Joshua Hopkins



Chosen by Opera News as one of twenty-five artists poised to break out and become a major force in the coming decade, 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)

Joshua Hopkins begins his 2019-20 season with a house debut at Opéra de Rouen Normandie as Figaro in Il barbiere di Siviglia, followed by a role debut in a concert version of Massenet’s Thaïs as Athanaël with Toronto Symphony Orchestra, conducted by Sir Andrew Davis and recorded for Chandos Records. He returns to the Metropolitan Opera for performances as Papageno in its English-language adaptation of The Magic Flute, as well as Albert in Werther conducted by Yannick NézetSéguin. He then creates the role of Orpheus in the world premiere of Matthew Aucoin’s Eurydice at LA Opera. He concludes the season with performances as Papageno in Die Zauberflöte with Santa Fe Opera.

In the 2018-2019 season, he made his San Francisco Opera debut as Harry Bailey in Jake Heggie and Gene Scheer’s It’s a Wonderful Life. He also revisited the role of Valentin in Faust with Washington National Opera. Role debuts of this season included Malatesta in Don Pasquale with Pittsburgh Opera, as well as the title role of Billy Budd with Central City Opera. Concert engagements included Handel’s Messiah with the San Francisco Symphony Orchestra under the baton of Jane Glover, and the Chicago Symphony Orchestra conducted by Matthew Halls. Mr. Hopkins sang Haydn’s Creation with the Dallas Symphony Orchestra.

In the 2017-2018 season, he made his house debut at The Norwegian National Opera as Figaro in Il barbiere di Siviglia, and returned to Lyric Opera of Chicago as Guglielmo in Così fan tutte, conducted by James Gaffigan. In the spring, he returned to The Metropolitan Opera as Mercutio in Roméo et Juliette, conducted by Plácido Domingo. Mr. Hopkins finished the season with a return to The Glimmerglass Festival in a new production of Il barbiere di Siviglia, directed by Francesca Zambello. Concert performances included Handel’s Messiah with the Toronto Symphony Orchestra.

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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