Hailed in Opera News as possessing "one of the most beautiful young lyric tenor instruments around" and as "a perfect model of the 'bel canto' style of singing" (Sun Newspaper), Irish-Canadian tenor Michael Colvin has appeared to critical acclaim on opera and concert stages throughout Canada, the USA, UK and Europe.
Born in Ballymena, Northern Ireland, Michael was raised and makes his home in Toronto, Canada. A graduate of the University of Toronto Opera Division, Michael has also trained with the Canadian Opera Company's Ensemble Studio, the Britten-Pears School in Aldeburgh, England and Canada’s Banff Centre for the Arts.
In 2008-9 Michael made his Minnesota Opera debut as Belmonte Die Entführung aus dem Serail, sang Bob Boles in David Alden’s new production of Peter Grimes and Goro in the Minghella production of Madam Butterfly for the English National Opera. Concert highlights included Haydn's Creation with the Rochester Philharmonic Orchestra, Beethoven 9 with the Calgary Philharmonic and Kingston Symphony, Messiah with the Winnipeg Symphony and Chorus Niagara, Vivaldi's Dixit Dominus for the National Ballet of Canada and a recital with Toronto's Aldeburgh Connection.
Recent operatic roles include Ferrando Così fan tutte for the Canadian Opera Company, Ramiro La Cenerentola for Portland Opera, Don Ottavio for Chicago Opera Theater, Normanno Lucia di Lammermoor for the ENO and his critically acclaimed UK opera debut as Rodrigo La Donna del Lago for Garsington Opera. Other engagements include Almaviva The Barber of Seville for Lyric Opera of Kansas City and Opera Lyra Ottawa, Belmonte, Rape of Lucretia and Semele for Chicago Opera Theater, Rodelinda at the COC conducted by Harry Bicket and Shepherd in Oedipus Rex for the Edinburgh International Festival. Other credits include a recording project of the works of Lysenko, a big-screen debut as Don Ottavio in the film Don Giovanni Unmasked alongside baritone Dmitri Hvorostovsky and recordings on the NAXOS, CBC and Warner Music labels.
On the concert platform Michael has sung with the Toronto Symphony Orchestra, Nicholas McGegan and Philharmonia Baroque Orchestra, National Arts Centre Orchestra, Rochester Philharmonic, Vancouver Symphony Orchestra, Detroit Symphony Orchestra, l’Orchestre symphonique de Quebec, Elora Festival and Festival de Lanuadière, the Winnipeg Symphony Orchestra, the Ulster Orchestra in Belfast and the National Ballet of Canada. Recital highlights include Vaughan Williams On Wenlock Edge and Brahms Liebeslieder Walzer for CBC Radio, Schubert's Die Schöne Müllerin at Toronto's Glenn Gould Studio and regular appearances with Toronto’s Aldeburgh Connection and Off Centre Music Salon.
In 2009-10, Michael returned to the English National Opera as Peter Quint
Turn of the Screw and will go back next season for Flute
A Midsummer Night’s Dream. In Canada, he appears as Arbace
Idomeneo for the Canadian Opera Company and the Italian Singer
Capriccio for the Pacific Opera Victoria. On the concert stage he sings Verdi’s
Requiem for the Richard Eaton Singers of Calgary, Beethoven 9 for Vancouver Symphony and
Messiah for the New Mexico Symphony, Vancouver Cantata Singers and Toronto’s Elmer Iseler Singers.
Michael Colvin is represented in Europe by Intermusica.
July 2010 / 489 words. Not to be altered without permission. Please destroy all previous biographical material.
Peter Quint in Britten’s Turn of the Screw
English National Opera / cond. Sir Charles Mackerras / dir. David McVicar (revival production)
“…the truly demonic Quint created by the one adult newcomer to the cast, Michael Colvin. He’s almost bestial with his claw-like hands, hunched back, lurching gait and spookily disembodied singing.”
Richard Morrison, The Times, October 2009
"(Sir Charles Mackerras) delivery of the Screw last night was stunning – as was everything about this show, which has largely the same cast as before but with a new Quint (Michael Colvin). An outstanding cast..."
Rupert Christiansen, The Telegraph, October 2009
“As the all-too-real ghosts, Michael Colvin is a defiant Peter Quint, his flowery melismas embodying decadence rather than spookiness, while Cheryl Barker as Miss Jessel, the ghost of his discarded lover, is a devastating portrayal of a soul trapped in emotional purgatory, her arms reaching out for him through the dead leaves on her grave.”
