Click to browse by Composer:
Mozart | Rossini | Bach | Handel | Britten | Verdi | Various Concerts
MOZART
DON GIOVANNI (Ottavio)
“Michael Colvin brought a sweet, agile lyric tenor to Don Ottavio’s two arias”
– John von Rhein, Chicago Tribune (Chicago Opera Theater, 2008)
“Canadians Rhoslyn Jones, soprano, as Donna Anna, and Michael Colvin, tenor, as Don Ottavio are well-matched as the opera’s second odd couple and do more to humanize their characters than one sees in many a
stand-and-sing grand opera production”
– Andrew Patner, Chicago Sun-Times (Chicago Opera Theater, 2008)
“The singing on the whole was excellent, with Krisztina Szabó’s Elvira, Michael Colvin’s Ottavio, and (Matt Boehler’s) Leporello probably the stand-outs”
– Bernard Jacobson, Seen and Heard (Chicago Opera Theater, 2008)
MOZART | COSI
FAN TUTTE (Ferrando)
“Michael Colvin (Ferrando), who has impressed audiences in Rossini and Donizetti, showed that he is also a fine Mozartian, with an elegantly sung ‘Un’aura amorosa’.”
– Joseph K. So, Opera Magazine (Canadian Opera Company, 2007)
MOZART |ABDUCTION FROM THE SERAGLIO (Belmonte)
(Chicago Opera Theater, 2006; Vancouver Opera, 2004)
“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
“The aforementioned good singing was headed by Canadian Michael Colvin, who justified having Belmonte get all four of his arias (where) his lovely, clear tenor shone.”
– Richard Covello, Opera CANADA
“She (Leah Partridge as Konstanze) is strongly matched by the bright, ardent tenor Michael Colvin as Belmonte. He 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
“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
“Michael Colvin’s soaring tenor brings out the idealistic devotion of Belmonte’s quest”
– Lawrence Bommer, Chicago Free Press
“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
“The two tenors, Michael Colvin as Belmonte and Marcel van Neer as Pedrillo, both sang with assurance and style… Colvin’s rich tones and velvet lyricism were very moving.”
– Elizabeth Paterson, ReviewVancouver.org
MOZART | REQUIEM
“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)
“as one admired the honey-toned, impassioned Tamino of Michael
Colvin”
– James Manishen, Winnipeg Free Press on Mozart’s THE MAGIC FLUTE (Manitoba Opera, 2001)
“tenor Michael Colvin in particular bowled me over with his masterfully stylish
performance”
– E. Thomas Glasow, Editor, The OPERA Quarterly on Mozart’s IDOMENEO (Canadian
Opera Company, 2001)
ROSSINI
LA CENERENTOLA (Prince Ramiro)
(Portland Opera, 2007)
“Her charming prince, Michael Colvin, manages to produce a
ringing tenor informed in an appealing way with the warmth and kindness of his
character.”
– Pat McElroy, KBPS All Classical Radio
“Tenor Michael Colvin’s Don Ramiro, the prince, was a model of earnest
youth and his chemistry with Niederloh (Cenerentola) was perfect.” – James McQuillan,
The Oregonian
ROSSINI | DONNA DEL LAGO (Rogrido)
(Garsington Opera, 2007)
“… the musical performance was outstanding, with an impressive quartet of
singers in the taxing main roles and some crisp, fluent playing by the Garsington Opera
Orchestra, conducted by David Parry. A persuasive Carmen Giannattasio in the title role,
Alexandra Sherman as a kilt-wearing, punkish Malcolm and Michael Colvin as the unlovely
chieftain Rodrigo all but overcame the vocal obstacles Rossini puts in their way. Bursting
with showpiece arias, this rarely heard score intrigues and delights from first bar to
last.”
– Fiona Maddocks, The Evening Standard
“But, for all the jokes, this beautifully detailed staging delineates the
emotional truths of the drama perfectly, and musical standards under conductor Parry are
equally high. Michael Colvin is Rodrigo di Dhu, another high-pressure tenor role
dispatched with great aplomb.”
– Andrew Clements, The Guardian Unlimited
“There is some excellent singing… Michael Colvin bravely tackles the almost
unsingable role of the rebel leader Rodrigo with its high-range, two-octave leaps.”
