Search...

Category Archive:   Press


“…there’s a real surge of emotion at the climax of the Act 2 duet with Joshua Hopkins’s outstanding Athanaël. His is a remarkable, unforgettable performance, sung with consistently expressive beauty, and quite superbly characterised, with every second of Athanaël’s progress from prurient fanaticism to desire, atheism and despair registering with quite astonishing vividness. Hopkins . […]

Read More

“The vivacious Eurydice (the soprano Danielle de Niese) seems smitten with the hearty Orpheus (the baritone Joshua Hopkins)…In the opera’s boldest stroke, Mr. Aucoin, who sees Orpheus as a divided character, gives him a double. Orpheus the everyday guy — clueless if also endearing — is sung by Mr. Hopkins, with firm voice and youthful […]

Read More

“And the hearty-voiced baritone Joshua Hopkins stole the show as Papageno, the hapless bird-catcher who reluctantly becomes Tamino’s sidekick on his quest. Mr. Hopkins’s antics and pratfalls had the audience giggling all afternoon.” The New York Times, Anthony Tommasini, Dec. 16, 2019. “Stellar performances were delivered by all the players. Joshua Hopkins, baritone, provided a […]

Read More

“Joshua Hopkins sang the enormous role of Athanaël with stunning skill. His character’s bold, even bullying personality was spot on, depicting a monk who is often called too proud in his single-minded pursuit of winning the soul of the courtesan Thaïs. In the end, Athanaël discovers he is in love with Thaïs, and renounces his […]

Read More

“Dans le rôle-titre, le baryton canadien Joshua Hopkins campe habilement un Figaro pieds nus, tatoué, quelque peu voyou. La voix est chaude et solide. L’engagement dramatique est manifeste. La rouerie de cet immense personnage est bien présente.” Brigitte Cormier, Forum Opera, Septembre 29, 2019. “Joshua Hopkins a le baryton sonore requis pour le rôle de […]

Read More

“Baritone Joshua Hopkins absolutely owns the title character, singing the angelic Budd—whom Britten composed almost as a tragic counterpart to Wagner’s Parsifal—with a radiant, full-hearted commitment that continues through Budd’s inevitable fate. The aria in the “Darbies” as the condemned Budd awaits his demise is stunningly rendered by Hopkins, whose interplay with the piccolo riffs […]

Read More