The Metropolitan Opera
Eurydice 2021

“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

“Aucoin splits the role of Orpheus — his earthly form sung with force and fire throughout by baritone Joshua Hopkins.”
Washington Post

“Joshua Hopkins is a vigorous Orpheus.”
Financial Times

“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

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

“Morley and Hopkins both sang with great care—Hopkins had passionate fervor all evening.”
New York Classical Review

“Hopkins brought a warm, ample, round timbre…”
Ôlyrix

“A powerful and homogeneous voice, capable of delicate nuances and emotion…”
Forum Opéra

“Joshua Hopkins is charming and firm, valiant and grandiose…”
Opera Online

“As Orpheus, Joshua Hopkins had a believably boyish charm and swagger. His smooth voice meshed beautifully with Orlinski’s soft-grained countertenor, the two entwining like vines.”
Classical Voice North America

“Hopkins’s Orpheus was … a commanding vocal presence with metallic cut and princely luster.”
Parterre Box

“ Hopkins’s Orpheus was an equal mix of naïveté, ardor, and bravery. The effect of Orlinski and Hopkins singing together called to mind the other-worldly sounds of a glass harmonica.”
Seen and Heard International

“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

credit Marty Sohl

Lyric Opera of Chicago
L’elisir d’amore 2021

“With his rich baritone, Hopkins’s Belcore was much more than a self-important lothario. Yes, he looked hot in his navy whites, and he loved the sound of his own resonant voice. But skillfully skirting slapstick, his naval captain was delightfully believable: your average, good-looking bro’ too clueless to recognize that his usual magic isn’t working.”
Chicago Sun-Times

“Joshua Hopkins was a superb Guglielmo in Lyric Opera’s memorable Cosi fan tutte of 2018. The Canadian baritone proved just as vital a comedic presence as Belcore. Here rather than the blustery army captain, Belcore is a naval officer who enters on a Vespa, followed by his fellow sailors. Hopkins sang with a fine, dark-hued voice throughout and once again showed himself a natural comedian. Belcore’s over-the-top macho swagger was consistently hilarious while still keeping the character’s edge of danger and violent jealousy.”
Chicago Classical Reader

“Joshua Hopkins delivered a beautifully sung, vainglorious Belcore who managed to dilute his bluster with just enough personal charm to keep things affable and genuinely funny.”
Opera News

“Canadian baritone Joshua Hopkins had the audience in the palm of his hand as soon as he hopped off his Vespa and swaggered across the stage as the dashing but arrogant Captain Belcore. Possessing a gleaming, even instrument, Hopkins sang with a tone that was malleable enough to precisely execute the coloratura in his aria “Come Paride vezzoso” without compromising legato. Slater states that he wanted to make Belcore a “genuine contender for Adina’s hand.” This was evidenced by moments of chemistry between Belcore and Adina, which made Nemorino’s pain all the more heart-wrenching.”
Opera Canada

“Belcore is played with just the right brash self-confidence by baritone Joshua Hopkins.”
WTTW

“Joshua Hopkins’s approach transformed the stock-in-trade qualities of the character into something more substantial. His opening aria, ‘Come Paride vezzoso’, stood out for its solid delivery and well-considered phrasing. Hopkins’s Belcore is aware of his romantic shallowness, and it lets him make the most of his posturing. Throughout the evening, Hopkins delivered his lines with consummate diction and timing. His performance was persuasive, especially the duet ‘Venti scudi’.”
Seen and Heard International

“Belcore [is] resonantly voiced by Joshua Hopkins…Hopkins, who sings with assertion and force, makes his character’s case to keep things interesting.”
Chicago Tribune

“Belcore is a muscle-flexing, cycle-riding naval officer, brought to comic life by baritone Joshua Hopkins.”
Chicago Reader

