Renaud Machart, Le Monde, October 4, 2011
Tyler Duncan’s voice is rich, clear, and resonant, and his diction is always perfectly intelligible. He has a complete mastery of the art of the recital, that is, of singing with subtlety while calculating the perfect dose of theatre needed to convey these works without altering their inner nature
Vivien Schweitzer, The New York Times, December 23, 2010
“The baritone Tyler Duncan delivered the texts with a powerful voice and dramatic conviction, enunciating the words with appropriate bite. The energetic applause after “The trumpet shall sound” was merited by both Mr. Duncan’s passionate singing and the vibrant playing of the trumpeter Scott McIntosh.”
Joshua Kosman, San Francisco Chronicle, December 08, 2010
…baritone Tyler Duncan really shone, bringing clarity of tone and dramatic vigor to “Thus saith the Lord of hosts” and technical precision to “The people that walked in darkness.” Together with trumpeter John Thiessen, he gave a rousing account of “The trumpet shall sound.”
Paula Citron, Opera Canada, Summer 2010
“Chuchman and Duncan, both Canadians, gave delightful performances in terms of singing and acting. Their voices are clarion bright, yet rich and burnished with color…Duncan’s baritone is robust and compelling. They both have glittering careers ahead.”
John Terauds, Toronto Star, Jan 22, 2010
“Duncan is one of those rare lyric baritones with rich, full low notes—ideal for singing Bach’s music. His showpiece was the sacred solo Cantata No. 82, Ich habe genug. Duncan showed tremendous sensitivity to the music, while bringing out the wide emotional and dramatic range of the text . His singing was equally winsome in two airs from other sacred Cantatas, O du angenehmes Paar is a slight, wistful-sounding piece with a particularly inventive accompaniment. Lasset dem Höchsten is a boisterous song of thanks that made an ideal cap to a sehr gemütlich (very cozy – intimate, in a friendly sense) musical evening.”
Anthony Tommasini, The New York Times, June 21, 2009
“As the young Athenians… Brian Stucki (Lysander), Abigail Nims (Hermia), Caroline Worra (Helena) and especially Tyler Duncan (a robust-voiced Demetrius) gave dramatically nuanced and vocally solid performances.”
Vivien Schweitzer, The New York Times, December 10, 2008
“Tyler Duncan was excellent, singing with commendable diction, a powerful voice and plenty of bite.”
Ken Winters, The Globe and Mail, December 8, 2008
“Tyler Duncan has a vigorous, vibrant baritone which he can move with rare agility, and a strong sense of words and the drama they convey.”
John Terauds, Toronto Star, November 28, 2007:
“Baritone Tyler Duncan is that rare mixture of elegant phrasing and resonant power.”
Lloyd Dykk, Vancouver Sun, August 13, 2007:
“Duncan was nothing short of amazing with his full, rich baritone which was also lithely flexible with a coloratura that made it seem, as a friend said, that the devil gets all the best tunes. his performance included that optional instrument always associated with Satan, the saturnine trombone, which is strangely omitted from the recorded versions I’ve heard. This colour was invaluable in the performance and provided a demonic blare to Duncan’s already menacing Lucifer, though he sang with dulcet enticement, a quality you would naturally expect of the devil. He saved his true nature for the end: when he falls two octaves into the abyss.”
Gary Freeman, Goldberg Magazine, 2007:
“…Duncan’s voice is warm and versatile, and his range is wide. His German studies have made him an important interpreter of not only Bach but also German Lied.”
W. Kutzscbach, Opernglas, October 2006:
“…At the highest level came the vibrant and focused voice of Baritone Tyler Duncan as the High Priest.”
Birgit Ottermann, Die Burger, Capetown (Feb 24, 2007):
“Duncan used his beautiful baritone extremely well emphasizing the contrasting moods, and his diction was excellent.”
David Gordon Duke, Vancouver Sun (Jan 12, 2004):
“… Just as impressive was the work of relative newcomer Tyler Duncan, Vancouver-born, but now living in Germany. Each trip home shows a new stage of development in Duncan’s voice and new maturity in his interpretations. He demonstrated a suave vocal complexity, and his impeccable diction brought a sense of drama and of commitment to the meaning of his texts.”
Bill Richardson, The Georgia Straight (Apr 17-24, 2003)
“…two remarkable young singers, the Soprano Laura Whalen and the Baritone Tyler Duncan. They have a fresh-faced look of a couple of kids just cast as Laurie and Curly in this year’s production of Oklahoma!, but man, can they sing. Duncan, especially, is a great communicator, gifted with the voice of a young Fischer-Dieskau and that ineffable magnetism we shruggingly call “presence” because we don’t know how else to name it.”
“Doch halt, Schluss mit der Beckmesserei! Als der Kanadier Tyler Duncan Guglielmos,“Rivolgete a lui lo squardo” mit sensibler Tongebung und der für Mozart so unabdingbaren Mischung aus Einfachheit und Euphorie sang, verstummte selbst das Grollen leidenschaftlicher Melomanen, weil klar wurd: Musik öffnet und reflektiert menschliche Dimensionen. Sie ist nicht primär eine Möglichkeit zu zeigen, wie makellos man schon in jungen Jahren die schwierigsten Stücke bewältigt.”