MEDIA

OPERAWIRE.COM, JOHN CARROLL

Tchaikovsky's Eugene Onegin

“With his tall, lean frame and blonde curls, Canadian tenor Colin Ainsworth was a dapper, conflicted Lenksy. He worked up a frenzy of jealous angst in the name day dance scene, then pulled inward for the tragic duel and the melancholy 'Koda, Koda' aria. The profound self-reflective pathos of this aria was made more moving through Ainsworth’s exquisite vocal control, launching the second verse with a haunting, clean-lined pianissimo.”

 

BACHTRACK, THOMAS MAY

Tchaikovsky's Eugene Onegin

“With his tender high tenor, Colin Ainsworth made a memorable impact in his leave-taking scene before the duel”

 

THE SEATTLE TIMES, GAVIN BORCHERT

Tchaikovsky's Eugene Onegin

“As Olga’s fiancé, the impetuous poet Lensky, Colin Ainsworth’s tenor is as clear and warm as a sunny August day”

 

OPERAWARHORSES.COM, WILLIAM BURNETT

Tchaikovsky's Eugene Onegin

"'Eugene Onegin' contains Russian opera’s greatest tenor aria Kuda, kuda vi udalilis. Canadian tenor Colin Ainsworth performed the aria sympathetically. Always in character, Ainsworth showed comfort portraying a young man, whose jealous reactions to Onegin’s outrageous attention to his fiancee was wholly believable.”

Stage door

Mozart's Idomeneo

"For this production Pynkoski has assembled an especially starry cast. Colin Ainsworth, long an OA favourite, powerfully brings out the pain that the guilt-stricken Idomeneo suffers. Ainsworth’s voice, once so pure and high, has noticeably darkened over the years but has gained more depth of colour and expression. In this his first Idomeneo, he is best in the arias of delight such as 'Vedrommi intorno' and 'Torna la pace'."

 

Greek Press, James Karas

Mozart's Idomeneo

"The cast is exemplary starting with Opera Atelier stalwart, tenor Colin Ainsworth as the unfortunate Idomeneo. He is a haunted man who has made a terrible choice. Ainsworth has a finely tuned voice and his Idomeneo expresses vocal finesse and delivery of character as much as is permitted in opera seria."

 

Mooney on Theatre

Mozart's Idomeneo

"Tenor Colin Ainsworth gives an excellent reckoning of Idomeneo, satisfyingly muscular in both acting and musicianship. His slightly darker tenor suits his regal demeanor, while giving him the sprightliness needed for Idomeneo‘s emotional range."

 

Baroquiades, Bruno Maury

Charpentier’s Actéon & Rameau’s Pygmalion

Le Figaro, Thierry Hilleriteau

Charpentier’s Actéon & Rameau’s Pygmalion

Charpentier’s Actéon & Rameau’s Pygmalion

James Karas

Charpentier’s Actéon & Rameau’s Pygmalion

Barczablog, Peter Barcza

Charpentier’s Actéon & Rameau’s Pygmalion

Schmopera, Jenna Simonov

Charpentier’s Actéon & Rameau’s Pygmalion

Ludwig van Toronto, Steven Bonfield

Charpentier’s Actéon & Rameau’s Pygmalion

Toronto Star, John Terauds

Charpentier’s Actéon & Rameau’s Pygmalion

Musical Toronto

Charpentier’s Medée

The Globe and Mail

Charpentier’s Medée

stagedoor.com

Charpentier’s Medée

Opera Going Toronto

Charpentier’s Medée

Barczablog

Charpentier’s Medée

The Seattle Times

Wagner's Flying Dutchman

Bachtrack

Wagner's Flying Dutchman

Toronto Star

Lully’s Armide

Globe and Mail

Lully’s Armide

Musical Toronto

Lully’s Armide

Stage Door

Lully’s Armide

Barczablog

Lully’s Armide

ResMusica Michèle Tosi

Rameau’s Castor et Pollux

Seen and Heard International

Handel’s Semele

Opera Going Toronto, Ian Ritchie

Weill’s Street Scene

Schmopera

Weill’s Street Scene

Straight.com

Don Giovanni

Opera Going Toronto

Hippolyte et Aricie

Chicago Tribune, John von Rhein

St. Matthew Passion

Cincinnati Enquirer

Messiah CSO John Nelson

Globe and Mail

Mozart’s Magic Flute

Britten's St. Nicholas

The Toronto Star, Richard Ouzounian

Mozart’s The Magic Flute

The Toronto Sun, John Coulbourn

Mozart’s The Magic Flute

Calgary Herald, Stephan Bonfield

Verdi’s Otello

Musical Toronto, John Terauds

Vaughan-Williams’ On Wenlock Edge

Calgary Herald, Kenneth Delong

Heggie’s Moby Dick

Chicago Classical Review, Lawrence A. Johnson

Charpentier’s Medée

Chicago Tribune, John von Rhein

Charpentier’s Medée

Monday Magazine, Ian Cochran

Stravinsky’s The Rake’s Progress

Victoria Times Colonist, Kevin Bazzana

Stravinsky’s The Rake’s Progress

International Opera Review, Bernard Jacobson

Stravinsky’s The Rake’s Progress

Straight.com, Lloyd Dykk

Orff’s Carmina Burana

Opera Canada, Bill Rankin

Bizet’s Les Pêcheurs de Perles

Edmonton Journal, Elizabeth Withey

Donizetti’s La Fille du Régiment

The Globe and Mail, Ken Winters

Handel’s Messiah

San Francisco Classical Voice, Georgia Rowe

Rameau’s Pygmalion

The Globe and Mail, Ken Winters

Schubert’s Die Schöne Müllerin

The Record, Stephen Preece

Schubert’s Die Schöne Müllerin

The Globe and Mail, Colin Eatock

Gluck’s Orphée et Euridice