2015
Glyndebourne Festival - L'Heure Espagnole - August 2015
"Baritone Étienne Dupuis all but steals L'Heure as the burly muleteer Ramiro, a happy-go-lucky muscle man whose pheromones are so strong it's a puzzle Concepción takes so long to catch their waft"
(Mark Valencia - What’s on stage - August 2015)
Don Carlo - Berlin Deutsche Oper - April 2015
"Should this opera of Verdi have been called Posa instead of Don Carlo? This is the question the audience could have posed after yesterdays performance. Not only did the singer performing the role of Posa receive more applause than the title singer, his warm baritone voice, which he used with amazing versatility, stole the hearts of the sold-out audience of the
Deutche Oper Berlin. Étienne Dupuis has a voice that enchants the audience as he exclaims his first note and first phrase. His natural performance, his proud stance, handsome looks and the dramatic expression his voice conveys, makes him the ideal performer for this beautiful role as a sympathetic character in this otherwise somber piece. During the dramatic
conflict with the King when he directly confronts him with his reign of terror in Flanders and compares the King with Emperor Nero, Dupuis impresses with powerful empathy, during his death bed scene in the third act, with songs of warmth and melancholy. Magnificent, sublime, intense a man of nobility in voice as well as demeanor." (Oper Aktuell )
2014
Le Barbier de Séville - Opéra de Montréal - Novembre 2014
"L'évidente complicité du baryton québécois Etienne Dupuis avec son illustre personnage Figaro est manifeste dès son entrée sur scène. Il a déjà été barbier à Séville dans une autre vie ! Aussi à l'aise à manier le blaireau, le ciseau, aucun poil ne lui résiste. Au service du comte Almaviva, il devient le factotum indispensable de la soirée. Entouré par quatre jolies
minois, il marque par des pirouettes multiples, un rôle fait à sa pointure." (Jacques Hetu - Resmusica)
"Un an et demi après son inoubliable portrait de Joseph De Rocher (Dead Man Walking), Étienne Dupuis retrouve le public montréalais avec une interprétation tout aussi admirable dun rôle qu'il a déjà peaufiné à Berlin et dans plusieurs villes de France. Dès son entrée du fond du parterre, son Barbier exulte la joie de vivre, la rouerie, la finesse et un évident plaisir du chant. Son aisance scénique se double en outre d'une grande élégance vocale, qualités qui concourent à rendre ce Figaro
éminemment séduisant." (Louis Bilodeau-Avant scène Opera)
Concert Félix Leclerc - OSTR - Septembre 2014
"Laissez-moi commencer ce petit compte-rendu du premier concert de la 37e saison de l'Orchestre symphonique de Trois-Rivières par une demande à son chef et directeur artistique Jacques Lacombe: pourriez-vous réinviter le baryton Étienne Dupuis qui, samedi, m'a fait vivre un des plus beaux concerts de l'OSTR en huit ans de fréquentation assidue?"
