle Ziegler, 9/8/2015)
"The rebellious youth - dazzling: Marie-Luise Dressen and Todd Boyce as lovers."
-NEUE LUZERNER ZEITUNG (Urs Mattenberger, 9/7/2015)
Victor (Die Antilope by Johannes Maria Stoud)
"The baritone, Todd Boyce, moved like a dreamer through Grünbein's artistic world of words, wide-eyed, full of skepticism, with tragically comic despair, which is not understood and not meant to be. The notes which Staud has written into his soul are introverted in a chamber music style."
- FRANKFURTER ALLGEMEINE (Christian Wildhagen, 09/06/2014)
"Victor, the maladjusted, tragicomic hero of the opera was vocally as well as theatrically superbly embodied by Todd Boyce, ..."
- DER NEUE MERKER (Flavio Sepuleri, 10/2014)
"The American, Todd Boyce, portrayed the title role superbly as a vocally tender and temperamentally isolated dreamer."
- NEUE ZÜRCHER ZEITUNG (Thomas Schacher, 09/05/2014)
"In the male lead role of Victor, the American Todd Boyce scintillated."
- BASLER ZEITUNG (Sigfried Schibli, 09/05/2014)
"...the equally convincing vocally as theatrically, Todd Boyce..."
- TAGES-ANZEIGER (Susanne Kübler, 09/05/2014)
"Moreover, Luzern scored with an exclusive ensemble of superb singing, believably acting vocalists. Todd Boyce potrayed Victor with warm, tender baritone."
- SDA (Alfred Ziltener, 09/04/2014)
"The singing was exquisitely good, Todd Boyce as Victor dominated all the necessary vocal tricks of the trade."
- DEUTSCHLANDRADIO KULTUR (Jörn Florian Fuchs, 09/03/2014)
Malatesta (Don Pasquale)
"While Todd Boyce as mastermind of the intrigue, which brings Norina together with her beloved, helps fashion his ambiguous game with refinery - his parlando duel with Don Pasquale is an exuberant climax of the evening."
- NEUE LUZERNER ZEITUNG (Urs Mattenberger, 04/29/2014)
"Of all the singers, the two low men's voices captivated above all. Their duet in the third act advanced to the position of highlight, but indeed Flurin Caduff in the title role and Todd Boyce as mastermind schemer Malatesta also had many successful, vocally accomplished and embellished moments."
- DIE SÜDOSTSCWEIZ (Reinmar Wagner, 04/29/2014)
"All have obvious pleasure on the stage, as the production directs each precisely to his own advantage. Firstly, Flurin Caduff [...]. Then Todd Boyce as Malatesta: as an actor not less convincing, and vocally he developed ever better shape throughout the premiere."
- NEUE ZÜRCHER ZEITUNG (Alfred Zimmerlin, 04/29/2014)
Fred/Petruchio (Kiss Me, Kate)
"The American, Todd Boyce [...] convinced theatrically with dominant entrances and was particularly enjoyable due to his powerful baritone."
- MUSICALS (Gunnar Habitz 04/2014)
"[...] Todd Boyce is allowed to live out his obvious American showbiz streak so very to his hearts content."
- DIE SÜDOSTSCHWEIZ (Reinmar Wagner 11/4/2013)
Dandini (La Cenerentola)
"The cast members, all from the theater’s ensemble, were enthusiastically engaged in Brown’s concept and acted their parts in a very natural manner. Their singing was equally convincing...Todd Boyce (Dandini) made a positive impression with his attractive baritone."
- DAS OPERNGLAS (07-08/2013)
"Todd Boyce obviously enjoys himself in the role of the fake Champion, savors his temporary power and the Sex-Appeal associated with it, and exudes pure harmony with his fantastic, precisely placed, warm baritone."
- OPER-AKTUELL.INFO (Kaspar Sannemann 6/2/2013)
"Todd Boyce gave Dandini an agile baritone and savored playing his false-bottomed game."
- NEUE LUZERNER ZEITUNG (Stefan Degen 6/4/2013)
Giorgio Germont (La Traviata)
"...American Todd Boyce has an enviably flexible baritone voice at his disposal."
- NEUE ZÜRCHER ZEITUNG (Thomas Schacher 1/14/2013)
"...sung very beautifully and with much warmth and simplicity by Todd Boyce..."
- OPER-AKTUELL.INFO (Kaspar Sannemann 1/12/2013)
"Despite his age, American baritone Todd Boyce succeeds in putting forth a fully mature father Germont."
- PLACE DE L'OPERA (Allessandro Anghinoni www.operamagazine.nl 1/14/2013)
"...the remarkable musical presence of Todd Boyce..."
- DER LANDBOTE (Herbert Büttiker1/15/2013)
"Vocally, the ensemble of the Luzerner Theater is in top form. Svetlana Doneva as Violetta, Carlo Jung-Heyk Cho as the love of her life, Alfredo, and Todd Boyce as Alfredo's father, all gave convincing performances."
- SRF:COM (Tuuli Stadler 1/13/2013)
Enrico (Lucia di Lammermoor)
"...in particular, Todd Boyce was the vocal ray of light in the production: his well-placed, bright baritone had clear contour at its disposal and stretched the phrases with secure legato."
- DAS OPERNGLAS (Th. Baltensweiler 02/2012)
"Todd Boyce gave his chicly acted Enrico a gorgeously flowing, virile baritone, and was already exceptionally pleasing during his first aria 'Cruda funesta smania...' and subsequent Cabaletta and allowed the confrontations with his sister and Edgardo to become vocal events."
- OPER-AKTUELL.COM (Kaspar Sannemann 12/24/2011)
"BARITONE ENSURES MAJOR STUNNER IN 'A SCHÖNBERG AFFAIR'"
"...But that the Schönberg arrangements of Mahler songs became the gripping climax of the evening was due to the baritone Todd Boyce. The American, born in 1983, known for being a member of the ensemble of the Lucerne Theater, proved his qualities both as a man of the theater and as a Lieder singer: his full-bodied voice devastated even in the lowest ranges, the audience held its breath during the tempo accelerations, and the "glowing knife" drilled fiercely (but musically bearably) into the heart of the audience."
- LUZERNER ZEITUNG (Simon Bordier, 1/26/2015) review of Lieder eines fahrenden Gesellen (Songs of a Wayfarer)
"Todd Boyce dominated all facets between sweet greeting of spring, hot-blooded erotic desire, and coarse drunkenness with his bright and yet striking baritone."
- SÜDDEUTSCHE ZEITUNG (Klaus Kalchschmid, 12/8/2010) review of Carmina Burana
"The baritone Todd Boyce, a charistmatic vocal appearance with bewitching baritonal melodiousness, went straight for the heart."
- ECHO ZEITUNG Darmstadt (Dorothea Buchmann-Ehrle, 8/12/2013) review of Carmina Burana
"...The same praise applies to the young baritone, Todd Boyce, who bore most of the soloistic weight in the 'Carmina Burana,' and who with flexible voice and total creative commitment made the success complete."
- NMZ ONLINE (Tobias Hell, 12/8/2010) review of Carmina Burana