“We had excellent support from baritone Joshua Hopkins as a strutting, arrogant Belcore, very well sung and also displaying excellent comic timing and physicality.”
Parterre Box

credit Cory Weaver

Songs for Murdered Sisters
2021

HGO Digital • Film

“With his glowing, velvety baritone, Hopkins gives a soul-baring performance that is gut-wrenching, cathartic, and a model of pinpoint focus.”
Opera News

“But above it all is the real beauty of Hopkins’s voice, the strong baritone paired with a throaty anxiety that seeps into these songs. When an artist creates and performs a work as personal as Songs for Murdered Sisters, the danger is in making it entirely about their own experience. Yet there’s balance in how Hopkins performs these songs…there’s something amazing about hearing a man – a low-voiced, strong-sounding man – wailing for these victims.”
The Globe and Mail

“Mr. Hopkins’s gripping performance of the cycle speaks to a tragedy that is both personal and universal.”
Wall Street Journal

“Hopkins, who sings and enacts the cycle with full emotional range…is riveting here, his strong, handsome baritone immediately commanding attention…Seldom have words, music, and performer come together so eloquently, so movingly, as in this Atwood/Heggie/Hopkins collaboration. I urge you to experience it for yourself.”
Opera Canada

“Sung urgently and animatedly by the fine baritone Joshua Hopkins... A lot is achieved here, all with a clearly focused theme.”
Die Welt

“In this case the journey is entirely of the mind. The singer relives the moment of the murder, the immediate feelings of loss and disbelief, before coming to see this incident in the context of similar violence throughout the centuries. Although there are heartfelt passages of reflection, it is the climaxes exploring the extremes of anger that lift this cycle into a musical realm of its own. Other singers who want to take it on will need to match Hopkins’s searing intensity.”
Financial Times

“The cycle's most moving moment comes at the end of "Lost," a lament for the countless women killed over thousands of years at the hands of men. Singing "So many sisters lost/So many lost sisters," Hopkins's voice soars in baffled sorrow as Heggie's piano trudges ahead with heavy chords.”
Musical America

“The immensely talented baritone Joshua Hopkins, collaborated with the composer Jake Heggie and the writer Margaret Atwood on the cycle “Songs for Murdered Sisters,” to draw attention to the pervasiveness of violence against women…In a riveting filmed performance…Hopkins ricochets among the stages of grief.”
The New Yorker

Pentatone • Album

“Songs for Murdered Sisters is at once powerful and tender, and also prompts a remarkable vocal performance from Hopkins…Beautifully performed here, the cycle ultimately transcends the terrible circumstances of its conception to offer both a strident piece of social activism and an affecting work of art.” BBC Music Magazine

“Hopkins is beyond moving in his vulnerability and willingness to address the complicated and disorderly feelings of grief, the grieving process, and the loss of a loved one under tragic and violent circumstances.”
The Whole Note

credit James Niebuhr

Palm Beach Opera
Magic Flute & Pagliacci 2021

“The extraordinary young baritone Joshua Hopkins delivered a solid and well-crafted Papageno, having doubled in the smaller, tragic role of the ill-fated suitor Silvio in Pagliacci.”
The New Criterion

“Silvio was performed by Joshua Hopkins with passion and solid technique.”
Palm Beach Daily News

“Joshua Hopkins was the personality-plus Papageno with the muscular baritone to make the bird catcher’s scenes crackle with comedic life. From his outrageous outfit to his lilting versions of Papageno’s arias, he was the day’s scene-stealer.”
South Florida Classical Review

“Joshua Hopkins, baritone, was a superb Papageno, likable and lovable.”
Palm Beach Arts Paper

credit Sam Garcia

Los Angeles Opera
Eurydice 2020

“The vivacious Eurydice 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 swagger. ”
The New York Times

“The production features a sterling cast led by…the robust baritone Joshua Hopkins (Orpheus)...”
San Francisco Classical Voice

“Sung by baritone Joshua Hopkins with stentorian presence and a beautifully coherent sound, Orpheus is distant and one-dimensional, unable to express himself despite his unparalleled gift of music.”
Bachtrack

