Michael Colvin as Bardolph, Bryn Terfel as Sir John Falstaff and Craig Colclough as Pistol in Falstaff, The Royal Opera © 2018 ROH. Photograph by Catherine Ashmore
Bardolph in FALSTAFF (The Royal Opera, 2018)
“Full marks too for Michael Colvin and Craig Colclough, who are wonderfully seedy as Falstaff’s henchmen…” – Geoff Brown, The Times
“The casting is straight from the sweet trolley…There’s a deliciously focused double-act from Michael Colvin and Craig Colclough as Bardolph and Pistol…” – Mark Valencia, WhatsOnStage.com
“With Carlo Bosi’s Dr Caius and Michael Colvin’s Bardolph upping the fun… this is a strong cast.” – Colin Clarke, Seen and Heard International
“Bosi’s Dr Caius, Michael Colvin’s Bardolph and Craig Colclough’s Pistol prove to be as nimble physically as well as vocally…” – Nick Breckenfield, Classical Source
“There is good comic relief and broad humour from Michael Colvin and Craig Colclough as Falstaff’s rogueish side-kicks, Bardolph and Pistol” – Tim Hochstrasse, PlaystoSee.com
“Michael Colvin and Craig Colclough as Bardolph and Pistol respectively, were wonderfully funny and irreverent in their roles” – OperaSpy.com
“También cumplieron perfectamente los personajes secundarios, cubiertos por Peter Hoare como Doctor Cajus, Michael Colvin como Bardolfo y Craig Colclough como Pistola, divertidísimos estos dos últimos.” – Jose Irurzun, Beckmesser.com
TRANSLATION: “Also perfect were the secondary characters, covered by Peter Hoare as Doctor Cajus, Michael Colvin as Bardolfo and Craig Colclough as Pistol, hilarious these last two.”
“The rascal Bardolph is given accurate wayward tones by tenor Michael Colvin, whose fussy manner as the character is countered by the grouchy, brazen bass voice of Craig Colclough as his sidekick, Pistol.” – Sarah Lambton, Operawire
Colvin as Monostatos and Elena Tsallagova as Pamina in the Canadian Opera Company’s production of The Magic Flute, 2017. (Photo: Michael Cooper)
Monostatos in Mozart’s MAGIC FLUTE (Canadian Opera Company – 2017)
“A lot of the credit goes to the marvellous cast… Canadian character tenor Michael Colvin was the best Monostatos I’ve seen.” – Joseph So, Musical Toronto
“As the opportunistic moor, Monostatos, tenor Michael Colvin was also hysterical. His aria about wanting desperately to kiss Pamina was one of the best renditions I’ve heard to date.” – Greg Finney, Schmopera
“Le Monostatos roué de Michael Colvin et la pimpante Papagena de Jacqueline Woodley ajoutent au plaisir d’une représentation d’une excellente tenue” – Louis Bilodeau, Avant-Scene Opera (asopera.fr)
“Michael Colvin is a magnificently repellent Monostatos.” – Ian Ritchie, Opera Going Toronto
“a creepily malevolent Monostatos…” – Colin Eatock, Eatock Daily
“Michael Colvin makes Monostatos a fine comic menace.” – Christopher Hoile, Stage Door
“It’s a thrill to see so many Canadians onstage, the company showing its commitment to the development of talent, from director Ashlie Corcoran, Michael Colvin’s charmingly grotesque Monostatos and so many others I could name.” – BarzcaBlog.com
Thomas Scott in Somers’ LOUIS RIEL (Canadian Opera Company – 2017)
Russell Braun as Louis Riel, Michael Colvin as Sir Thomas Scott in LOUIS RIEL, COC, 2017
“Michael Colvin was quite a piece of work
in the most troubling role, namely Thomas Scott, the shit-disturber with the foul racist mouth who promises not to make trouble, and then when after repeatedly breaking his promise is executed. Colvin sounds wonderful, but was physically inside the role. You couldn’t take your eyes off of him, especially in his brutal death scene.” – BarczaBlog.com
“Michael Colvin is thoroughly convincing as the really ghastly racist Orangeman Scott.” – OperaRamblings.com
“Please read the large cast list below, and please know that each and every one of this prodigiously gifted ensemble of Canadian singers made their solo appearances into a true star turn, wondrously sung and fervently acted… strident non-PC slurs were passionately delivered by Michael Colvin. Mr. Colvin’s characterful singing was exceeded only by the conviction of his acting.” – James Sohre, Opera Today
“Tenor Michael Colvin gives a vivid performance as the abrasive Thomas Scott, whose execution by Riel’s command sets much of the action in motion.” – Ali Kashani, La Cieca’s Parterre Opera Blog (parterre.com)
“Michael Colvin roars and rampages as Thomas Scott.” – OperaGoing Toronto
Michael Colvin as The Painter/The Second Client and Brenda Rae as Lulu with ENO, 2016
Der Mahler/Second Client in Berg’s LULU (English National Opera – 2016)
“Michael Colvin’s Painter (Lulu’s second husband/victim) was poignant and hopelessly passionate” – Peter Reed, Classical Source
“Michael Colvin‘s painter is superb, manic, quivering and complex until he too is driven to his end by his febrile passions for Lulu.” – G Scene Magazine
“Michael Colvin made a strong impression as an intense and emotionally volatile Painter” – Opera Canada
“Michael Colvin is a very convincing painter-admirer-second husband.” – Critics Circle
“There were no weak links, and a host of splendid character performances, artists such as Michael Colvin and Sarah Labiner particularly catching my ear.” – Mark Berry, Scene & Heard International
“With excellent contributions from Willard White as Schigolch, David Soar as the Animal Tamer and Athlete, Michael Colvin as the Painter… this was a terrific team success” – Mark Ronan’s Theatre Reviews
As Rodolphe in Guillaume Tell, Royal Opera House, 2015
Rodolphe in Guillaume Tell / Royal Opera House, Covent Garden
cond. Sir Antonio Pappano, dir. Damiano Michieletto
In rehearsal for ROH Guillaume Tell, 2015
“Michael Colvin’s rich lyrical tenor evoked the sinister cruelty of Rodolphe, Gelser’s commander.”