(Marie-Josée Montminy - Le Nouvelliste) Critique complète ici
Pelléas et Mélisande - Against the Grain Opera - June 2014
"Etienne Dupuis as Pelléas was very gentle, understated until he cut loose in Avt IV, the prettiest sounding Pelléas I've ever heard in person." (Leslie Barcza, Barczablog - June 22, 2014)
"Etienne Dupuis similarly conveys the strange mixture of youthful passion and deep sadness that is Pelléas." (John Gilks, Operaramblings - June 20, 2014)
"As the lovestruck Pelléas, baritone Etienne Dupuis lulls you into a false sense of security and 'piano' in the first act, only to unleash the full breadth of his masculine lyrical tone in the second. The use of straight tones alongside full, free singing added a depth of brushstroke to the music that truly supported Pelléas's emotional journey." (Gregory Finney, Schmopera - June 21, 2014)
"He is in every way a foil to the gentler, kinder Pelléas played by Etienne Dupuis with sensitivity and joy." (Ramya Jegatheesan, The Charlebois Post - June 20, 2014)
"Etienne Dupuis's Pelléas was pitch-perfect as the young Romantic hero, sensitive, emotional, the second-born in the primogeniture society, the recurring character in opera-the-patriarchy-eats-its-sons-too figure." (Definitely the Opera - June 20, 2014)
"He has a gorgeous voice - dark, rich, lustrous - and sensitively brings out the meaning of his every word. This attention to detail is matched by the intensity of his action. I don't recall anyone conveying the emotional arc that Pelléas traverses with such clatiry and depth." (Christopher Hoile - Stage door)
Les pêcheurs de perles - Nantes Angers Opera - Février 2014
"Étienne Dupuis évolue sur les mêmes hauteurs avec des moyens vocaux impressionnants et parfaitement maîtrisés qui lui permettent de tonner par delà l'orchestre mais aussi de murmurer mezza voce. L'interprète est au niveau, dressant un portait de Zurga inhabituellement contrasté et subtil. Sans surprise, le duo de Laïla et Zurga au troisième acte est le sommet de la représentation et l'on ne s'étonne pas que le programme du baryton canadien l'emmène désormais sur les plus grandes scènes européennes." (Vincent Deloge, Resmusica - Février 2014)
Etienne Dupuis simply continues to evolve on the same heights with impressive vocal ability and perfect execution which allows him to thunder above the orchestra but also to murmur mezzo voce. The interpreter is on the same level as the singer, setting up an unusual portrait of Zurga, contrasting and skilled. No surprise that the duet of Laila and Zurga in the third act is the epitome of the performance and one will not be surprised to see this Canadian baritone appearing from now on, on the most famous European stages.
"Etienne Dupuis reaffirms his perfect suitability for this vocal score. His instrument rings without effort all the way to the high notes, intelligibility of the text remains excellent and his aria, intensely personal, sincerely touching because of his emotional truth." (Nicolas Grienenberger, Classiquenews ).
2013
Les pêcheurs de perles - Opéra du Rhin - May 2013
"Quebecker Etienne Dupuis makes a big impact as Zurga with a pure, clear sound and an examplary diction, displaying a formidable strength and stage presence." (Michel Thome - Resmusica)
"Projected into the heart of the work by the staging choice, Etienne Dupuis, flawlessly carries the weight that Vincent Boussard and Georges Bisset equally place upon him. Of his Zurga, the Canadian baritone offers a more subtle portrait than usual, with a perfect diction. Throughout the evening, he addresses the dramatic challenges of the work, his voice grows in authority and darkness until 'Ô Nadir, tendre ami de mon jeune âge' that is astonishing in the truth it conveys. The duet with Leila pushes emotionas even further." (Forum Opera)
Il Barbiere di Siviglia - Opéra d'Avignon - Février 2013
"Quand arrive le grand air de Figaro, interprété par Etienne Dupuis, on retient son souffle... Paire de ciseaux à la main, il aiguise notre curiosité, il cisèle le morceau comme une gourmandise, autant de soleil dans la voix quand on est québécois et que l'on vient du froid, on en reste coi!!! Ce Figaro-là est une merveille, il bouge, il joue, il danse..." (Le Dauphine - 8 avril 2013)
"When Figaro's famous aria arrives, performed by Etienne Dupuis, we hold our breath... A pair of scissors in hand, he heightens our curiositu, he greedily carves his part, so much of the sun in his voice, although he is Quebecois and comes frmo the cold, we remain speechless!!! This Figaro is a marvel, he moves, he plays, he dances..."
"Mais c'est Etienne Dupuis qui s'impose comme révélation de la soirée, par la conjonction d'un matériau vocal idéal pour Figaro (et d'une rare facilité) avec une liberté scénique confondante; au jeu du comédien répond ainsi la solidité déjà avérée du chanteur. Le baryton canadien est indubitablement un des meilleurs Figaro du moment." (Concertonet.com; Emmanuel Andrieu - 11 avril 2013)
"But it is Etienne Dupuis who is in essence the revelation of the evening, with a combination of the vocal foundation ideally suited for Figaro (being a rare ability) and an astounding ease of visual appeal; his acting performance thus further enhances the already proven solidity of the singer. This Canadian baritone is undoubtedly one of the best Figaro os the moment."
