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Category Archive:   Reviews


“…Joshua Hopkins, with a bright, ardent voice, held his own in the bari-hunk role of Valentin…” Washington National Post, Anne Midgette, March 17, 2019. “One of the show’s most beautiful tunes, Avant de quitter ces lieux, is given to Valentin, sung in this production by baritone Joshua Hopkins. He caressed the cavatina with a tender affection […]

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“Joshua Hopkins’ rich, warm baritone made a great impression as Harry Bailey in his San Francisco Opera debut.” Bachtrack, Donna Stoering, November 21, 2018. “George’s brother Harry who does go off to college was sung by Canadian baritone Joshua Hopkins with vibrant presence.” Opera Today, Michael Milenski, November 23, 2018. “…a duet for George’s brother […]

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“Zambello gathered a cast that was tailor-made for their roles, and they made it all seem so natural and effortless. Joshua Hopkins in the title role came through the audience tossing off opera’s most famous entrance aria with aplomb. Hopkins’ baritone is full and free with high notes that ring effortlessly, and his Figaro was […]

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“The baritone Joshua Hopkins was especially confident and clear, with a high center of vocal gravity…” The New York Times, Zachary Woolfe, June 15, 2018. “Baritone Joshua Hopkins began the evening with “Largo al factotum” from Rossini’s “The Barber of Seville.” His rendition had no shortage of skill or humor, charming the audience from the […]

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“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 […]

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“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 […]

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