– Warwick Thompson, Bloomberg News
“The two tenors, Colin Lee (as the
desguised king) and Michael Colvin (as the rebels’ leader), were easily her (Carmen
Giannattasio’s) equals in mobility and articulation, and the fabulous Act II trio, with
volleys of high Cs out-pinging each other against her death defying roulades, was the
stuff of legend.”
– Peter Reed, Seven Magazine (The Telegraph)
“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
“In this production we are richly supplied with sweet sounds by the singers and
players, under conductor David Parry. Michael Colvin gives an impressive account of her
(Elena’s) rejected suitor Rodrigo, sloughing off any embarrassment he might be feeling
over the absurdity of his costume.”
– By Chris Gray, The Oxford Times
“…artists largely unfazed by Rossini’s technical challenges… Hats off to
Colin Lee (Giacomo) and Michael Colvin (Rodrigo)”
– Geoff Brown, The Times
ROSSINI | TANCREDI (Argirio)
(Canadian Opera Company, 2005)
“Une mention pour le Canadien Michael Colvin, qui fait presque jeu egal avec la
contralto polonaise (Ewa Podles). Qualite du timbre, aisance dans les vocalises, intuition
stylistique: ce tenor a tout pour faire carriere dans Rossini” (trans: “A
mention for the Canadian Michael Colvin, who is almost the equal of Polish contralto Ewa
Podles. 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
“Coming closest to her artistic level was Canadian tenor Michael Colvin, who
brought an attractive sound, fleet coloratura, dramatic dignity and stylistic
understanding to Argirio. It’s time for Colvin’s excellent Rossinian
work to be better-known.”
– David Shengold, Gay City News New York on Rossini’s TANCREDI (Canadian Opera Company,
2005)
“Michael Colvin’s Argirio is unforgettable — a vivid
portrait of a conflicted father who has to fight against both despair and heartbreak over
his ill-fated daughter. His tenor voice is crisp and capable of the most
interesting shadings even at its sharpest heights.”
– Keith Garebian of Stage and Page on Rossini’s TANCREDI (Canadian Opera Company, 2005)
“The Canadian tenor Michael Colvin sang astonishingly well in the
impossible role of Argirio, the vacillating father of the heroine Amenaide, who
adores his daughter on the one hand and signs her death warrant on the other.”
– Ken Winters, The Globe and Mail on Rossini’s TANCREDI (Canadian Opera Company, 2005)
ROSSINI | IL VIAGGIO A REIMS (Belfiore)
(Chicago Opera Theater, 2004; Portland Opera, 2004; Canadian Opera Company, 2002)
“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
“Among the men, the big discovery was the fast-rising Rossini tenor Michael
Colvin, singing sweetly, ardently and musically as Belfiore.” – John
von Rhein, Chicago Tribune
“As the lecherous Il Cavalier Belfiore, Michael Colvin blended an Irish tenor of
high-flying innocence with wonderfully oily manners. His duet with Corinna was a highlight
of the evening.” – Wynne Delacoma, Chicago Sun-Times
“The two tenors were outstanding: John Osborn brought ardency and brilliant top
notes to the Russian Conte di Libenskof (and) Michael Colvin sang sweetly and
smoothly as the debonair Chevalier Belfiore.” – Mark Mandel, OPERA NEWS
“he nearly had the show stolen from under his nose
by the fast-rising tenor Michael Colvin, whose droll Cavaliere Belfiore was a
model of Rossini vocalism.”
– Joseph So, OPERA Magazine (UK)
ROSSINI | L’ITALIANA IN ALGERI (Lindoro)
(Opera Festival of New Jersey, 2003; Canadian Opera Company, 2003)
“Tenor Michael Colvin, with his sweet and even vocal tone, is an
endearing Lindoro.”
– Willa J. Conrad, The Star-Ledger
“Michael Colvin sang with silken suppleness, accuracy and grace.”
– Elaine Strauss, U.S.1 Weekly
“Colvin has a high clear voice that is beautifully focused.”
