Michael Colvin, tenor

SELECTED REVIEWS | 2007 - 2008

"Michael Colvin brought a sweet, agile lyric tenor to Don Ottavio's two arias" - John von Rhein, Chicago Tribune on Mozart's Don Giovanni (Chicago Opera Theater, 2008)

"Canadians Rhoslyn Jones, soprano, as Donna Anna, and Michael Colvin, tenor, as Don Ottavio are well-matched as the opera's second odd couple and do more to humanize their characters than one sees in many a stand-and-sing grand opera production" - Andrew Patner, Chicago Sun-Times on Mozart's Don Giovanni (Chicago Opera Theater, 2008)

"The singing on the whole was excellent, with Krisztina Szabó’s Elvira, Michael Colvin’s Ottavio, and (Matt Boehler's) Leporello probably the stand-outs" - Bernard Jacobson, Seen and Heard on Mozart's Don Giovanni (Chicago Opera Theater, 2008)

"Her charming prince, Michael Colvin, manages to produce a ringing tenor informed in a appealing way with the warmth and kindness of his character." - Pat McElroy, KBPS All Classical Radio on Rossini's LA CENERENTOLA (Portland Opera, 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 on Rossini's LA CENERENTOLA (Portland Opera, 2007)

"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 on Elgar's DREAM OF GERONTIUS (Elora Festival, 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 on Elgar's DREAM OF GERONTIUS (Elora Festival, 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 on Elgar's DREAM OF GERONTIUS (Elora Festival, 2007)

"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 on Mozart's COSI FAN TUTTE (Canadian Opera Company, 2007)

"The tenor, Michael Colvin, has one of the finest lyric voices in the land." - Ken Winters, The Globe and Mail on Mozart's REQUIEM with Peter Oundjian (Toronto Symphony Orchestra, 2007)

"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 on Rossini's DONNA DEL LAGO (Garsington Opera, 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 on Rossini's DONNA DEL LAGO (Garsington Opera, 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 on Rossini's DONNA DEL LAGO (Garsington Opera, 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) on Rossini's DONNA DEL LAGO (Garsington Opera, 2007)

"Rossini’s Scottish melodrama La donna del Lago 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 (no relation!), Sunday Express on Rossini's DONNA DEL LAGO (Garsington Opera, 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." - By Chris Gray, The Oxford Times on Rossini's DONNA DEL LAGO (Garsington Opera, 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 on Rossini's DONNA DEL LAGO (Garsington Opera, 2007)

SELECTED REVIEWS | 2006

"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 (sfcv.org) on Bach's CHRISTMAS ORATORIO (San Francisco's Philharmonia Baroque, 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 on Bach's CHRISTMAS ORATORIO (San Francisco's Philharmonia Baroque, 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 on Bach's CHRISTMAS ORATORIO (San Francisco's Philharmonia Baroque, 2006)

"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 on the Inaugural Celebrations for Toronto’s Four Seasons Centre for the Performing Arts (Canadian Opera Company, 2006)

"Highlights included a ringing 'Pearl Fishers duet' sung by Michael Colvin and Peter McGillivray" - Now Magazine on the Inaugural Celebrations for Toronto’s Four Seasons Centre for the Performing Arts (Canadian Opera Company, 2006)

"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 on Mozart's ABDUCTION FROM THE SERAGLIO (Chicago Opera Theater, 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 on Mozart's ABDUCTION FROM THE SERAGLIO (Chicago Opera Theater, 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 on Mozart's ABDUCTION FROM THE SERAGLIO (Chicago Opera Theater, 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 on Mozart's ABDUCTION FROM THE SERAGLIO (Chicago Opera Theater, 2006)

"Michael Colvin’s soaring tenor brings out the idealistic devotion of Belmonte’s quest" - Lawrence Bommer, Chicago Free Press on Mozart's ABDUCTION FROM THE SERAGLIO (Chicago Opera Theater, 2006)

"But if there is one thing in this performance that could be called sublime, it would have to be the Benedictus performed by tenor Michael Colvin. Colvin is an exciting artist who has the remarkable ability to make every note in the longest, most florid lines stand out clearly and cleanly, and his effortless delivery really put a shine on the evening's performance." - Steven Baric, The Chronicle-Journal on Bach's B-MINOR MASS (Thunder Bay Symphony, 2006)

SELECTED REVIEWS | 2005

"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 on MESSIAH (Toronto Symphony Orchestra, 2005)

"The bright sounds of soprano Nathalie Paulin and tenor Michael Colvin were aural perfection..." - Paula Citron, Classical 96.3 FM on MESSIAH (Toronto Symphony Orchestra, 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 (sfcv.org) on MESSIAH (Philharmonia Baroque, 2005)

"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 on MESSIAH (Philharmonia Baroque, 2005)

"[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 on Handel's RODELINDA (Canadian Opera Company, 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 on Handel's RODELINDA (Canadian Opera Company, 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 on Handel's RODELINDA (Canadian Opera Company, 2005)

"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 on Verdi's REQUIEM (Elora Festival, 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 on Verdi's REQUIEM (Elora Festival, 2005)

"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" (trans: "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 on Rossini's TANCREDI (Canadian Opera Company, 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 on Rossini's TANCREDI (Canadian Opera Company, 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 of Stage and Page on Rossini's TANCREDI (Canadian Opera Company, 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 on Rossini's TANCREDI (Canadian Opera Company, 2005)

