Matthew Aucoin EURYDICE / Los Angeles Opera

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“Orpheus the everyday guy — clueless if also endearing — is sung by Mr. Hopkins, with firm voice and youthful swagger. ” 
Anthony Tommasini, The New York Times (February 2020)

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“The production features a sterling cast led by the lithe and endearing soprano Danielle de Niese (Eurydice); the robust baritone Joshua Hopkins (Orpheus); countertenor, John Holiday (as Orpheus’s spirit double); tenor Barry Banks (Hades); with LA Opera veteran baritone Rod Gilfry as Eurydice’s father” 
Jim Farber,  San Francisco Classical Voice (February 2020)

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“Sung by baritone Joshua Hopkins with stentorian presence and a beautifully coherent sound, Orpheus is distant and one-dimensional, unable to express himself despite his unparalleled gift of music.” 
Matthew Richard Martinez, Bachtrack (February 2020)

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“It features a sterling cast led by the lithe and endearing soprano, Danielle de Niese (as Eurydice); the robust baritone of Joshua Hopkins (as her music-obsessed boyfriend, Orpheus)…” 

Jim Farber, Los Angeles Daily News (February 2020)

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Mozart THE MAGIC FLUTE / The Metropolitan Opera
 

“And the hearty-voiced baritone Joshua Hopkins stole the show as Papageno, the hapless bird-catcher who reluctantly becomes Tamino’s sidekick on his quest. Mr. Hopkins’s antics and pratfalls had the audience giggling all afternoon.” 
Anthony Tommasini, The New York Times (December 2019)
 

“Stellar performances were delivered by all the players. Joshua Hopkins, baritone, provided a modern take on Papageno. His singing is pure perfection and his clownish capers lit up the stage. Hopkins is a brilliant physical comedian as well as master of the singer’s art.” 
Linda Holt, Bachtrack (December 2019)
 

“As Papageno, Joshua Hopkins brought an abundance of laughter through his time onstage. His introductory aria, “Der Vogelfanger bin ich ja” carried a bright and firm energy which lasted through most of the strophic number, slowing with a relishing draw at the thought of one day finding a mate. This vocal brightness lent itself to his taking of the credit for killing the serpent, with a humorous, resounding “Strangled it!” Hawkin’s [sic] lines were often delivered with skillful timing, and he showed great control of his support as through his many dynamic actions. This energy also helped with his interactions with much of the onstage puppetry, such as when he and Tamino receive food from Sarastro, as Papageno has his finger pinched by a lobster and tries to pull spaghetti from a floating bowl. These qualities nicely came together for his Act two number “Ein madchen oder Weibchen, as his upbeat, longing sentiments were joined by his dance moves, including a brief use of the “Floss” dance from the popular children’s game “Fortnite.” 
Logan Martell, Operawire (December 2019)

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Massenet THAÏS / Toronto Symphony Orchestra

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"Joshua Hopkins’s outstanding Athanaël. His is a remarkable, unforgettable performance, sung with consistently expressive beauty, and quite superbly characterised, with every second of Athanaël’s progress from prurient fanaticism to desire, atheism and despair registering with quite astonishing vividness."
Tim Ashley, Gramophone (June 2020)

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“Joshua Hopkins sang the enormous role of Athanaël with stunning skill. His character’s bold, even bullying personality was spot on, depicting a monk who is often called too proud in his single-minded pursuit of winning the soul of the courtesan Thaïs. In the end, Athanaël discovers he is in love with Thaïs, and renounces his faith at her death-bed, while she, unaware of his worldly obsession with her, sees a vision of angels and saints welcoming her into the afterlife. Hopkins was remarkable in stamina, musicality, and sheer force in his performative stage presence, but above all, he presented a clear artistic grasp of the French singing idiom. He was an ideal casting for the role, and a prudish sharp contrast to the worldly Alexandrians he must unwillingly court if he is to win Thaïs’s soul as his prize.”
Stephan Bonfiel, Ludwig Van Toronto (November 2019)
 

“Athanaël (sung wonderfully by Canadian baritone Joshua Hopkins) is a monk who casts aside all worldly pleasures, instead choosing divine love and its promise of eternal life…Hopkins brings a warm and stoic sound to Athanaël, walking the line between the learned composure of a monk and the white-knuckled battle of a man in conflict with his own virile body.”
Jenna Simeonov, The Globe and Mail (November 11 2019)
 

“Appearing as Athanaël, Joshua Hopkins’ steely stage manners proclaimed his character’s eternal inflexibility, clutching his thick binder of music like some treasured holy book…Hopkins’ assertive reach somewhat lightened by his translucent mid range provided an engaging platform for his maniacal monk. Largely deprived of opportunities to spotlight style and technique by virtue of Massenet’s penchant for declamation rather than aria, the rising young Canadian baritone gave more than ample expression to a succession of smouldering recits and ariosos.”
Ian Ritchie, Opera Going Toronto (November 2019)
 

“Baritone Joshua Hopkins has a beguiling, lyric tone to his voice, but it was powerful enough to hold its own against the orchestra as he portrayed Athanaël.”
John Terrauds, The Toronto Star (November 2019)
 

“The Canadian baritone Joshua Hopkins was the perfect counterpart to Wall as the monk Athanaël. His vibrant voice had enormous power when required and yet could project intensity in quieter passages. This was my first-time hearing Hopkins and he showed his worthiness for the leading roles he enjoys on the world’s biggest stages.”
David Richards, Toronto Concert Reviews (November 2019)

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