– Albert H. Cohen, Home News Tribune & Asbury Park Press
“Michael Colvin displayed stylistic assurance and sustained Lindoro’s high
tessitura with fortitude”
– David Shengold, Opera News
“As Lindoro, Colvin displays a delicate tenor with ringing highs”
– Anita Donovan, The Trenton Times
“there’s only one outstanding voice in the cast – that of tenor
Michael Colvin”
– Tamara Bernstein, The National Post
“Partnering her was Michael Colvin, rapidly becoming a noted
Rossinian… Colvin proved an impressive Lindoro, singing with outstanding agility
and clarion, elegant tone.”
– Joseph So, OPERA Magazine (UK)
“Tenor Michael Colvin as Lindoro, Isabella’s true love, effortlessly
shares top singing honours”
– Ken Winters, The Globe and Mail
ROSSINI | THE BARBER OF SEVILLE (Count Almaviva)
(Lyric Opera of Kansas City, 2000; Canadian Opera Company, 1999)
“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
“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
“Michael Colvin plays the lovestruck Count Almaviva with vocal
virtuosity”
– Glenn Sumi, NOW Magazine
BRITTEN
Colvin as Peter Grimes with ENO, February 2014
“…Michael Colvin (Skelton’s official cover, who sang Bob Boles on the first night) and Judith Howarth slotted into the production so seemlessly… [Colvin’s voice] projected effortlessly into the large auditorium; his diction, like Skelton’s, was immaculate.” – Hugh Canning, OPERA Magazine
Peter Grimes with ENO, February 2014
“…Michael Colvin was without doubt the best Bob Boles I have heard and seen; this ‘Methody’ struck a fine balance between a figure of fun and the conscience of the Borough…” – Geoff Read, Seen and Heard International, September 2013
Michael Colvin as Flute/Thisby in English National Opera’s new production of Britten’s A Midsummer Nights’ Dream (Christopher Alden, director and Leo Hussain, conductor:
“Michael Colvin, in the Peter Pears role of Flute, delivered flawless line, sonorous tone and impeccable acting.” – Opera Canada
“Another notable performance came from Michael Colvin as Flute, who balanced a musical, ringing tenor with the hilarity this role requires.” – Music OMH
“Of the mechanicals, the robust tenor of Michael Colvin’s Flute stood out” – Opera Magazine
“Michael Colvin used his fine tenor to great effect as Flute, even better as an outrageous Thisbe” – Classical Source
“The mechanicals, translated into school maintenance men, are somewhat tedious and their lewd sodomising and urinating diminish the humour, though all sing well, notably Flute (Michael Colvin).” – The Observer
“There’s lots of mooning from Simon Butteriss’s Starveling… and thigh-flashing from Michael Colvin’s excellent Flute as Thisbe, but her passion ends the play rather darkly as Puck pops up again to propose our mock-Lucia finish herself off.” – ArtsDesk.com
“Indeed, the rustics in general were all very fine; Jonathan Veira’s Quince and Michael Colvin’s Flute were particularly excellent.” – Musical Criticism
“(Willard) White’s excellent portrayal of Bottom, blessed by a genuinely comic vocal delivery I have not heard in this artist before, was complemented by an equally excellent oddball assortment of rustics, from whom Michael Colvin’s Flute should be considered first amongst equals. The Donizetti parody truly hit home.” – Scene and Heard International
“from a musical perspective this is a distinguished evening… Michael Colvin and Simon Butteriss (Flute and Starveling) stand out among the Mechanicals.” – Classical Source
“Setting the tone was Canadian tenor Michael Colvin, whose Male Chorus was absolutely bright in color, clear in diction and musically secure, towering over the three other male soloists.”
– Richard Covello, Opera Canada on Britten’s THE RAPE OF LUCRETIA (Chicago Opera Theater, 2002)
“Michael Colvin stood out in a uniformly strong cast as a brilliant Male Chorus, exemplary in diction and tonal colouration, highly intelligent in verbal stress without losing the musical line.” – Peter Dyson, OPERA Magazine on Britten’s
THE RAPE OF LUCRETIA (Canadian Opera Company, 1999)
“Michael Colvin sang the role of Johnny Inkslinger with a ravishing
lyric tenor and created a touching, true figure.” – Urjo Kareda, The Globe and Mail
on Britten’s PAUL BUNYAN (University of Toronto, 1998)
HANDEL
MESSIAH
“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 (Toronto Symphony Orchestra, 2005)
“The bright sounds of soprano Nathalie Paulin and tenor Michael Colvin were aural perfection…”
– Paula Citron, Classical 96.3 FM on MESSIAH (Toronto Symphony Orchestra, 2005)
“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)
“Among the soloists, tenor Michael Colvin stood out for his warm, fluid contributions, beginning with his inviting account of “Ev’ry valley shall be exalted”.”