“Joshua Hopkins’ immature Orpheus pierces with confident brashness, alive and freshly flushed…”
ConcertoNet

“Baritone Joshua Hopkins ably carried the musical and dramatic line of Orpheus as a ‘regular guy’…”
Seen and Heard International

“Baritone Joshua Hopkins as Orpheus sang with a deep and fierce grief.”
Times Union

“Joshua Hopkins’ Orpheus was perfectly arrogant in his delivery, with clarity and bravado expected of the role.”
OperaWire

“Joshua Hopkins as Orpheus was tasked with the job of sounding absolutely glorious in everything he did. In this he was abetted by the composer who made certain his vocal lines were suffused with poetry. He rang out effortlessly over the orchestra and was singularly touching in his appeal at the Gates of Hell in Latin.”
Parterre Box

credit Marty Sohl

The Metropolitan Opera
The Magic Flute 2019

“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

“Stellar performances were delivered by all the players. Joshua Hopkins, baritone, provided a modern take on Papageno. His singing is pure perfection and his clownish capers lit up the stage. Hopkins is a brilliant physical comedian as well as master of the singer’s art.”
Bachtrack

“As Papageno, Joshua Hopkins brought an abundance of laughter through his time onstage. His introductory aria, “Der Vogelfanger bin ich ja” carried a bright and firm energy which lasted through most of the strophic number, slowing with a relishing draw at the thought of one day finding a mate. This vocal brightness lent itself to his taking of the credit for killing the serpent, with a humorous, resounding “Strangled it!” Hawkin’s [sic] lines were often delivered with skillful timing, and he showed great control of his support as through his many dynamic actions. This energy also helped with his interactions with much of the onstage puppetry, such as when he and Tamino receive food from Sarastro, as Papageno has his finger pinched by a lobster and tries to pull spaghetti from a floating bowl. These qualities nicely came together for his Act two number “Ein madchen oder Weibchen, as his upbeat, longing sentiments were joined by his dance moves, including a brief use of the “Floss” dance from the popular children’s game “Fortnite.”
OperaWire

“A major exception was…Joshua Hopkins, whose Papageno was a clear crowd favorite and a breath of fresh air in an otherwise dreary performance. Whether speaking or singing, Hopkins balanced a warm, rounded tone with crisp declamation and energetic delivery to create a Papageno who was both ceaselessly engaging and musically gratifying…full of vocal thrills and physical athleticism. At one point, Hopkins flossed (the 2019 dance move, not the dental procedure) to the sound of the magic bells, drawing many laughs from the younger members of the audience, and offering a vision for how contemporary and relevant this holiday production might have been…”
Parterre Box

credit Karen Almond

Central City Opera
Billy Budd 2019

“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 from the pit was breathtaking. Hopkins even portrays Budd’s fateful stutter with almost alarming effectiveness, especially in the climactic scene where the stutter dooms him.”
Kelly Dean Hansen, Ph.D.

“In the title role, Joshua Hopkins…looked properly young and handsome, bearing a pleasingly cheerful demeanor that set the opera’s tragic course in motion. His baritone was strong and clear, as was his acting. Hopkins’s final scene was powerfully and sympathetically delivered.”
Opera News

“Hopkins’ sturdy lyric baritone, handsome appearance and persuasive acting has made him an obvious candidate for the iconic role of Billy Budd. Hopkins proved to be an extraordinary Billy.”
Opera Warhorses

“Hopkins demeanor and baritone exude Billy’s sunny sense of being and valiant vision.”
Colorado Drama

credit Amanda Tipton

Pittsburgh Opera
Don Pasquale 2019

“Baritone Joshua Hopkins as Dr. Malatesta was especially robust; his melodies rang with authority and grace. His third act duet with Mr. Glavin (the notorious patter song “Cheti, cheti immantinente,” immediately encored) and first act scene with Ms. Oropesa (“Vado, corro”) were musical highlights, with crisp ensemble work and riveting staging.”
Pittsburgh Post-Gazette

