Director/Ruanist/Buddha/Xuanzang in Ho's The Monster of Gao Village
"Michael CT Lam did a good job directing the opera and singing and playing the Chinese mandolin." - Astrid Laich, Stagedoor (2023)
Marcello in Puccini's La bohème
"Lam was a splendidly macho, endearing Marcello with a rich, ringing baritone" - Natasha Rogai, South China Morning Post (2023)
Commendatore in Mozart's Don Giovanni
「林俊廷的雕像磁性低音也很驚悚。("Michael Lam's statue magnetic bass is also very scary.")」 - 周光蓁，大公網 (2022)
Don Pasquale in Donizetti's Don Pasquale
"Michael Lam in the title role... has a lovely voice, baritone merging into bass, which impressed every single time he opened his mouth." - Roderic Dunnett, Behind the arras (2021)
Figaro in Rossini's The Barber of Seville
"The first appearance on stage of the Hong Kong baritone Michael Chun Ting Lam was indeed thrilling... Lam makes an endearing Figaro, boastful, resourceful, with a wry smile and a big voice that goes very deep and resounds around the hall." - Fanny Charles, Fine Times Recorder (2021)
"Michael C.T. Lam had a wonderful richness of tone as Figaro, giving a virtuosic performance of Largo al Factotum," - Linda Mumford (2021)
Willow, the Butterfly's son, in Madam Butterfly
"Michael Chun Ting Lam’s puppetry is extremely well-observed, earning an appreciative response from the audience," - Charlotte Oliver, On: Yorkshire Magazine (2020)
Barone Douphol in Verdi's La Traviata
"Once again Michael dominates the stage and shows vocal prowess. His physical movements slow and calculated like a tiger during a hunt. During the gambling scene Michael’s visage became almost demonic as he channelled the Baron’s character through his intense combination of singing and acting." - Rangzeb Hussain, I Am Birmingham (2019)
Escamillo in Bizet's Carmen
"Michael is a really charismatic singer who grabs the attention with his vocal and dramatic flourishes... Michael Lam has a commanding presence and he brings virility and exotic tension to the role of Escamillo." - Rangzeb Hussain, I Am Birmingham (2018)
"Michael Lam gave a truly heartly rendering of a bullfighter for the rapt audience." - Maggie Cotton, Birmingham Post (2018)
Silvano in Verdi’s Un Ballo in Maschera
"Michael Lam made a strong impression with his appearance as Christian." - Yehuda Shapiro, Opera Magazine (2017)
Tonio in Leoncavallo's Pagliacci
"Right from the start, and Michael Lam (Tonio)’s ringing, black-voiced Prologue, this really did pull you into the drama..." - Richard Bratby, Birmingham Post (2016)
"The climax of the show, as the final spotlight closes in on Tonio's face, grimacing and then snarling and laughing in a disturbing and inhuman way, left me in deeply moved. This was singing, acting, and human emotion which articulated very clearly the opening of the opera in which Tonio warns the audience that what they are about to see is more than just entertainment, it is a mirror of life itself. This passionate, lyrical, and dynamic performance was opera as art. Thank you, Michael Michael Ct Lam." - Rangzeb Hussain (2016)
Death in Holst’s Sāvitri
"Michael Lam's statuesque portrayal of Death, with a bass that shook the rafters, looked good and avoided sounding like a pantomime villain" - Richard Bratby, Birmingham Post (2016)
Colline in Puccini’s La Bohème
"Watch out too for more of Michael Lam’s deliciously deep, rich voice – a young Birmingham Conservatoire student." – Maggie Cotton, Birmingham Post (2015)
Dr. Blind in Johann Strauss II's Die Fledermaus
「飾演不靈（Dr. Blind）的林俊廷雖然表演機會不多，但聲量巨大，即使在合唱團中也一支獨秀。 ("Although Michael Lam, who sang Dr. Blind, had few chances to perform, his voice was big and stood out from the ensemble.")」 - 洪思行，獨立媒體 (2015)
Bottom in Britten's A Midsummer Night's Dream
"Michael Lam was an entertaining and endearing Bottom." - Satoshi Kyo, Time Out Hong Kong (2012)
「飾演Bottom的低音男中音林俊廷較為出色，唱做均佳，個子不高大，但音色、音量頗有潛質。("Michael Lam, who played Bottom, is more outstanding. He sang well and acted well. He is not tall, but his timbre and volume both show his potential.")」- 劉靖之，信報 (2012)