– Joshua Kosman, San Francisco Chronicle on MESSIAH
(Philharmonia Baroque, 2005)
“Tenor Michael Colvin’s work was of equal mettle (to that of mezzo-soprano
Catherine Wyn-Rogers). From the opening recitative, Comfort Ye, one knew that he
would make an outstanding contribution to the enterprise.” – Richard Todd, The Ottawa
Citizen on Handel’s MESSIAH with Trevor Pinnock (NAC Orchestra , 2004)
“the best surprise was tenor Michael Colvin, like (contralto Marie-Nicole)
Lemieux, making his debut with the TSO. His vibrato-free, deep-felt recitatives,
consistent warmth and the heroic cast he brings to his singing suggest a very successful
future.” – Geoff Chapman, The Toronto Star on Handel’s MESSIAH (Toronto Symphony
Orchestra, 2003)
“Tenor Michael Colvin made an auspicious TS (Toronto Symphony) debut. He has very
good diction and the requisite flexibility for the coloratura in “Every valley”.
He was also the most involved of the soloists, relishing the performance, often singing
along with the choir.” – Joseph So, La Scena Musicale on Handel’s MESSIAH (Toronto
Symphony Orchestra, 2003)
“Michael Colvin sang the tenor arias and recitatives with precision,
feeling and superb diction”
– Richard Todd, The Ottawa Citizen on Handel’s MESSIAH (National Arts Centre
Orchestra, 2000)
HANDEL | RODELINDA
(Canadian Opera Company, 2005)
“[T]his is a superb score, which is served up with panache by the COC Orchestra
under conductor Harry Bicket, and a powerful cast, with particularly delicious
performances from (Danielle) de Niese, (Gerald) Thompson and (Michael) Colvin, all of whom
combine strong talents on both a vocal and dramatic level.”
– John Coulborne, The Toronto Sun
“Canadian tenor Michael Colvin, as the villainous usurper Grimoaldo, also sang up
a storm, and his one atypical, wistful aria, about the shepherd finding peace with his
sheep, was surprising and touching.”
– Ken Winters, The Globe and Mail
“The COC’s new production of Handel’s 1725 opera “Rodelinda”
is a triumph… The talents of Canadian tenor Michael Colvin, mezzo-soprano Marie-Nicole
Lemieux, and countertenor Daniel Taylor are well-known and they don’t
disappoint.”
– Paula Citron, CLASSICAL 96.3 FM
HANDEL | SEMELE(Chicago Opera Theater, 2002)
“his vocal work was godlike in every respect, with clarion
timbre and pinpoint accuracy.”
– William Shackleford, OPERA Magazine (UK)
“The stand-out among the performers was Michael Colvin, his tenor
robust and forwardly placed, wonderful to hear in the opera’s most famous air, Where’er
you walk.”
– John von Rhein, Chicago Tribune
“Where’er you walk was ardently tender, its gentle contours
shaped like an erotic embrace.”
– Wynne Delacoma, Chicago Sun-Times
HANDEL | ACIS AND GALATEA (Guelph
Spring Festival, 2003)
“Acis, her chosen swain was spendidly performed by tenor Michael Colvin, whose
career is building rapidly, as audiences love his rich lyric tenor and fine artistry”
– Simon Irving, Guelph Mercury
BACH
“The Philharmonia performance was graced by superior soloists.
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)
“The solo singers – soprano Susanne Rydén, mezzo-soprano Elizabeth
Turnbull, tenor Michael Colvin and bass Nathaniel Watson – limned their arias smoothly,
limiting their vibratos, keeping their voices in balance with the orchestra.”
