Macbeth
"In the title role Todd Thomas deployed his... flavorful baritone voice dramatically with good legato and idiomatic phrasing; he made especially good use of soft singing. His acting was most persuasive...and it emerged as the strongest asset of this performance."
- Opera News, William V. Maddison. May 2004

" ..one wished to hear Todd Thomas sing it (mal per me) after his masterful account of “pieta rispetto amore” From his first utterances the baritone showed an impressive ability to shape Verdian Cantilena with dramatic point and (rarer these days) commendable dynamic variety. A thoughtful actor, Thomas deserves wider exposure."
- Opera News, David Shengold. July 2003

"Todd Thomas, as Macbeth brings his rich baritone and imposing persona to bear on his character's weakness."
- Sarasota Herald Tribune, Richard Storm. February 2003

"Thomas rose to the operas drama and sang an expressive and concentratred pieta rispetto amoré."
- Opera London, Lawrence Johnson. July 2003

"Todd Thomas, Sarasota’s excellent Falstaff two years ago... (his) was a dark palpable charge..."
- Opera News, John Flemming. August 2003

"Baritone Todd Thomas inhabited the title role with enormous dramatic presence, a sonorous well supported voice and uncanny musicianship. There was nothing this young American baritone didn’t do right."
- Ithaca Journal, Stephen Landesmann. May 2003

Nabucco
“Todd Thomas revealed a sizeable baritone voice that was even throughout its range. More impressively, Thomas showed that he could sing softly as well, as he demonstrated in his last-act aria, "Dio di Giuda." His portrayal of the Babylonian king was touching when the king was in decline, as he struggled to regain his reason and save his daughter.”
- The Virginian-Pilot

Otello
"Iago sung by Todd Thomas is particularly evil belting out his 'Credo'."
- Wilmington News Journal, Jeff Murray. November 2002