Opera Today, June 2015
“Michael Colvin sang Rodolphe, an extremely well-characterized performance which made a much bigger impact than the amount allocated to him in the score.” – Classical Iconoclast, June 2015
“Among the secondary roles, welcome the beautiful performances of Eric Halfvarson (Melcthal), Alexander Vinogradov (Walter Furst) and Michael Colvin (Rudolph).”
Classique News, July 2015
Herod Salome / Northern Ireland Opera
Cond. Nicholas Chalmers / dir. Oliver Mears
“Michael Colvin as Herod was completely convincing as the depraved and eventually disgusted king.”
Rathcol, Belfast Telegraph, five stars, February 2015
“Herod and Herodias were sharply etched by Michael Colvin and Heather Shipp.”
Rupert Christiansen, Daily Telegraph, February 2015
“Hayward boomed authoritatively as the Baptist, and Shipp’s Herodias and Michael Colvin’s Herod were poisonously effective.”
Neil Fisher, Times, February 2015
“It all sounds terrific… Michael Colvin’s Herod is more lyrical than many and thus nastier than most.”
Tim Ashley, Guardian, February 2015
Dr Caius / Falstaff / COC orchestra and chorus / Four Seasons Centre
Cond. Johannes Debus / dir. Robert Carsen
“Michael Colvin, with his bright tenor, was an unusually well sung Dr Caius.”
Joseph So, La Scene Musicale, October 2014
Jaquino Fidelio / Le Cercle de l’Harmonie
Cond. Jérémie Rhorer
“An endearing interpretation of Jaquino, the lovesick prison assistant, came by way of fresh-voiced, sweet-timbred Michael Colvin”
James M. Keller, Santa Fe New Mexican, July 2014
Beethoven Symphony No.9 / Calgary Philharmonic Orchestra
Cond. Roberto Minczuck
“I have rarely heard it sung with greater conviction — [Michael Colvin gave] a performance of distinctive character and refined musical sense.”
Kenneth Delong, Calgary Herald, May 2014
“An endearing interpretation of Jaquino, the lovesick prison assistant, came by way of fresh-voiced, sweet-timbred Michael Colvin.”
– Santa Fe New Mexican
Evangelist St John Passion / Montreal
Cond. Jordan de Souza
“Tenor Michael Colvin (from the pulpit) was a lucid Evangelist.”
Arthur Kaptainis, Calgary Herald, April 2014
Title Role Peter Grimes / English National Opera
Cond. Edward Gardner Dir. David Alden
“Colvin is not a heroic tenor in the Vickers-Cassilly-Skelton mould, but he is far from the first character tenor to essay this role, and even though his voice is not big, it projected effortlessly into the large auditorium; his diction, like Skelton’s, was immaculate.”
Hugh Canning, Opera, April 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, Colvin as Peter Grimes with ENO
As Bob Boles with English National Opera, 2014 Photo: Robert Workman
“…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
“An endearing interpretation of Jaquino, the lovesick prison assistant, came by way of fresh-voiced, sweet-timbred Michael Colvin”
– Santa Fe New Mexican
“el tenor Michael Colvin, resolvió su parte [Jaquino] con gracia y gusto, haciendo valer la belleza rara de su timbre claro y su honesta emisión.”
Translation: “the tenor Michael Colvin, performed his part with grace and ease, asserting the rare beauty of its clear timbre and honest presentation.”
– OperaWorld.es
“Tous les rôles principaux sont tenus par des chanteurs impressionnants… Michael Colvin en Jaquino livre également une très bonne prestation”
“All the principal roles were taken by impressive singers… Michael Colvin as Jaquino delivers a very good performance”
– Claude Jottrand, ForumOpera.com
Past Season Highlights:
“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)