– Timothy Mangan – The Orange County Register
“The soloists were uniformly strong. Tenor Michael Colvin and
baritone Nathaniel Watson brought clarity and urgency to their assignments.” –
Georgia Rowe, Contra Costa Times
“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)
VERDI
REQUIEM
“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)
“Soprano Sally Dibblee, mezzo Krisztina Szabo and tenor Michael Colvin performed
splendidly in their demanding roles… Colvin, who had performed the lyric tenor role in
Haydn’s Creation two weeks earlier, showed his versatility by delivering full-blown
operatic tenor tone in Verdi.” – Simon Irving, Guelph Mercury on Verdi’s REQUIEM
(Elora Festival, 2005)
CONCERTS
ELGAR | DREAM OF GERONTIUS (Elora Festival, 2007)
“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
“Festival artistic director Noel Edison,
who conducted, had invited a stellar, all-Canadian vocal cast (including) tenor Michael
Colvin, as an expertly nuanced Gerontius”
– John Terauds, The Toronto Star
“The Irish-Canadian tenor Michael Colvin
performed the part of the Soul of Gerontius. Colvin has a beautiful and appealing voice
and throughout Gerontius’ journey, the tenor invoked a sense of pathos, particularly in
the darker moments.”
– Daniel Ariaratnam, The Record
VARIOUS CONCERTS & ORATORIOS
“I have rarely heard it [the tenor part] sung with greater conviction — a performance of distinctive character and refined musical sense.”
– Kenneth De Long, The Calgary Herald – Beethoven’s Ninth Symphony, May 2014
“Tenor Michael Colvin and baritone Peter McGillivray were quite
thrilling in the Pearl Fishers duet… Michael Colvin made resonant work of the only
operetta aria of the evening, Dein ist mein ganzes Herz from Lehar’s The Land of
Smiles.”- Ken Winters, The Globe and Mail on the Inaugural Celebrations for
Toronto’s Four Seasons Centre for the Performing Arts (Canadian Opera Company, 2006)
“Highlights included a ringing ‘Pearl Fishers duet’ sung by Michael
Colvin and Peter McGillivray” – Now Magazine on the Inaugural Celebrations for
Toronto’s Four Seasons Centre for the Performing Arts (Canadian Opera Company, 2006)
“The orchestra was joined by about 125
Richard Eaton Singers and the very impressive lyric tenor Michael Colvin, who sang songs
perfect for his strong, warm, Irish-tenor-style voice. In the second half, Colvin sang
Schubert’s Ave Maria and O Holy Night, both of which gave him a chance
to display the heights of his range and inject a little religious feeling into the
evening.” – Edmonton Journal on HOLIDAY POPS CONCERT (Edmonton Symphony Orchestra,
2004)
“Tenor Michael Colvin shone brightest… his sweet, incisive tenor soaring out in
that way lyric tenors have of making romance heroic.” – Stephen Pedersen, The
Chronicle Herald on Proms Concert (Symphony Nova Scotia, 2004)
“All four (soloists) were strong indeed, from Lichti’s bursting entrance with the
theme, and Colvin’s splendid solo.” – Simon Irving, The Guelph Mercury on Beethoven’s
NINTH SYMPHONY (Elora Festival, 2004)
“Michael Colvin’s glorious tenor made for a noble Adam” – Tamara Bernstein,
The National Post on Scarlatti’s IL PRIMO OMICIDIO (Grand River Baroque Festival, 2004)
“Michael Colvin’s tenor was the first voice to cut through the choral textures.
His clean, youthful delivery matched Yana Ivanilova’s elegant soprano.” – Andrew
Thompson, Winnipeg Free Press on Dvorak STABAT MATER (Winnipeg Symphony Orchestra, 2004)
“Tenor Michael Colvin sang the livelier songs, the first, third and fifth, in 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)
“Michael Colvin’s clear, bright, lyrical tenor wonderfully suited
his Beethoven and Schubert songs. In Beethoven’s ‘The Kiss’, he deftly brought out the
musico-poetic transformation from serious romance to jocular situation. Colvin made his
songs his own – they seemed to be part of his living, breathing being. He always found a
way of singing a repeated word or phrase differently the second time around. His German
diction was well nigh pristine. His simple gestures, body language and facial expressions
added an extra sheen to his presentation.”
– Leonard Turnevicius, The Hamilton Spectator on Opera Ontario’s LIEDERABEND (Opera
Ontario, 2003)
“The young Irish-Canadian tenor Michael Colvin unleashed his
splendid tenor in a Franz Lehar aria.” – Tamara Bernstein, The National Post
on the Altamira Summer Opera Concerts (Canadian Opera Company, 2001)
