Photo: Pierre Lidar
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Canticum Novum – Bach Weihnachts-Oratorium
"Most of the actual storytelling throughout the work is carried by the Evangelist. Tenor Tommy Wazelle sang the narrative recitatives, achieving a first-rate blend of reporting and awe. Wazelle played his oratorio role as 'bearer of good news' with subtlety and flare."
– TheatreScene.Net
Union Avenue Opera – Die lustige Witwe
“In the role of Camille, tenor Tommy Wazelle was romantically handsome and sang sweetly.”
– St. Louis Post-Dispatch
“Tommy Wazelle, in the role of Camille, sings with sweet purity and perfect control.”
– Break a Leg! KHDX-FM
Gateway Playhouse – Show Boat
“Tommy Wazelle, as the dashing Gaylord Ravenal, sang like tenors are supposed to sing. Beautiful diction and liquid tonal qualities that made us say that we could sit and listen to him all night. If there were any justice in show biz, he would be starring on Broadway.”
– Dan’s Papers of Long Island
"Then close your eyes and you’ll believe it’s Howard Keel singing “Only Make Believe” instead of opera-trained Tommy Wazelle.”
– Newsday
“Tommy Wazelle, who played Gaylord Ravenal, gave a very smooth performance.”
– The Long Island Advance
“Tommy Wazelle, who plays the dashing gambler Gaylord Ravenal, does well by his romantic ballads.”
– The New York Times
New York New Music Collective – The Moon In Your Pocket
"Mr. Wazelle bared raw economic pain and despair in Kenneth H. Ashley's 'Out of Work'."
– Superconductor
Nevada Opera – The Pirates of Penzance
“Wazelle, fully fleshes out Sullivan’s soaring melodies, particularly in his solos.”
– Reno Gazette-Journal
“Wazelle has got the kind of young-chap charm that makes his wide-eyed Frederic a pleasure to behold. He also sings well and that’s a major plus.”
– Reno Entertainment Headlines KUNR-FM
Tulsa Opera – Le Nozze di Figaro
“Tommy Wazelle is a nicely unctuous Don Basilio.”
– Tulsa World
Opera in the Heights – Die Fledermaus
“Friday, tenor Tommy Wazelle had a light, clear voice perfect for the singing teacher Alfred, who uses his high notes to seduce Rosalinda.”
– Houston Chronicle
Tulsa Opera – Don Pasquale
“Tommy Wazelle’s strong, keening tenor was suited perfectly for the lovelorn Ernesto, and his arias, the lament of ‘Poor Ernesto’ as he bemoans the loss of his love and his potential fortune, and his serenade to Norina, were the vocal highlights of the afternoon. Wazelle was also something of a visual highlight for some of the young ladies in the audience; one of my nieces was especially taken by Wazelle’s antics during the bathtub from which he sang the ‘Poor Ernesto’ aria.”
– Tulsa World
IVAI – Der Zwerg
“The main part of the plot deals with the dwarf’s shocking discovery when he is forced to look in a mirror for the first time in his life. He then sees how terribly ugly he is, deciphers he is an alien to human society and understands that all that he had thought about people’s attitudes towards him was just an illusion. The closing half hour is in fact a difficult and extremely dramatic monologue, and the young singer Tommy Wazelle managed it very well due to his expressive acting and his refined singing.”
– Habama.co.il
“Tommy Wazelle, the dwarf, sat on his knees, and his face was full of boils. But he turned into a human dwarf and showed us an innocent and sensitive heart. He deserves all the compliments in the world.”
– MAARIV Newspaper
Tulsa Opera – The Little Prince
“Tommy Wazelle as the Lamplighter has perhaps the work’s most memorable song – a delicately mournful ode to time’s swift and heedless passage – and he sang it very well from a most inconvenient place: lying on a platform extending from the top of the stage set.”
– Tulsa World
“The Lamplighter, played by Tommy Wazelle, who advises the Prince to travel to Earth, must be a difficult role, as he must sing his part from a tiny ledge peeking over a corner of the stage, but his role as a waypointer is key, and even suggests indirectly the role hardship and toil, plus appreciation for natural wonders, can play in the deeper metaphysical sense of enlightenment.”
– The Norman Transcript
Tulsa Opera – Eugene Onegin
“One role that was uncredited was the offstage voice in Act One, announcing the arrival of the peasants; whoever it was did an excellent job.”
– Tulsa World