Intermusica Artists' Management

 

 

Intermusica represents Michael Colvin worldwide (except North & South America, and Canada)

Artist Manager:
Maria Mot

Assistant to Artist Manager:
Verity Bramson

Michael Colvin

Tenor

“It’s all there, technique, tone and stage presence”
Opera Magazine


Irish-Canadian tenor Michael Colvin has appeared to critical acclaim on opera and concert stages throughout Canada, the USA, UK and Europe.

His most recent role debuts include Der Steuermann Der Fliegende Holländer (Pacific Opera Victoria), Narraboth Salome (Manitoba Opera) and Goro Madama Butterfly (English National Opera). A fine Britten interpreter he has performed to great acclaim the roles of Bob Boles Peter Grimes, Flute A Midsummer Night’s Dream and Red Whiskers Billy Budd for opera companies such as English National Opera and Opera de Oviedo.

Further performances have included Ferrando Cosi fan tutte for the Canadian Opera Company, Ramiro La Cenerentola for Portland Opera, Don Ottavio Don Giovanni for Chicago Opera Theater, Rodrigo La donna del lago for Garsington Opera, Almaviva Il barbiere di Siviglia for Lyric Opera of Kansas City and Opera Lyra Ottawa, Belmonte Die Entführung aus dem Serail, Rape of Lucretia and Semele for Chicago Opera Theater, Shepherd Oedipus Rex for the Edinburgh International Festival. Further roles inlcude Belfiore Il Viaggio a Reims, Tamino The Magic Flute and L’Italiana in Algeri. Other credits include a recording project of the works of Lysenko, a big-screen debut as Don Ottavio in the film Don Giovanni Unmasked alongside Dmitri Hvorostovsky and recordings on the Naxos, CBC and Warner labels.

Recent concert engagements include Beethoven Missa Solemnis for the Richard Eaton Singers of Edmonton, Das Lied von der Erde for the Louisville Orchestra, Messiah with the National Arts Centre Orchestra in Ottawa and Seattle Symphony and The Creation with New Mexico Symphony. Further concert engagements include Mozart Requiem for Chicago’s Grant Park Festival and Toronto Symphony Orchestra, Handel Messiah and Bach Weihnachtsoratorium with Philharmonia Baroque Orchestra, Messiah with the Toronto Symphony Orchestra, Schubert Mass in A Flat at the Festival Vancouver, Beethoven Symphony No.9 with the Vancouver Symphony Orchestra, Toronto Symphony Orchestra, Detroit Symphony Orchestra, l’Orchestre Symphonique de Quebec, Elora Festival and Festival de Lanuadière, Elgar Dream of Gerontius, Haydn Die Schöpfung and Verdi Requiem for the Elora Festival, Britten Serenade with Richard Bradshaw and the Canadian Opera Company Orchestra, Dvorak Stabat Mater with the Winnipeg Symphony Orchestra, Mendelssohn Elijah with the Ulster Orchestra in Belfast, and Mahler Das Lied von der Erde for the National Ballet of Canada. Additional highlights include Vaughan Williams On Wenlock Edge and Brahms Liebeslieder Walzer for CBC Radio and Schubert Die Schöne Müllerin at Toronto's Glenn Gould Studio.

Last season his engagements included Goro Madame Butterfly at Boston Lyric Opera and Mayor Upfold Albert Herring, Alfred Let’s Make an Opera and Clem The Little Sweep, all with Pacific Opera Victoria. Colvin also appeared in Canadian Opera Company’s productions of Salome and Dialogues of the Carmelites. Concert performances included Beethoven’s Symphony No.9 with the Kitchener-Waterloo Symphony, Haydn’s Creation with Symphony Nova Scotia, Britten Serenade with the Louisville Symphony Orchestra, Britten St. Nicholas with the Grand Philharmonic Choir, Messiah with the New Mexico Symphonic Chorus and Beethoven Missa Solemnis with the Toronto Mendelssohn Choir.

In the 2013-14 season Michael Colvin reprises the role of Bob Boles with the London Philharmonic Orchestra and Vladimir Jurowski, Accademia di Santa Cecilia, Rome and Sir Antonio Pappano and at English National Opera in the acclaimed revival of David Alden’s production. He also makes his French debut with Le Cercle de L’Harmonie and Jeremie Rhorer as Jacquino Fidelio, which will be presented in Paris and several other cities in France.