“The Canadian baritone Joshua Hopkins, in his company debut as the second named character, made an exceptionally fine first impression. His voice is one of great power and warmth, and his comedic timing is excellent. The incredibly complex patter song he sang with Glavin (twice) was met with roars of applause.”
Pittsburgh in the Round

“Another reason to see this Don Pasquale is to see and hear baritone Joshua Hopkins. His strong baritone voice, which can be authoritative or caressing, was put to good use as Dr. Malatesta which he played with camp and flair…He is clearly a rising star I would love to hear again.”
OperaGene

credit David Bachman

Washington National Opera
Faust 2019

“Joshua Hopkins, with a bright, ardent voice, held his own in the bari-hunk role of Valentin…”
Washington National Post

“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 that focused my attention on the beauty of the whole, not just his exceptional voice. Please, WNO, may we hear more of Hopkins in the future.”
DC Metro Theater Arts

“Baritone Joshua Hopkins sang beautifully as Marguerite’s doomed brother Valentin, with a relaxed tone and sumptuous legato, and an easy top.”
Schmopera

“Baritone Joshua Hopkins played Valentin, the stalwart military hero and upright brother to Marguerite. Hopkins could have remained a ramrod-stiff “toy-soldier” in the role but instead crafted detailed moments of tenderness as well as humor as in his simple act of farewell to Marguerite and his reviewing his troops. He moved me deeply in the famous soldier aria “Avant de quitter ses lieux.”
DC Theatre Scene

“Other standouts are a quite fabulous and fully-committed Joshua Hopkins as Valentin, acting for Shakespeare and singing with an exciting, fulsome baritone. If his disgust with his sister is bizarre by modern standards, Hopkins sells it through sheer outrage.”
Metro Weekly

credit Scott Suchman

San Francisco Opera
It’s A Wonderful Life 2018

“Joshua Hopkins’ rich, warm baritone made a great impression as Harry Bailey in his San Francisco Opera debut.”
Bachtrack

“George’s brother Harry was sung by Canadian baritone Joshua Hopkins with vibrant presence.”
Opera Today

“A duet for George’s brother Harry and his uncle Billy (Joshua Hopkins and Anthony Dean Griffey respectively, both of them superb) is witty and vivacious.”
San Francisco Chronicle

“There was instant warmth between George and his brother Harry, sung by resonant baritone Joshua Hopkins.”
SF Examiner

“Making an impressive house debut, baritone Joshua Hopkins imbued Harry Bailey with vitality and vigor…”
Parterre Box

“Joshua Hopkins shows off a robust baritone and exudes an all-American confidence.”
San Francisco Classical Voice

credit Cory Weaver

Glimmerglass Festival
Il barbiere di Siviglia 2018

“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 a dashing scamp.”
Seen and Heard International

“In the title role, Joshua Hopkins brought physical ease and a dark, sturdy timbre that was well matched by Emily d’Angelo’s glamorous Rosina.”
Opera News

“Baritone Joshua Hopkins’s “Largo al Factotem,” [sic] Figaro’s opening aria, exacted a balance of joie d’vivre and irony with his suave but gutsy voice.”
New York Arts

“Figaro is charmingly played by Canadian baritone Joshua Hopkins. Possessing a rich lyric baritone, command of Rossini’s tongue-twisting patter, and a superb sense of comic timing, Hopkins was mesmerizing in this part. Hopkins’ Figaro entered from the rear of the audience, his sonorous baritone filling the Alice Busch Theater from the first notes of Largo al factotum.”
Opera Warhorses

“From the moment Joshua Hopkins, as Figaro, made his entrance from the back of the orchestra seats, he dominated the stage with his resonant baritone and confident, boisterous acting style.” Classical Voice North America“As the title character, baritone Joshua Hopkins delivered a star turn as Seville’s most famous and craftiest barber. What a whopping role Figaro is, too. One must sing like a saint and be able to act like the devil. Hopkins’ signature aria, which sets the tone for the show, was outstanding.”
Operatoonity

credit Karli Cadel

The Metropolitan Opera
Roméo et Juliette 2018

“The baritone Joshua Hopkins was a standout as the impetuous Mercutio.”
The New York Times

