“The French mezzo-soprano and the vocally robust Canadian baritone Joshua Hopkins delivered one of the evening’s vocal high points, the richly layered duet in which Dorabella and Guglielmo appeared awestruck by their newfound love. Hopkins earned his ovation for Guglielmo’s railing against the “perfidy” of womankind…His firm baritone and sure dramatic instincts hit their mark in a character whose arrogance can be annoying in less sensitive hands.” Chicago Tribune, John von Rhein, February 18, 2018.

“Doing a 180 from the doomed violinist Tadeusz in Lyric’s The Passenger three seasons ago, the versatile Joshua Hopkins showed himself equally assured at Mozart comedy as Guglielmo. The Canadian baritone wielded his dark, weighty voice with surprising agility and was always on point with his character–lyrical in the charming duet “Il core vi dono” with Crebassa and bringing vehement intensity to his denunciation of women in “Donne mie, la fate a tanti!” Chicago Classical Review, Lawrence A. Johnson, February 18, 2018.

“Yet Crebassa’s falling-in-love scene with the sister’s rambunctious fiancé Guglielmo, played by Canadian baritone Joshua Hopkins, seems like the real deal; this superb couple is so utterly enchanting in their playful intimacy that you, too, will forget yourself, if only for the few minutes they take to exchange their lockets.” Chicago Sun-Times, Nancy Malitz, February 19, 2018.

“When she succumbs to the charms of Joshua Hopkins’ Guglielmo in their duet “Il core vi dono,” it is completely believable that her Dorabella would stray from the love of her life…Hopkins, brought a masculine presence to Guglielmo, who is certain that his Dorabella [sic] will remain true to him. His frustration is evident when he launches into his “Donne mie, la fate a tanti” about the fickleness he has witnessed…Both men worked in nice touches in terms of their acting. Hopkins’ gloating that his woman was faithful was hilariously arrogant…” Operawire, Santosh Venkataraman, February 28, 2018.