Michael Colvin is represented by Intermusica.
September 2013 / 558 words. Not to be altered without permission. Please destroy all previous biographical material.


Opera Repertoire

BRITTEN
Peter Quint Turn of the Screw

Bob Boles Peter Grimes

Male Chorus The Rape of Lucretia

Johnny Inkslinger Paul Bunyan
CHABRIER
Le Roi Ouf L’étoile
DONIZETTI
Nemorino L’elisir d’amore

Ernestro Don Pasquale

Leicester Maria Stuarda

Normano / Arturo Lucia di Lammermoor
HANDEL
Acis Acis and Galatea

Jupiter Semele

Grimoaldo Rodelinda

Hyllus Hercules
HEGGIE
Father Grenville Dead Man Walking
MOZART
Belmonte Entführung aus dem Serail

Tamino Die Zauderflöte

Ferrando Così dan tutte

Ottavio Don Giovanni

Tito La Clemenza di Tito

Title role Idomeneo

Belfiore La finta giardiniera
PUCCINI
Pong Turandot

Spoletta Tosca

Tinca Il Tabarro
PURCELL
The Fairy Queen

The Tempest
STRAVINSKY
Title role Oedipus Rex
VERDI
Fenton Falstaff

Cassio Otello

Gastone La Traviata

Concert Repertoire

BACH, J.S.
Magnificat

Mass in B minor

St John Passion

St Matthew Passion

Christmas Oratorio
BRAHMS
Liebeslieder Walzer

Neue Liebeslieder Walzer
BEETHOVEN
Adelaide

An die ferne Geliebte

Symphony No.9

Mass in C
BRITTEN
War Requiem

Serenade for Tenor, Horn and Strings

Canticles I to IV

Sechs Hölderlin Fragmente
CHARPETNIER
Messe de Minuit pour Noël
DVORAK
Stabat Mater
ELGAR
The Dream of Gerontius
GOUNOD
St Cecilia's Mass
HANDEL
Acis and Galatea

Judas Maccabaeus

Israel in Egypt

Messiah

Messiah (arr. Mozart)

Ode for St. Cecilia's Day
HATZIS
Everlasting Light

Kyrie
HAYDN
Die Schöpfung
MOZART
Die Jahreszeiten

Paukenmesse

Nelson Mass
MAHLER
Das Lied von der Erde
MENDELSSOHN

MOZART
Lobgesang

Requiem

Coronation Mass

Mass in C minor

Regina Caeli
PÄRT
Passio
QUILTER
Seven Elizabethan Lyrics
RESPIGHI
Lauda per la natività del Signore
ROSSINI
Stabat Mater

Petite Messe Solennelle
SCHUBERT
Die schöne Müllerin

Mass in A flat

Mass in B flat

Mass in E flat
SCHUMANN
Dichterliebe
STRAVINSKY
Oedipus Rex

Cantata

In Memoriam Dylan Thomas
VAUGHAN WILLIAMS
On Wenlock Edge

Serenade to Music
VERDI
Requiem

Back to Top


Borsa Rigoletto / English National Opera
Cond. Graeme Jenkins Dir. Christopher Alden

“George Humphreys and Anthony Gregory were also impressive as Marullo and Borsa, a particularly nasty pair of courtiers here.”
Hugo Shirley, Opera, 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

Bob Boles Peter Grimes / English National Opera
Cond. Edward Gardner / dir. David Alden

“Michael Colvin’s Bob Boles, full of misplaced righteous indignation, is particularly well done.”
Neil Fisher, Times, February 2014

“The surrounding cast is also very strong indeed. Michael Colvin (the bible-bashing Bob Boles) and Leigh Melrose (the apothecary Ned Keene) were the two that stood out most for me.”
David Karlin, Bachtrack, January 2014

Bob Boles Peter Grimes / Symphony Hall Birmingham
Cond. Vladimir Jurowski

“Michael Colvin also made his mark as a wayward yet forceful Bob Boles.”
Alexander Campbell, Classical Source, September 2013

“The big voices fared well with Brindley Sherratt’s Swallow, Mark Stone’s Ned Keene, and Michael Colvin’s Bob Boles coming across strongly.”
Edward Seckerson, September 2013

