Make your own free website on
Predikant in "Batavia"
"Take it as gospel...Timothy DuFore is powerful as the preacher ...and culminates in the final act in outstanding solo scenes for the weak and disillusioned preacher...Timothy DuFore, as a preacher whose spiritual rigidity quickly crumbles into faithlessness and blasphemy, gives the most outstanding single musical-dramatic performance of the a highly talented cast.
"Batavia" - Mills
His Majesty's Theatre - Perth

"Timothy DuFore's bare chested Silvio is sensual and boldly protective."
Eastern Courier Messenger, May 2003
"Don Giovanni" - State Opera of South Australia

The three soloists...were excellent. But Tim DuFore was the pick of the three, a voice of infinite colour and expression that plumbed the depths of Orff's score."
"Carmina Burana" - Orff
Sydney Opera House Concert Hall

"Baritone Tim DuFore carried the operatic "In Taverna" scene, in spite of show stopping histrionics from Grant Smith's roasting cygnet."
"Carmina Burana" - Orff
Sydney Opera House Concert Hall

"Tim DuFore in the eponymous role could sing the skirt off Mother Courage. Yes, I believed the roving rapscallion wooed the 2065 women counted in Leporello's catalogue Aria. Looking very dapper and swarthy in black, his energetic interpretation, physical dominance of his space, easy charm and confidence, fine voice, and audacious manner won me over too. Don Giovanni's bravado at dinner with his fate in the final act was truly a delicious moment."
DB MAGAZINE, November 2002
"Don Giovanni" - State Opera of South Australia

"We have all met compulsive womanisers, but what makes Don Giovanni different from most is his fearlessness. This blend of the sexually irresistible with the defiantly courageous is not easy to convey, and Timothy DuFore, in his title role debut, carries it off with splendid bravado and energy, as well as singing his long part with confidence and accuracy."
THE AUSTRALIAN, October 2002
"Don Giovanni" - State Opera of South Australia

"Lusty in black leather cod piece and thigh length boots, Tim DuFore's Don Giovanni is a wild man on a mission from his first catapulting entry on stage down a ladder from the room of a woman he has been seducing. His role debut is spectacularly successful. DuFore's voice is rich and full, clarity and diction perfect, and he builds for us a believable and charming rake whom we know must come to a very bad end."
 "Don Giovanni" - State Opera of South Australia

"No WA composer and librettist could have wished for more at the world premiere of their work in concert version than the line-up for Nostradamus. Timothy DuFore, a dignified presence, was entirely and consistently persuasive in his eponymous role, with a finely modulated voice that, whether boding or tender, sounded entirely right for the part."
 "Nostradamus" - West Australian Opera

"Most exceptional on the evening was Timothy DuFore as Guglielmo. He managed to inject that extra bit of drama into his singing. This was particularly true in the recitative sections, where he was able to bring out both the dramatic and musical meanings. The vocal tone was well focused and the ennunciation was clear and controlled. There was a feeling of youthful ardour and a sense that he was always singing from within his role - what could best be described as vocal intelligence. This allowed the comic aspects to be delightfully realised. Added to this was a sense of dramatic poise and timing. The combination was just what this opera needs in order to succeed."
OPERA-OPERA, June 2000
"Cosi fan tutte" - State Opera of South Australia

"There is a strong, sympathetic and dignified performance of the American consul Sharpless by the fantastic Timothy DuFore."
The Courier Mail, May 1999
 "Madama Butterfly" - Opera Queensland with Nancy Yuen as Cio Cio San

"Timothy DuFore was a splendidly bumbling opinionated Bartolo, dressed in a striking violet tail coat and whiskers. It was all very well to be a master comedian but, above all, the character must be able to sing well to do justice to the opera. Despite all his huffing and puffing he did just that: sing beautifully."
Opera Australasia, October 1998
"Il Barbiere di Siviglia" - West Australian Opera, with Vicica Genaux & Bruce Fowler

"Yet another American import, Timothy DuFore, was a first rate Bartolo, suspiscious, fussy, ludicrously self-important; his Italian rapid patter vocalising beyond reproach."
The West Australian, September 1998
"Il Barbier di Siviglia" - West Australian Opera, with Vivica Genaux & Bruce Fowler

"The third most important character in the opera, the high priest of Dagon, was played and sung strongly by Timothy DuFore, whose pleasing baritone instrument is going from strength to strength and whose characterisation was impressive."
Opera Australasia, June 1997
"Samson et Dalila" - Opera Queensland with Adria Firestone as Dalila

"Timothy DuFore (High Priest) had an imposing stature, singing with conviction and powerfully in accord with Firestone."
Gold Coast Bulletin, April 1997
"Samson Et Dalia" - Opera Queensland with Adria Firestone as Dalila

"Timothy DuFore was in excellent voice as Ford, particularly in his monologue E Sogno where with villainous eye-patch and in splendidly resonant tones, he expresses horror at Falstaff's plans to seduce his wife."
The West Australian, August 1996
"Falstaff" - West Australian Opera with Gregory Yurisich as Falstaff

"Timothy DuFore's Ford was the embodiment of jealousy on the boil."
The Bulletin, September 1996
"Falstaff" - West Australian Opera with Gregory Yurisich as Falstaff

"Timothy DuFore handled the part of Ford skillfully, changing from the trapper to the supposedly cuckholded husband with dramatic flair. His partnership with the uptight Dr Caius had a natural chumminess while with being malignant, making Nanetta's escape from them all the more entertaining."
Opera Australasia, September 1996
"Falstaff" - West Australian Opera with Gregory Yurisich as Falstaff

"DuFore has the gift of a clear vocal line - no wobbling, rapid in its scale work for the rollicking 'These are the sacred charms', carrying through the hall without ponderousness."
The Age, November 1995
"Come Ye Sons of Art", Purcell - Melbourne International Festival
Australian Brandenburg Orchestra with Derek Lee Ragin & Brian Osawa

"Timothy DuFore showed a forthright, sometime hauty virility modulating to amatory gentleness as the hero."
Sydney Morning Herald, July 1995
"Venus & Adonis" & "Dido & Aneaes" - Australian Broadcasting Corporation

"Timothy DuFore was a very good Escamillo - singing the awkwardly placed and over-familiar Toreador song quite splendidly, and achieving just the right mix in his demeanour of insufferable conceit and animal charisma."
Opera Australasia, August 1992
"Carmen" - Lyric Opera of Queensland with Adria Firestone as Carmen

"DuFore's remarkable catalogue of facial expressions .... is a real master of nuance through acting and the Count is immensley furtile ground for anyone possessed with such talents as his."
Opera Australasia, August 1992
"Le Nozze di Figaro" - Il Conte Almaviva, The Australian Opera

"Timothy DuFore's Dandini was perhaps the more meritorious for the way he created a credibly droll character relying largely on superb use of his magnificently expressive face, combining this with impeccable musicality in dealing with the character's musical requirements."
Opera Australasia, February 1992
"La Cenerentola" - Opera ACT

"One of the rising young stars of Australian Opera."
The Courier Mail, May 1990
"Broadway Melody" - Lyric Opera of Queensland

Silvio in "Pagliacci"

Tim DuFore     Biography     Curriculum Vitae
Photos     Reviews     Forward Calendar
Recordings    Contact Details     Links