“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

“His meticulous gestures intelligently suit the evolution of the character. The same goes for his faithful Mercutio, the baritone Joshua Hopkins. Mocking and playful for the "Ballad of Queen Mab", his bass abounds, then becomes growling and threatening in front of Tybalt before Mercutio succumbs.”
Ôlyrix

“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

credit Ken Howard

Lyric Opera of Chicago
Così fan tutte 2018

“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

“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

“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

“As Guglielmo, baritone Joshua Hopkins gave a full-voiced performance from the start. He contributed well-considered humor to the first-act aria ‘Non siate ritrosi’, with a welcome physicality. Hopkins’ warm sound benefitted from fine diction and articulation. In the duet with Dorabella, ‘Il core vi dono’, he was impressively impetuous.”
Seen and Heard International

“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

credit Cory Weaver

Dutch National Opera
The New Prince 2017

“The standout singer is Joshua Hopkins as Machiavelli…”
Financial Times

“With his handsome timbre, baritone Joshua Hopkins as Machiavelli gets to sing the most lyrical pages at the beginning and end of the opera.”
Bachtrack

“With his large, expressive baritone and vivid stage presence, Joshua Hopkins excelled in creating the role of Machiavelli. Fairouz reserves most of the opera’s vocal highlights for him, especially the chastened beauty of the epilogue. After so much frantic activity, Machiavelli resigns himself and prepares to “enter the courts of the ancients.”
Vanguard Seattle

“It is beautifully sung by the baritone Joshua Hopkins, a Machiavelli who continues to search for honesty through everything until he falls a second time in disgrace.”
The Green Amsterdammer

“The sound Canadian baritone Joshua Hopkins fulfilled the role of Nicolò Machiavelli with the subservient contributions of a writer who yearns for success. The smaller roles (the characters resemble their originals due to the great make-up work) are excellently performed.”
Place de l'Opera

“It starts with a veritable dungeon scene, with a steadfast and eloquent Joshua Hopkins as Machiavelli, desperately in chains."
Online Musik Magazin

credit Marco Borggreve

Washington National Opera
Le nozze di Figaro 2016

“All roads lead to Count Almaviva, it seems, in Figaro and I can think of none more dashing, sexy, and complex as Joshua Hopkins now making the role his own at WNO. His swagger and confidence as he relishes flirting with Susanna; his moments of contemplating his treatment of the Countess; and his eventual lesson learned when the machinations and entanglements cease are all part and parcel of Hopkins’ brilliant portrayal of the Count. His ringing baritone is also up to the task, handling his arias with ease.”
Broadway World

“Joshua Hopkins as the Count rolled on stage with rock star sensuality, and his voice was gorgeously seductive. At the start of the second half, he enters wearing a beautiful blue brocade floor-length dressing gown and goes to sit at his desk flanked behind by the double colonnade. The moment is so picture perfect, lit by Mark McCullough, one would be forgiven if one wanted to gasp in sheer beauty. Soon thereafter, Hopkins seductively rips open the top of his garment to reveal an awesome chest of dark tangled hair. Throughout the night, the man also showcased the technical prowess of a beautiful blended voice.”
DC Theatre Scene

“Figaro (Ryan McKinny) and the Count (Joshua Hopkins)…their characters were well-drawn throughout. Seducer and schemer, master and manservant, they both came across most convincingly.”
Bachtrack

“Passions and jealousies fairly erupt out of Joshua Hopkins.”
DC Metro Theater Arts

“Hopkins’s Count radiates steamy sexuality with marked notes of perpetual confusion and anger. A powerful bass [sic], Hopkins successfully asserts the arrogant authority of a nobleman.”
MD Theatre Guide

credit Scott Suchman