“I thought 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, taking the moral high ground when regarding Grimes as a lost soul of a fisherman.”
Geoff Read, Seen and Heard International, September 2013

Goro in Puccini Madama Butterfly / Citi Performing Arts Center Shubert Theater
Boston Lyric Opera / cond. Andrew Bisantz / dir. Lillian Groag

“There were two exceptional performances[, one being] Irish tenor Michael Colvin as Goro, the comic pimp-like ‘marriage broker’”.
Lloyd Schwartz, The Phoenix, November 2012

“Michael Colvin gave the comic role of Goro a welcome surplus of vocal and musical skill”.
Matthew Guerrieri, The Boston Globe, November 2012

“Michael Colvin’s Goro provided an excellent spark of comic relief”.
Angelo Mao, Boston Lyric Opera, November 2012

Bob Boles in Britten Peter Grimes
BBC Proms / cond. Edward Gardner

“Michael Colvin was a lively, rakish Bob Boles”.
Claire Seymour, Opera Today, September 2012

Mendelssohn Elijah
Elora Festival / cond. Noel Edison

“The five soloists were icing on an already rich cake... did a fine job.”
John Terauds, Toronto.com, July 2012

Goro in Puccini Madam Butterfly / English National Opera
cond. Oleg Caetani / dir. Sarah Tipple (revival production)

“Michael Colvin was a… source of both comedy and entertainment”
Mike Migliore, Musical Criticism, May 2012

“The marriage broker Goro is occasionally funny but often nasty and manipulative: Michael Colvin managed the former qualities smoothly and brought bite to the latter”.
Kevin Rogers, Classical Source, May 2012

Handel Messiah / Southam Hall, National Arts Centre / National Arts Centre Orchestra
Ewashko Singers / Ottawa Festival Chorus / cond. Trevor Pinnock

“Tenor Michael Colvin was also outstanding. His five numbers in the Passion sequence were deeply moving. Later, his 'Thou Shalt Break Them' was forceful and a worthy prelude to the Hallelujah Chorus.”
Richard Todd, Ottawa Citizen, December 2011

Peter Quint in Britten Turn of the Screw
English National Opera / cond. Sir Charles Mackerras / dir. David McVicar (revival production)

“…the truly demonic Quint created by the one adult newcomer to the cast, Michael Colvin. He’s almost bestial with his claw-like hands, hunched back, lurching gait and spookily disembodied singing.”
Richard Morrison, The Times, October 2009

"(Sir Charles Mackerras) delivery of the Screw last night was stunning – as was everything about this show, which has largely the same cast as before but with a new Quint (Michael Colvin). An outstanding cast..."
Rupert Christiansen, The Telegraph, October 2009

“As the all-too-real ghosts, Michael Colvin is a defiant Peter Quint, his flowery melismas embodying decadence rather than spookiness, while Cheryl Barker as Miss Jessel, the ghost of his discarded lover, is a devastating portrayal of a soul trapped in emotional purgatory, her arms reaching out for him through the dead leaves on her grave.”
Jessica Duchen, The Independent, October 2009

"Michael Colvin is excellent in The Prologue - every word carefully pointed - and his Peter Quint was menacing because of its understatement. The way his calls to Miles insinuated themselves into the accompanying orchestral textures were perfectly judged.”
Alexander Campbell, Classical Source, October 2009

"Michael Colvin joins them as the new Prologue/Quint, and in my opinion outdoes his predecessor in the role: the ardent sound he produces is a welcome change from the insipid sound that some English tenors have a tendency to produce, and he was genuinely scary."
Dominic McHugh, Musical Criticism, October 2009

"There can be no doubt however that Peter Quint has been a malevolent presence in Miles' life, and in Michael Colvin's slightly demonic demeanour and chilling stage presence he made the character the true embodiment of evil. His singing had plenty of bite too."
Keith McDonnell, musicOMH.com, October 2009

"New to the cast are Michael Colvin as a vivid Prologue and a creepy Peter Quint... Michael Colvin's characterization is such that one forgets that his two roles are assigned to the same singer."
Colin Anderson, The Opera Critic, October 2009