Jessica Duchen, The Independent, October 2009
"Michael Colvin is excellent in The Prologue - every word carefully pointed - and his Peter Quint was menacing because of its understatement. The way his calls to Miles insinuated themselves into the accompanying orchestral textures were perfectly judged.”
Alexander Campbell, Classical Source, October 2009
"Michael Colvin joins them as the new Prologue/Quint, and in my opinion outdoes his predecessor in the role: the ardent sound he produces is a welcome change from the insipid sound that some English tenors have a tendency to produce, and he was genuinely scary."
Dominic McHugh, Musical Criticism, October 2009
"There can be no doubt however that Peter Quint has been a malevolent presence in Miles' life, and in Michael Colvin's slightly demonic demeanour and chilling stage presence he made the character the true embodiment of evil. His singing had plenty of bite too."
Keith McDonnell, musicOMH.com, October 2009
"New to the cast are Michael Colvin as a vivid Prologue and a creepy Peter Quint... Michael Colvin's characterization is such that one forgets that his two roles are assigned to the same singer."
Colin Anderson, The Opera Critic, October 2009
"The dual role of the Narrator/Quint was performed by tenor Michael Colvin. He projected well in the Prologue, carelessly flickering through the pages of the manuscript which holds that tale, his confident, warm voice aptly conveying the nonchalance, bordering on neglect, of the handsome guardian, and also foreshadowing the seductive charm of Peter Quint himself. Quint’s first vocal utterance, his unearthly nocturnal appeal in Scene 8, ‘At Night’, slyly crept in, oozing bitter-sweet charm and building to a commanding, hypnotic plea."
Claire Seymour, Opera Today, October 2009
"Michael Colvin brings a malevolently plangent, wheedling tone to the role of Peter Quint."
Barry Millington, Evening Standard, October 2009
Handel’s Messiah
Winnipeg Symphony Orchestra / cond. Noel Edison
“The exceptionally gifted Colvin's silken tone and lyrical phrasing immediately asserted itself in Comfort ye my people with a performance that rang with sincerity.”
Holly Morris, December 2008
Rossini La Cenerentola / Portland Opera
"Her charming prince, Michael Colvin, manages to produce a ringing tenor informed in an appealing way with the warmth and kindness of his character."
Pat McElroy, KBPS All Classical Radio, 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, 2007
Elgar Dream of Gerontius / Elora Festival
"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, 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, 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, 2007
Mozart Cosi Fan Tutte / Canadian Opera Company
"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, 2007
Mozart Requiem / Toronto Symphony Orchestra & Peter Oundjian
"The tenor, Michael Colvin, has one of the finest lyric voices in the land."
Ken Winters, The Globe and Mail, 2007
Rossini La Donna del Largo / Garsington Opera
"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, 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, 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, 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, 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), 2007
"Rossini’s Scottish melodrama La donna del Largo 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, Sunday Express, 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."
Chris Gray, The Oxford Times, 2007
Bach Christmas Oratorio / San Francisco's Philharmonia Baroque
"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, 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, 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, 2006
Inaugural Celebrations for Toronto’s Four Seasons Centre / Canadian Opera Company
"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, 2006
"Highlights included a ringing 'Pearl Fishers duet' sung by Michael Colvin and Peter McGillivray"
Now Magazine, 2006
Mozart Abduction from the Seraglio / Chicago Opera Theater
"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, 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, 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, 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, 2006
"Michael Colvin’s soaring tenor brings out the idealistic devotion of Belmonte’s quest"
Lawrence Bommer, Chicago Free Press, 2006
Handel Messiah / Toronto Symphony Orchestra
"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, 2005
"The bright sounds of soprano Nathalie Paulin and tenor Michael Colvin were aural perfection..."
Paula Citron, Classical 96.3 FM, 2005
Handel Messiah / Philharmonia Baroque
"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, 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, 2005
Handel Rodelinda / Canadian Opera Company
"[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, 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, 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, 2005
Verdi Requiem / Elora Festival
"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, 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, 2005
Rossini Tancredi / Canadian Opera Company
"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"
"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, 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, 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, Stage and Page, 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, 2005
Handel Messiah / NAC Orchestra & Trevor Pinnock
"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, 2004
Beethoven Symphony No.9 / Elora festival
"All four (soloists) were strong indeed, from Lichti's bursting entrance with the theme, and Colvin's splendid solo."
Simon Irving, The Guelph Mercury, 2004
Rossini Il Viaggio a Reims / Chicago Opera Theater
"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, 2004