“As her lover Orpheus, Joshua Hopkins possessed a vibrant and imposing sound that rang clearly throughout the evening. His rather potent vocalism contrasted nicely with Morley’s more subdued approach early on, emphasizing the distance between the two. This vocal fullness would also express itself in more heroic gestures, particularly when Orpheus promises to rush off and save Eurydice from hell at the close of Act two. In moments where Orpheus expressed his pain, Hopkins’ voice was more relaxed and gentle, notably in the scene where he sings in Latin before the gates of Hades.” Operawire, David Salazar, November 24, 2021.

“Aucoin splits the role of Orpheus — his earthly form sung with force and fire throughout by baritone Joshua Hopkins.” Washington Post, Michael Andor Brodeur, November 24, 2021.

“Joshua Hopkins is a vigorous Orpheus.” Financial Times, George Loomis, November 26, 2021.

“Hopkins’ brought him to life in a way you wouldn’t have thought possible, particularly when he was singing with his double, the striking countertenor Jakub Josef Orlinski (in his Met debut). Their pairing was quite remarkable, with their contrasting voices…Hopkins’ touching aria as he bids for his wife’s return in Act III was remarkable.” Broadway World, Richard Sasanow, November 24, 2021.

“Orpheus was Joshua Hopkins, the Canadian baritone, who sang in his usual handsome fashion.” New Criterion, Jay Nordlinger, November 24, 2021.

“Morley and Hopkins both sang with great care—Hopkins had passionate fervor all evening.” New York Classical Review, George Grella, November 24, 2021.

“A countertenor double (Jakub Józef Orliński) sticks close by, and his voice winds itself around Hopkins’s warm baritone like a lute string vibrating in sympathy. The device yields moments of male companionship that seem touching until you remember that the character’s closest relationship is with himself.” Vulture, Justin Davidson, November 24, 2021.