"The dual role of the Narrator/Quint was performed by tenor Michael Colvin. He projected well in the Prologue, carelessly flickering through the pages of the manuscript which holds that tale, his confident, warm voice aptly conveying the nonchalance, bordering on neglect, of the handsome guardian, and also foreshadowing the seductive charm of Peter Quint himself. Quint’s first vocal utterance, his unearthly nocturnal appeal in Scene 8, ‘At Night’, slyly crept in, oozing bitter-sweet charm and building to a commanding, hypnotic plea."
Claire Seymour, Opera Today, October 2009

"Michael Colvin brings a malevolently plangent, wheedling tone to the role of Peter Quint."
Barry Millington, Evening Standard, October 2009

Handel Messiah
Winnipeg Symphony Orchestra / cond. Noel Edison

“The exceptionally gifted Colvin's silken tone and lyrical phrasing immediately asserted itself in Comfort ye my people with a performance that rang with sincerity.”
Holly Morris, December 2008

Don Romiro in Rossini La Cenerentola
Portland Opera

"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, 2007

"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, 2007

Elgar Dream of Gerontius
Elora Festival

"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, 2007

"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, 2007

"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, 2007

Ferrando in Mozart Cosi Fan Tutte
Canadian Opera Company

"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, 2007

Mozart Requiem
Toronto Symphony Orchestra & Peter Oundjian

"The tenor, Michael Colvin, has one of the finest lyric voices in the land."
Ken Winters, The Globe and Mail, 2007

Rodrigo di Dhu in Rossini La Donna del Lago
Garsington Opera

"But 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, 2007

"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, 2007

"Salvation comes from Rossini’s top-notch score, brightly guided by the conductor David Parry, and artists largely unfazed by Rossini’s technical challenges ... Hats off to Colin Lee (Giacomo) and Michael Colvin (Rodrigo)"
Geoff Brown, The Times, 2007

"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, 2007

"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), 2007

"Rossini’s Scottish melodrama La donna del Largo 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, Sunday Express, 2007

"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."
Chris Gray, The Oxford Times, 2007

Bach Christmas Oratorio
San Francisco's Philharmonia Baroque

"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, 2006

"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, 2006

"The soloists were uniformly strong. Tenor Michael Colvin and baritone Nathaniel Watson brought clarity and urgency to their assignments."
Georgia Rowe, Contra Costa Times, 2006

Inaugural Celebrations for Toronto’s Four Seasons Centre / Canadian Opera Company
"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, 2006

"Highlights included a ringing 'Pearl Fishers duet' sung by Michael Colvin and Peter McGillivray"
Now Magazine, 2006

Belmonte in Mozart Abduction from the Seraglio
Chicago Opera Theater

"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, 2006

"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, 2006

"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, 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, 2006

"Michael Colvin’s soaring tenor brings out the idealistic devotion of Belmonte’s quest"
Lawrence Bommer, Chicago Free Press, 2006

Tenor in Handel Messiah
Toronto Symphony Orchestra

"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, 2005

"The bright sounds of soprano Nathalie Paulin and tenor Michael Colvin were aural perfection..."
Paula Citron, Classical 96.3 FM, 2005

Tenor in Handel Messiah
Philharmonia Baroque

"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, 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, 2005

Grimoaldo in Handel Rodelinda
Canadian Opera Company / cond. Harry Bicket

"[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, 2005

"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, 2005

"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, 2005

Tenor in Verdi Requiem
Elora Festival

"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, 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, 2005

Argirio in Rossini Tancredi
Canadian Opera Company

"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"

"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, 2005

"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, 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, Stage and Page, 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, 2005

Holiday Pops Concert / Edmonton Symphony Orchestra
"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, 2004

Handel Messiah
NAC Orchestra / cond. Trevor Pinnock

"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, 2004

Proms Concert
Symphony Nova Scotia

"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, 2004

Tenor in Beethoven Symphony No. 9
Elora festival

"All four (soloists) were strong indeed, from Lichti's bursting entrance with the theme, and Colvin's splendid solo."
Simon Irving, The Guelph Mercury, 2004

Adam in Scarlatti Il Primo Omicidio
Grand River Baroque Festival

"Michael Colvin's glorious tenor made for a noble Adam"
Tamara Bernstein, The National Post, 2004

