 SELECTED REVIEWS
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Critical Acclaim in the works of Benjamin Britten [PDF]
"Michael Colvin brought a sweet, agile lyric tenor to Don
Ottavio's two arias"
- John von Rhein, Chicago Tribune on Mozart's DON GIOVANNI (Chicago Opera Theater, 2008)
"Michael Colvin possesses one of the most beautiful young lyric tenor
instruments around, and he found a congenial assignment in Belmonte. His voice
is sizable, with an intrinsic timbral sweetness - capable of a heroic ring above the
staff, as well as cleanly articulated passage work. He was gratifyingly allowed "Ich
baue ganz", dispatching this technical litmus test with velocity and
grace."
- Mark Thomas Ketterson, OPERA NEWS on Mozart's ABDUCTION FROM THE SERAGLIO (Chicago Opera
Theater, 2006)
"Gerontius, sung with elegance and the purity of lyricism by
Irish-Canadian tenor, Michael Colvin, is a taxing role that requires an
almost Verdian thrust but also the most expansive sense of lyrical control. Colvin’s
diction was brilliant and his use of text was especially moving. A free and
impressive upper register, the squillo of his tenore bruciato added to the
dramatic presence of Gerontius. Although this is a concert work, Colvin was
continually in character and indeed most musically presented."
- Mary-Lou P. Vetere, Opera Today on Elgar's DREAM OF GERONTIUS (Elora Festival, 2007)
"The tenor, Michael Colvin, has one of the finest lyric voices in the
land."
- Ken Winters, The Globe and Mail on Mozart's REQUIEM with Peter Oundjian (Toronto
Symphony Orchestra, 2007)
"The Irish-born tenor Michael Colvin was best: stylish,
vigorous, communicative, impeccable and free in florid passages, touching in pathos, a
model Handelian."
- Ken Winters, The Globe and Mail on MESSIAH (Toronto Symphony Orchestra, 2005)
"Rossini’s Scottish melodrama La
donna del Lago is rarely performed because so few singers can survive the vocal
gymnastics. Garsington Opera has managed to find them... The young cast rises to
the challenge of one sensational aria after another. Michael Colvin as Rodrigo matches
(Colin) Lee (Giacomo) in an aria battle of the high Cs"
- Clare Colvin (no relation!), Sunday Express on Rossini's DONNA DEL LAGO (Garsington
Opera, 2007)
"...Michael Colvin delivered the tenor solos with a bright,
forward tone and shaped his phrases with dynamic energy." - Michael
Zwiebach, San Francisco Classical Voice (sfcv.org) on Bach's CHRISTMAS ORATORIO (San
Francisco's Philharmonia Baroque, 2006)
"[Michael Colvin as Belmonte] traces the long Mozartean lines with an elegance
and grace matched by a dashing stage presence, also a coloratura technique that conquers
all with disarming ease."
- John von Rhein, Chicago Tribune on Mozart's ABDUCTION FROM THE SERAGLIO (Chicago Opera
Theater, 2006)
"Handsome and stalwart in his dashing aviator uniform and high boots, Michael
Colvin's Belmonte poured out his love in a seamless, creamy-toned tenor."
- Wynne Delacoma, Chicago Sun-Times on Mozart's ABDUCTION FROM THE SERAGLIO (Chicago Opera
Theater, 2006)
"But if there is one thing in this
performance that could be called sublime, it would have to be the Benedictus
performed by tenor Michael Colvin. Colvin is an exciting artist who has the
remarkable ability to make every note in the longest, most florid lines stand out clearly
and cleanly, and his effortless delivery really put a shine on the evening's
performance."
- Steven Baric, The Chronicle-Journal on Bach's B-MINOR MASS (Thunder Bay Symphony, 2006)
"Among the soloists, the star was tenor
Michael Colvin. His voice is both powerful and beautiful — a rare
combination — and his runs are a triumph. The familiar opening lines, "Comfort
ye, my people," were indeed comforting: no fussy ornamentation, just lovely,
convincing sound. He made real the promise of making the crooked straight and the rough
places plain, and what could be more meaningful in these difficult times? Mozart gave "Rejoice
greatly" to the tenor, and Colvin sang it better than most sopranos, taking it
at a good clip, every sixteenth note clear and in tune. He sang "Thou shalt break
them" with impressive coloratura and great dramatic force."
- Anna Carol Dudley, San Francisco Classical Voice (sfcv.org) on MESSIAH
(Philharmonia Baroque, 2005)
"Of all Canada's superb tenors, these days the Irish-born but Canadian-raised and
-trained Colvin is the one I most look forward to hearing. His lovely, healthy
tenor, allied to his sure sense of pitch, was the rock, Saturday, of those
Verdian ensembles, which take chromaticism well beyond Wagner. Colvin's big solo,
the Ingemisco, was gorgeous, and his opening phrases at the
"Hostias" in the Offertorium were very moving."
- Ken Winters, The Globe and Mail on Verdi's REQUIEM (Elora Festival, 2005)
"Qualite du timbre, aisance dans les vocalises, intuition stylistique: ce tenor a
tout pour faire carriere dans Rossini" (trans: "Quality of tone,
ease of technique, stylistic intuition: this tenor has it all for a career in Rossini.")
- David Shengold, Opera International on Rossini's TANCREDI (Canadian Opera Company, 2005)
"Tenor Michael Colvin spun pure, lyric honey as Belfiore, his Act II duet
with Durkin providing the vocal highlight of the evening."
- Mark Thomas Ketterson, Opera News on Rossini's IL VIAGGIO A REIMS (Chicago Opera
Theater, 2004)
"Michael Colvin, as the romantic lead Belmonte, was assured and luminous
in his solo work, and an excellent partner for soprano Aline Kutan as Konstanze..."
- David Gordon Duke, Vancouver Sun on Mozart's ABDUCTION FROM THE SERAGLIO (Vancouver
Opera, 2004)
"Colvin's rich tones and velvet lyricism were very moving."
- Elizabeth Paterson, ReviewVancouver.org on Mozart's ABDUCTION FROM THE SERAGLIO
(Vancouver Opera, 2004)
"... a fine clear voice that was both sweet and powerful."
- Stephen Pedersen, The Chronicle Herald on Mahler's DAS LIED VON DER ERDE (Symphony Nova
Scotia, 2004)
"his vocal work was godlike in every respect, with clarion
timbre and pinpoint accuracy." - William Shackleford, OPERA Magazine (UK) on
Handel's SEMELE (Chicago Opera Theater, 2002)
"The brightest light of the evening was tenor Michael Colvin in the
role of Count Almaviva. Colvin's voice seemed a perfect model of the 'bel canto'
style of singing that Rossini's music employed. Supple and plaint, it moved beautifully
and with precision through the rapidly decorated vocal runs supplied by the
composer."
- Tim McDonald, The Sun Newspaper on Rossini's THE BARBER OF SEVILLE (Lyric Opera of
Kansas City, 2000)
"Almaviva was the young Michael Colvin, a tenor of whom we shall hear
more I am sure... it's all there, technique, tone and stage presence."
- Peter Dyson, OPERA Magazine on Rossini's THE BARBER OF SEVILLE (Canadian Opera Company,
1999)
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