SELECTED REVIEWS | 2004

"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 on HOLIDAY POPS CONCERT (Edmonton Symphony Orchestra, 2004)

"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 on Handel's MESSIAH with Trevor Pinnock (NAC Orchestra , 2004)

"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 on Proms Concert (Symphony Nova Scotia, 2004)

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

"Michael Colvin's glorious tenor made for a noble Adam" - Tamara Bernstein, The National Post on Scarlatti's IL PRIMO OMICIDIO (Grand River Baroque Festival, 2004)

"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 on Rossini's IL VIAGGIO A REIMS (Chicago Opera Theater, 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 on Rossini's IL VIAGGIO A REIMS (Chicago Opera Theater, 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 on Rossini's IL VIAGGIO A REIMS (Chicago Opera Theater, 2004)

"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 on Rossini's IL VIAGGIO A REIMS (Portland Opera, 2004)

"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 on Dvorak STABAT MATER (Winnipeg Symphony Orchestra, 2004)

"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 on Mozart's ABDUCTION FROM THE SERAGLIO (Vancouver Opera, 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 on Mozart's ABDUCTION FROM THE SERAGLIO (Vancouver Opera, 2004)

"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 on Mahler's DAS LIED VON DER ERDE (Symphony Nova Scotia, 2004)

SELECTED REVIEWS | 2003

"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 on Handel's MESSIAH (Toronto Symphony Orchestra, 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 on Handel's MESSIAH (Toronto Symphony Orchestra, 2003)

"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 on Opera Ontario's LIEDERABEND (Opera Ontario, 2003)

"Tenor Michael Colvin, with his sweet and even vocal tone, is an endearing Lindoro." - Willa J. Conrad, The Star-Ledger on Rossini's L'ITALIANA IN ALGERI (Opera Festival of New Jersey, 2003)

"Michael Colvin sang with silken suppleness, accuracy and grace." - Elaine Strauss, U.S.1 Weekly on Rossini's L'ITALIANA IN ALGERI (Opera Festival of New Jersey, 2003)

"Colvin has a high clear voice that is beautifully focused." - Albert H. Cohen, Home News Tribune & Asbury Park Press on Rossini's L'ITALIANA IN ALGERI (Opera Festival of New Jersey, 2003)

"Michael Colvin displayed stylistic assurance and sustained Lindoro's high tessitura with fortitude" - David Shengold, Opera News on Rossini's L'ITALIANA IN ALGERI (Opera Festival of New Jersey, 2003)

"As Lindoro, Colvin displays a delicate tenor with ringing highs" - Anita Donovan, The Trenton Times on Rossini's L'ITALIANA IN ALGERI (Opera Festival of New Jersey, 2003)

"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 on Handel's ACIS AND GALATEA (Guelph Spring Festival, 2003)

"there's only one outstanding voice in the cast - that of tenor Michael Colvin" - Tamara Bernstein, The National Post on Rossini's L'ITALIANA IN ALGERI (Canadian Opera Company, 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) on Rossini's L'ITALIANA IN ALGERI (Canadian Opera Company, 2003)

"Tenor Michael Colvin as Lindoro, Isabella's true love, effortlessly shares top singing honours" - Ken Winters, The Globe and Mail on Rossini's L'ITALIANA IN ALGERI (Canadian Opera Company, 2003)

SELECTED REVIEWS | 2002

"his vocal work was godlike in every respect, with clarion timbre and pinpoint accuracy." - William Shackleford, OPERA Magazine (UK) on Handel's SEMELE (Chicago Opera Theater, 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 on Handel's SEMELE (Chicago Opera Theater, 2002)

"Where'er you walk was ardently tender, its gentle contours shaped like an erotic embrace." - Wynne Delacoma, Chicago Sun-Times on Handel's SEMELE (Chicago Opera Theater, 2002)

"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 on Britten's THE RAPE OF LUCRETIA (Chicago Opera Theater, 2002)

"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 (UK) on Rossini's IL VIAGGIO A REIMS (Canadian Opera Company, 2002)

SELECTED REVIEWS | 2001

"as one admired the honey-toned, impassioned Tamino of Michael Colvin" - James Manishen, Winnipeg Free Press on Mozart's THE MAGIC FLUTE (Manitoba Opera, 2001)

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

"tenor Michael Colvin in particular bowled me over with his masterfully stylish performance" - E. Thomas Glasow, Editor, The OPERA Quarterly on Mozart's IDOMENEO (Canadian Opera Company, 2001)

SELECTED REVIEWS | 1998 - 2000

"Michael Colvin sang the tenor arias and recitatives with precision, feeling and superb diction" - Richard Todd, The Ottawa Citizen on Handel's MESSIAH (National Arts Centre Orchestra, 2000)

"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 on Rossini's THE BARBER OF SEVILLE (Lyric Opera of Kansas City, 2000)

"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 on Britten's THE RAPE OF LUCRETIA (Canadian Opera Company, 1999)

"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 on Rossini's THE BARBER OF SEVILLE (Canadian Opera Company, 1999)

"Michael Colvin plays the lovestruck Count Almaviva with vocal virtuosity" - Glenn Sumi, NOW Magazine on Rossini's THE BARBER OF SEVILLE (Canadian Opera Company, 1999)

"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 on Britten's PAUL BUNYAN (University of Toronto, 1998)

Click here for REVIEWS ARCHIVE