Dead Man Walking - Opéra de Montréal - Février 2013
"Etienne Dupuis est un Joseph extraordinaire à tous points de vue: sa splendide voix de baryton traduit à la perfection les âffres d'un personnage que son jeu rend particulièrement touchant. Il faut le voir postré lorsqu'il passe aux aveux ou quand il attend avec une folle angoisse l'injection fatale. Inoubliable." (Louis Bilodeau, L'Avant-Scène Opéra - 9 mars 2013)
"Etienne Dupuis is an extraordinary Joseph on all viewpoints: his splendid baritone voice reflects perfectly the throes of a character that makes them particularly affecting his game. You have to see him standing when he process to confess, or when he awaits the fatal injection with a mad anxiety. Unforgettable."
"Dead Man Walking est porté par Etienne Dupuis en transe, avec un chant physique toujours parfaitement en contrôle" (Christophe Huss, Le Devoir - 11 mars 2013)
"Dead Man Walking was embodied by Etienne Dupuis as if he were possessed, with his physical song always perfectly in control"
"Etienne Dupuis et Allyson McHardy, lui en condamné, elle en religieuse, dominent le spectacle avec une force extraordinaire, chacun apportant à son personnage une voix souple qui rend fidèlement toutes les nuances du texte. Extrêmement touchantes, les confidences du meurtrier à celle qui est devenue son unique interlocuteur." (Claude Gingras, La Presse - 11 mars 2013)
"Etienne Dupuis and Allyson McHardy, he the condemned, she the nun, dominate the show with an extraordinary strength, each bringing to heir character a supple voice that conveys, with precision, the nuances of the text."
"Le baryton Etienne Dupuis et la mezzo-soprano Allison McHardy ont relevé un grand défi et auront réussi à bouleverser l'auditoire par la qualité de leurs prestations dramatiques, mais également par la souplesse et la virtuosité vocales qu'exige la musique de Jake Heggie..."
"Baritone Etienne Dupuis and the mezzo-soprano Allyson McHardy have surpassed a big challenge and have succeeded in troubling the audience with the quality of their dramatic performances, but also with the flexibility and the vocal virtuosity required by Jake Heggie's music..."
"À deux artistes lyriques qui m'avaient parlé du défi que constituait leur choix de prendre un rôle de l'opéra Dead Man Walking, il est aujourd'hui permis de dire que ce défi a été pleinement relevé... Le baryton Etienne Dupuis se dépasse dans ce rôle qui lui permet de mettre en profit la souplesse et la virtuosité d'une voix. Le timbre d'une voix si riche permet de traduire les émotions changeantes du condamné à mort." (André Turp - 16 mars 2013)
"Of two singers who had told me about the challenge that was their choice to take a role from the opera Dead Man Walking, it is now fair to say that this challenge has been fully achieved... The baritone Etienne Dupuis surpasses himself in this role that allows him to take advantage of the flexibility and virtuosity of his voice. The timber of a voice so rich allows to translate the changing emotions of the sentenced to death."
"Etienne Dupuis and Allyson McHardy were a phenomenal pair as death row De Rocher and Sister Helen." (Lev Bratishenko The Gazette - March 11, 2013)
"The convict De Rocher (Dupuis) was equally fantastic. His brawny voice cut through the hall with ease, at all times imbued entirely with character. He embodied all of De Rocher, from the savage violence to the nostalgia of rural southern life. At the beginning of Act II Dupuis actually performed over 30 push-ups – no easy feat!" (Andrew Crust Bachtrack - March 11, 2013)
2012
La Bohème - Vancouver Opera - October 2012
"Dupuis's endlessly appealing Marcello is a star turn, the part robustly sung and blazing with that Puccini life energy. The Montreal performer can handle the slapstick of quickly hiding food and wine from an angry landlord as well as he can project a quiet empathy for a heartbroken Mimi." (Janet Smith, Straight.com)
"As Marcello, a wordly-wise painter, baritone Etienne Dupuis is in consistently fine vocal form, and his easy-going stage manner makes him a joy to watch as well as to hear." (David Gordon Duke, Vancouver Sun)
Faust - Opéra de Montréal - May 2012
"The young Etienne Dupuis as Valentin was solidly focused and rang out with assurance and panache." (Earl Arthur Love, Concerto Net - May 2012)
"Etienne Dupuis donne un relief inusité au personnage de Valentin, témoignant un peu d'humanité et d'empathie pour sa soeur alors qu'il s'apprête à rendre l'âme. Se redressant devant Marguerite agenouillée, il lui tient tendrement le visage pendant un court moment juste avant de la mettre en garde sur ce qui l'attend ici-bas. Encore une fois la main du metteur en scène est bien présente, mais le jeu lui appartient. La voix est toujours aussi remarquable et gagne en profondeur; il nous livre un somptueux 'Avant de quitter ces lieux' et une scène époustouflante à la fin du quatrième acte." (Réal Boucher, Forum Opera - May 2012)
"Etienne Dupuis gives an unusual dimension to the character of Valentin, showing a little humanity and empathy for his sister right as he is about to die. Straightening up before a kneeling Marguerite, he holds her face tenderly for a brief moment before warning her of what awaits her down here. Again, the hand of the director is present, but the game belongs to him. The voice is still remarkable and gains in depth and he gives us a sumptuous ⟪Avant de quitter ces lieux⟫ and a breathtaking scene at the end of the fourth act."
