Timothy Lafontaine, media
Bartolo, Il Barbiere di Siviglia, Opera Naples - 2014
"As the self-absorbed, discreetly lecherous guardian Bartolo, Timothy Lafontaine is equally inspired."
Naples Daily News, Harriet Howard Heithaus
Pasquale, Don Pasquale, Mobile Opera
"When he gets excited, this Pasquale waves his gun around and does a happy dance. He also points his gun when he's less than content. He's especially adorable as Sofronia's tongue-tied suitor, moseying up to her like an amorous cowboy. As the joke progresses, and Pasquale becomes increasingly wary and weak, LaFontaine makes it easy to feel bad for the beleaguered oil baron. LaFontaine is also great at playing the slow burn; his face twitching and contorting as Norina emotionally abuses him. He's a fully realized human character whose noble intentions go horribly awry."
Tony, The Most Happy Fella', DiCapo Opera Theatre
"Lafontaine brought a strong operatic baritone to the gruff but kindly Tony. Even as his outward demeanor varied, Lafontaine communicated the underlying warmth in Tony’s relationships with his sister, employees and townspeople, as well as in his growing affection for Rosabella, that makes Tony a sympathetic and endearing protagonist. He also was up to the challenge of speaking many lines in Italian or in heavily accented English – an important element of the storyline."
"Baritone Timothy Lafontaine soared easily through the long role of Tony, even if his radiant smile and dapper presence made Rosabella’s initial rejection seem ridiculous."
The New York Post, by James Jordan
Festival Opéra de Saint-Eustache, Montreal, PQ
"Leila Chalfoun delivered a passionate performance of Liu’s aria, Stephanie Lessard sang Mimi with fragile grace and Timothy Lafontaine brought down the house with his powerful fury as Rigoletto."
Steno, Marino Faliero, Opera Orchestra of New York
"Timothy Lafontaine created a strong impression with his stern, subtly menacing sound as the arrogant, villainous aristocrat Steno."
Opera News, by John W. Freeman