Belfiore in Rossini Il Viaggio a Reims
Chicago Opera Theater

"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, 2004

"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, 2004

"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, 2004

Belfiore in Rossini Il Viaggio a Reims
Portland Opera

"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, 2004

Tenor in Dvorak Stabat Mater
Winnipeg Symphony Orchestra

"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, 2004

Belmonte in Mozart Abduction from the Seraglio / Vancouver Opera
"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, 2004

"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, 2004

Mahler Das Lied von der Erde
Symphony Nova Scotia
"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, 2004

Tenor in Handel Messiah
Toronto Symphony Orchestra

"… 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, 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, 2003

Liederabend / Opera Ontario
"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, 2003

Lindoro in Rossini L’Italiana in Algeri
Opera Festival of New Jersey

"Tenor Michael Colvin, with his sweet and even vocal tone, is an endearing Lindoro."
Willa J. Conrad, The Star-Ledger, 2003

"Michael Colvin sang with silken suppleness, accuracy and grace."
Elaine Strauss, U.S.1 Weekly, 2003

"Colvin has a high clear voice that is beautifully focused."
Albert H. Cohen, Home News Tribune & Asbury Park Press, 2003

"Michael Colvin displayed stylistic assurance and sustained Lindoro's high tessitura with fortitude"
David Shengold, Opera News, 2003

"As Lindoro, Colvin displays a delicate tenor with ringing highs"
Anita Donovan, The Trenton Times, 2003

Acis in Handel Acis and Galatea
Guelph Spring Festival

"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, 2003

Lindoro in Rossini L’Italiana in Algeri
Canadian Opera Company

"… there's only one outstanding voice in the cast - that of tenor Michael Colvin"
Tamara Bernstein, The National Post, 2003

"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), 2003

"Tenor Michael Colvin as Lindoro, Isabella's true love, effortlessly shares top singing honours"
Ken Winters, The Globe and Mail, 2003

Handel Semele
Chicago Opera Theater

"… his vocal work was godlike in every respect, with clarion timbre and pinpoint accuracy."
William Shackleford, OPERA Magazine (UK), 2002

"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, 2002

"Where'er you walk was ardently tender, its gentle contours shaped like an erotic embrace."
Wynne Delacoma, Chicago Sun-Times, 2002

Britten The Rape of Lucretia
Chicago Opera Theatre

"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, 2002

Belfiore in Rossini Il Viaggio a Reims
Canadian Opera Company

"… 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, 2002

Tamino in Mozart The Magic Flute
Manitoba Opera

"…as one admired the honey-toned, impassioned Tamino of Michael Colvin"
James Manishen, Winnipeg Free Press, 2001

Altamira Summer Opera Concerts / Canadian Opera Company
"The young Irish-Canadian tenor Michael Colvin unleashed his splendid tenor in a Franz Lehar aria."
Tamara Bernstein, The National Post, 2001

Mozart Idomeneo
Canadian Opera Company

"… tenor Michael Colvin in particular bowled me over with his masterfully stylish performance"
E. Thomas Glasow, Editor, The OPERA Quarterly, 2001

Tenor in Handel Messiah
National Arts Centre Orchestra

"Michael Colvin sang the tenor arias and recitatives with precision, feeling and superb diction"
Richard Todd, The Ottawa Citizen, 2000

Count Almaviva in Rossini The Barber of Seville
Lyric Opera of Kansas City

"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, 2000

Male Chorus in Britten The Rape of Lucretia
Canadian Opera Company

"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, 1999

Count Almaviva in Rossini The Barber of Seville
Canadian Opera Company

"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, 1999

"Michael Colvin plays the lovestruck Count Almaviva with vocal virtuosity"
Glenn Sumi, NOW Magazine, 1999

Johnny Inkslinger in Britten Paul Bunyan
University of Toronto

"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, 1998

Documents

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Michael Colvin repertoire (concert) Download
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Photos

Michael Colvin (credit: Eloise Campbell) Michael Colvin (credit: Eloise Campbell) Download
Michael Colvin (credit: Eloise Campbell) Michael Colvin (credit: Eloise Campbell) Download
Michael Colvin (credit: Eloise Campbell) Michael Colvin (credit: Eloise Campbell) Download
Michael Colvin (credit: Eloise Campbell) Michael Colvin (credit: Eloise Campbell) Download
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