Joshua Hopkins



Known as one of the finest singer-actors of his generation, Canadian baritone Joshua Hopkins has been hailed as having “…a glistening, malleable baritone of exceptional beauty, and…the technique to exploit its full range of expressive possibilities from comic bluster to melting beauty.” (Opera Today)

In the 2020-2021 season, Mr. Hopkins makes his house debut at Palm Beach Opera as Papageno in Die Zauberflöte and Silvio in Pagliacci. He was also scheduled to return to the Metropolitan Opera as the title role in Billy Budd, Figaro in Il barbiere di Siviglia, and Mercutio in Roméo et Juliette, as well as to Houston Grand Opera as Albert in Werther. On the concert stage, he premieres Songs for Murdered Sisters – a collaboration between composer Jake Heggie and author Margaret Atwood, personally conceived by Mr. Hopkins in remembrance of his sister, Nathalie Warmerdam – on tour at Stanford Live, Vocal Arts DC, and Koerner Hall in Toronto. This powerful new work will be premiered by Houston Grand Opera in a film presentation directed by James Niebuhr, on the Marquee TV platform. Pentatone will release the commercial recording of the new work.

In the 2019-2020 season, Mr. Hopkins made his house debut at Opéra de Rouen Normandie as Figaro in Il barbiere di Siviglia, made his role debut as Athanaël in a concert version of Thaïs with the Toronto Symphony Orchestra, conducted by Sir Andrew Davis and recorded for Chandos Records, returned to the Metropolitan Opera as Papageno in its English-language adaptation of The Magic Flute, and created the role of Orpheus in the world premiere of Matthew Aucoin’s Eurydice at LA Opera. He was also scheduled to sing Albert at the Metropolitan Opera, conducted by Yannick Nézet–Séguin, and perform Figaro at Santa Fe Opera.

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“He owns a gorgeous voice, a voice with gold in it. I am not talking about its bankability, but rather its tone…this young Hopkins is one of those golden singers, and he filled the Koch Theater with this gold, this glow.”

Jay Nordlinger

The New Criterion

“The drastic change, however, concerns the Count himself, whose promiscuity, in the context of 1970s ideas about open sexuality, originally turned him into a greater social rebel than Figaro. In a superbly judged performance, however, Joshua Hopkins makes him sinister as well as sexy.”

Tim Ashley

The Guardian

More Reviews

“Joshua Hopkins is likewise superb as the Count, contrasting a smooth, honeyed tone with a characterisation that is lecherous and abusive. “

Laura Battle, Financial Times

“And the baritone Joshua Hopkins won your heart as the tormented, yet charming Junior. Mr. Alden has written that it was difficult to deal with this somewhat dated character: a gay man who is “punished” with mental illness. Yet Bernstein’s music ennobles and animates Junior, and with his mix of anguish and vitality, Mr. Hopkins triumphed over stereotype. “

Anthony Tommasini, The New York Times

“…one element of the endeavour transcends even this overall consistent standard – the quality and lithe exuberance of baritone Joshua Hopkins’ Figaro. Vancouver audiences have enjoyed Hopkins as a lieder singer who combines an innately appealing instrument with musical sensitivity and precision. Here he delivers a stunning interpretation of Figaro, rooted in his physical sense of the character. He has the tone, the timing, and the confidence to make it appear effortless fun; from quicksilver recitatives to solo work and ensembles, Hopkins is the focus of the production. And he couldn’t be better.”

David Gordon Duke, Vancouver Sun

“An athletic Joshua Hopkins capered comically and sang stunningly as the bird-catcher Papageno…Hopkins has a perfectly placed, resonant baritone with a gorgeous, easy sheen to it…he is a singer to watch and will doubtless achieve real heights in both song and opera, for he has brains and joy to go with his voice.”

Craig Smith, The New Mexican

“Canadian baritone Joshua Hopkins’s Marcello was the star among the bantering bohemians: his was a consummate performance, with impressive singing and convincing acting. “

Marcia J. Citron, Opera News

“There are two casts. One features Joshua Hopkins as Papageno, and he is reason alone to catch this “Flute.” The baritone seems to have it all — a warm, supple voice; easily communicative phrasing; and such assured, effortless acting that he could clearly be at home on any stage, not just the operatic variety.”

The Baltimore Sun