2011
Les pêcheurs de perles - Deutsche Oper Berlin - December 2011
"To make things better, Canadian baritone Etienne Dupuis was an outstanding Zurga, singing with rich, ductile tone in his warm, pleasant voice." (www.ihearvoices.wordpress.com)
"...mit galantem und bestens ansprechendem Bariton: Etienne Dupuis." (www.noethers-kritiken.de)
"... with the gallant and most appealing baritone, Étienne Dupuis..."
"Ante Jerkunica lässt seinen prächtigen Bass strömen, aber den besten Eindruck hinterlässt Etienne Dupuis. Was für ein elegantes und dennoch stürmisch zupackendes Porträt. Zudem ist sein Zurga auch charakterlich so überseugend, dass man glatt vergisst, dass er ja eigentlich in Anbedgardenrobe steckt." (Klassik-in-Berlin)
"Ante Jerkunica lets his beautiful bass flow freely, but leaving the biggest impression was Etienne Dupuis. What an elegant yet stormily vigorous portrait. Indeed, his character-role of Zurga is so convincing that one would completely forget that he is just dressed in an evening suit."
"Bei diesem berühmten Duett erstaunt der hier weniger bekannte kanadische Bariton Etienne Dupuis in hohem Maße. Der kann mithalten und braucht sich hinter Calleja nicht zy verstecken. Beider Stimmen vereinigen sich aufs Schönste." (www.der-neue-merker.eu)
"In his famous duet, the less well-known Canadian baritone Etienne Dupuis surprises to a great degree. He stands on his own ground and does not need to hide behind Calleja. Both voices combine to form the most beautiful unison"
"Dupuis was an equally magnetic presence. He was able to blend his smooth baritone well with Calleja in ⟪Au fond du temple saint⟫, one of the greatest male duos in the history of opera. The number deservedly won a long applause and loud bravos. Dupuis also gave a tender, introspective account of his Act three aria ⟪L'orage s'est calmé⟫, lamenting his decision to punish Nadir. " (NPR Berlin)
2008
Roméo et Juliette - Hawaii Opera Theatre - March 2008
"Adam Flowers (Tybalt) and Etienne Dupuis (Mercutio) were also engaging, Flowers for his skillful raging, Dupuis for his eloquent if not quite magical Queen Mab fantasy." (Ruth O. Bingham, Honolulu Advertiser - March 2, 2008)
"Baritone Etienne Dupuis as Roméo's friend Mercutio impresses with his "Queen Mab" aria, showing the perfect voice for the role. The men's sword fight, choreographed by Tony Pisculli, looks frighteningly real." (Valeria Wenderoth, Star Bulletin - March 2, 2008)
2007
The Magic Flute - Vancouver Opera - January 2007
"Here baritone Etienne Dupuis as Papageno carried the evening. Not only did he get to sing some of the most charming music Mozart ever penned, but his droll comic style, easy delivery, and oddly sexy presence made his performance a complete delight." (David Gordon Duke, Vancouver Sun - January 29, 2007)