Behold the Man (Opera Las Vegas)
“Bass-baritone Tyler Putnam as Cura Viejo made light of his authoritative role. His natural sense of humor shone bright and his quick witted timing was spot on.”
- Opera Wire, Jennifer Pyron, October 4, 2023
Rigoletto (Opera pA SKARET)
“Tyler Putnam has a big register and at the end of the duet with Rigoletto in act one he lands on a long, long note in the bass register, really impressive.”
- Dala-Demokraten, Anne Pettersson, August 3, 2023
Don Giovanni (Light Opera of New Jersey)
“Energetic bass-baritone Tyler Putnam used great comedic timing for Leporello’s imposter serenade with Elvira. His 'Madamina, il catalogo è questo' was blithely easygoing and his recitatives were emotive and colorful, fully enhancing his character.”
- NJArts.net, Courtney Smith, March 1, 2023
Cosmic Cowboy (White Snake Projects)
“Tyler Putnam brought a winning degree of malevolence to Marduk/Commander Mard.”
“Of major note was Tyler Putnam’s Marduk. He imbued the character with the right amount of moral ambiguity for the role, while also doing excellently at presenting someone authoritative and strong enough.”
- Boston Classical Review, Jonathan Blumhofer, 09/17/22
“Of major note was Tyler Putnam’s Marduk. He imbued the character with the right amount of moral ambiguity for the role, while also doing excellently at presenting someone authoritative and strong enough.”
- Schmopera, Arturo Fernandez, 09/19/22
SCALIA / GINSBURG (Opera in the Heights)
“The revelation of the evening is bass-baritone Tyler Putnam as the chasm-deep Commentator, who channels the tongue-tripping roles that Rossini, Mozart, and Handel laid out so forcefully. He sails through Wang's treacherous tessitura, from high to ultra-low with astonishing finesse and vocal ease. It doesn't hurt that he possesses a magnetic stage presence. What a grand Mephistopheles he would make in Gounod's Faust.”
- Houston Press, D. L. Groover, 06/03/22
An Enchanted Evening of Broadway (Gulf Coast Symphony 2020)
“It was the moment that veteran actor and baritone Tyler Putnam and his mezzo-soprano wife Sarah Nordin took the stage that the audience members knew they were at home, as the couple’s powerful and untroubled voices echoed throughout the chamber, delivering a sense of calm and excitement that theater lovers had longed for. Putnam and Nordin command the stage with world-class voices that can best be described as nothing less than celestial as they allow us to relive the golden era of Broadway with memorable songs. They even find time for a little dancing to add action to this otherwise blissful one hour evening that is certainly long overdue.” – Dave Elias, NBC News 2
FIgaro, The Marriage of Figaro (Geneva Light Opera 2019)
“In the title role, bass Tyler Putnam is a natural, confident Figaro: Rich of voice and nimbly alert to the fluctuating pulse of his character’s mind.” - Elena Ciletti, Finger Lake Times
BANQUO, MACBETH (Opera Tampa 2018)
"Putnam sang the role of Banquo from the orchestra pit, and did so with a lovely dark color and feeling.” - Andrew Meacham, Tampa Bay Times
Zuniga, CARMEN (Central City Opera 2017)
“Tyler Putnam was a smooth and effective Zuniga.” - Peter Alexander, Boulder Weekly
The Gaoler, Cabildo (Central City Opera 2017)
“Bass Tyler Putnam is a powerful jailer.” - Kelly Dean Hansen, The Daily Camera
Luther Billis, South PacifiC (St Petersburg Opera 2016)
“In the key clownish role of Luther Billis, Tyler Putnam is a hoot." - Peter Nason, BroadwayWorld.com
DvorAk's Stabat Mater (Omaha Symphony 2015)
"Putnam dropped into the aural basement in the second movement and yet could be distinctly heard." - Todd von Kampen, Omaha World-Herald
Second Soldier, Salome (The Santa Fe Opera 2015)
"Tyler Putnam sang with knowing power as the Second Soldier."
James Sohre, Opera Today
James Sohre, Opera Today
Markheim, Markheim (The Little Opera Theatre of NY 2015)
“Tyler Putnam gave a superb performance in the title role, alternately self-serving, malevolent and tragic. Markheim is something of a tour de force for bass, and Putnam proved more than up to the task.”
Arlo McKinnon, Opera News
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Arlo McKinnon, Opera News
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The Monk, Don Carlos (Sarasota Opera 2015)
“Bass Tyler Putnam was imposing as the monk who goes on to greater things.”
Arthur Kaptainis, Classical Voice North America
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Arthur Kaptainis, Classical Voice North America
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Luther Billis, South Pacific (Opera North, NH 2013)
"Tyler Putnam is outstanding as the wily Luther Billis, the comic heart of the show, and in some ways, the show’s hero; the guy who takes care of the guys, and the girls, the guy who makes things work. His singing voice is robust and clearly articulated, and he has a natural comic instinct.”
Nicola Smith, Valley News
Nicola Smith, Valley News
Macheath, The Threepenny Opera (The Princeton Festival 2010)
“Special mention must be made of Tyler Putnam, who made a handsome and dangerous highwayman and adventurer in his well-sung and performed lead role of Macheath (Mack the Knife.)”
Toby Grace, Out in New Jersey
Toby Grace, Out in New Jersey
