“The baritone Joshua Hopkins was a standout as the impetuous Mercutio.” The New York Times, Anthony Tommasini, April 24, 2018

“Baritone Joshua Hopkins and tenor Bogdan Volkov complemented one another well as Mercutio and Tybalt respectively, both playing up Alpha male interpretations of their respective characters. While this is certainly something one might expect from a Tybalt, sung by Volkov with forceful but elegant sound, it isn’t always the case with Mercutio, who often gets played as a relaxed trickster. But Hopkins really played up his leadership qualities, singing with a ferocious and potent sound that was both gorgeous and intimidating all the same. This played especially well in the scenes where he confronts Tybalt over insulting Roméo, the fight between the two men given greater weight by their genuine battle for control. Of course, a muscular interpretation downplays some of the lighter moments in the opening act when he encourages Roméo to overcome Rosalinde. His Queen Mab aria, while beautifully sung through and through with a luxurious tone and pinpoint intonation, could have used a bit more lightness and overall variation in the tonal colors and dynamics. The phrase “Elle fuit, elle passe” gets repeated numerous times, in alternating quarter and eighth notes to provide the corresponding sense of lightness of the text. Hopkins’ robust sound in these passages was not quite light or fun as it was commanding and pointed. It’s a unique interpretation of the character, adding a darker overall edge to the tragedy.” Operawire, David Salazar, April 29, 2018.

“Tybalt…and the other brawling clansmen—Mercutio…Stephano…and Benvolio…sang well and with a sense of life and freedom that matched their stage activity, which included some decent sword fighting.” New York Classical Review, George Grella, April 29, 2018.