Alexandre Sylvestre's Ponchel, the innocent aide-de-camp to Lt. Audebert, sang with sweetness and character.

Mark Stryker Detroit free press 15 novembre 2016

In another good move, Alexandre Sylvestre’s Bartolo steered away from the nasty and disgusting toward the funny, which clearly helped to elevate the mood and drive the pace. Joanne Paulson Opera Canada summer 2016

As  As his aide-de-camp, Ponchel, baritone Alexandre Sylvestre delivers perhaps his finest performance on the Montreal stage, one that passes from the touchingly poignant to the tenderly comic with unerring ease.

 R.Turp Bachtrack mai 2015

Alexandre Sylvestre’s Dr Bartolo is a thoroughly conceived characterization that delights in every minute detail without any flaw in consistency. This not too elderly Bartolo is a strutting and foppish fellow, self-congratulating and elegant in a silly way, one who sneers with a dash of slime in his asides to the audience. What could be a stock character, as it was in Commedia dell’arte, here makes standard stage business dynamic and fresh, and is beautifully sung with resonant tones. His irritations are palpable and delightful each time.

Dr. Bartolo, as interpreted by Alexandre Sylvestre is such a standout that I was almost hoping that this time he’d outflank the Figaro/Rosina axis. The man possesses an amazingly mobile face which he uses to enhance the libretto his wonderful baritone voice is expressing. The man stole the show and post-curtain told me that this was his first attempt at the role. It now deserves to be a permanent part of his repertoire.

Ontario Art Danny Gaisin

...story to its tragic conclusion. Sylvestre’s bass-baritone is at its best during Colline’s melancholy and noble “Vecchia Zimarra”; deep yet finely-controlled, his voice renders the aria one of the evening’s stand-outs. It is a shame that the libretto does not allow Sylvestre’s voice more exposure, as the audience is left wanting more.                       

The Concordian's Juin 2011

But Sylvestre's Schaunard proved that an audience can be as riveted by nuance as by bravado. In Act Four, the bulwark of a bass-baritone found himself at a loss when Mimi's ill health took a turn for the drastically worse. His fumbling fingers, his gentle closing of the apartment door: Schaunard brought a poignance to the slightest gesture that belied his behemoth of a voice.

Martlet  Février 2011

while Alexandre Sylvestre’s Donner, a bass-baritone, was suitably princely and Teutonic in his hymn-like final scene.  

The Globe and Mail