Archive
2012 - 2013“Même s'il a un rôle somme toute assez modeste, Alain Coulombe a littéralement volé la vedette. Maîtrisant parfaitement sa superbe voix grave, il offrait un peu de sobriété à l'ensemble.” Philippe Michaud, Affairesdegars.com “Le comte des Grieux d'Alain Coulombe s'impose par l'opulence de ses moyens vocaux et son autorité dramatique.” Louis Bilodeau, l’Avant-Scene Opera “Bass Alain Coulombe was dark and impressive as the severe Comte des Grieux, a stock character come to life.” Arthur Kaptainis, The Gazette “Alain Coulombe possède le timbre de basse d'un bon comte des Grieux.” Claude Gingras, la Presse “La basse Alain Coulombe impose un Comte des Grieux, avec toute la noblesse qui pèse au personnage.” Jacques Hetu, ResMusica “Alain Coulombe est un Comte des Grieux d’un excellent coffre.” Christophe Huss, Le Devoir “Alain Coulombe was very effective as the elderly Cenobite leader, Palémon, lending some affecting gravitas to the proceedings.” John Gilks, Opera Canada “Alain Coulombe, qui prête une sévère voix de basse au directeur de la même institution” Claude Gingras, la Presse “Dead Man Walking est par ailleurs illumine...par quatre compositions exceptionnelles dans des rôles secondaires : Thomas Goerz en père de la fille assassinée, Kimberley Barber en mère du meurtrier, Alain Coulombe en directeur de prison et John McMaster en père aumônier.” Christophe Huss, le Devoir “It was left to bass Alain Coulombe, as Banquo, to show how to infuse a role, no matter how brief, with intensity, depth and meaning.” Robin Miller, Opera Canada “The understated performance of Alain Coulombe as Banquo was a perfect foil for the Macbeths’ dramatic intensity. His very still performance and smooth, velvet bass conveyed a humane warmth, noticeably in the sonorous “Come dal ciel precipita”and in his relationship with his son (Ajay Parikh-Friese).” Elizabeth Paterson, Review Vancouver “This presentation of Verdi’s Macbeth was a characteristically strong performance orchestrally under Tim Vernon’s galvanic leadership, and it was an even stronger one vocally than is usual with this excellent company. There were, to start with, two fine voices to provide a resonant baritone and bass team of generals. Gregory Dahl seems to be a master of villainous roles: he made a formidable figure of Nick Shadow in POV’s Rake’s Progress three years ago, and now as Macbeth he combined evil with a redeeming touch of conscience; and as Banquo, Alain Coulombe was the straight man, singing with equally powerful heft, and portraying the same kind of honest decency as in last year’s premiere of Andrew P. MacDonald’s Mary’s Wedding.” Bernard Jacobson, Seen and Heard International “Much-needed human warmth is supplied in solo numbers affectingly rendered by bass Alain Coulombe (Banquo's Act 2 romanza) and tenor Robert Clark (Macduff's Act 4 lament for his slain family), both of whom create sympathetic characters in a short space of time.” Kevin Bazzana, Times Colonist 2011 - 2012“The entire cast is excellent, with the superb basso profondo of Alain Coulombe as Clark Gable.” Joep Stapel, NRC Handelsblad “La projection de la basse Alain Coulombe impressionne plus que jamais.” Richard Boisvert, Le Soleil “Bass Alain Coulombe’s experience and musical authority made the most of Raoul’s soldier servant, Marcel (Meyerbeer regarded this role as one of his best characterizations).” Wayne Gooding, Opera Canada “Bass Alain Coulombe sounded suitably dark and foreboding in the Prologue of Verdi’s Simon Boccanegra, perhaps the most stirring music of the afternoon.” Arthur Kaptainis, The Gazette “La sobre concentration de la basse Alain Coulombe a aussi été mise en valeur.” Christophe Huss, Le Devoir “From the moment he stepped on stage as Marcel, bass Alain Coulombe showed his experience. He was simply sensational.” Paula Citron, Classical 96.3 FM “La magnifique basse Alain Coulombe a surpassé le spectacle; un interprète et comédien de grand talent.” Annik Chalifour, Journal L’Express “Bass Alain Coulombe as Sgt.Flowerdew, who caused me (and I wasn’t alone) to sniffle quietly when he died in Charlies’s arms.” Robin Miller, Opera Canada “The bass Alain Coulombe portrayed the sergeant, Gordon Flowerdew, with sympathy and integrity.” Bernard Jacobson, Opera “Bass Alain Coulombe portrayed “Flowers” – a real-life English expatriate who was awarded a posthumous Victoria Cross – as the sympathetic, sterling character he clearly was.” Bernard Jacobson, Seen and Heard International “Also well worth noting is the booming bass of Alain Coulombe, who brings both humour and a commanding stage presence to his turn as Flowerdew.” John Threlfall, Culture Vulture Victoria “Alain Coulombe was a properly sinister Sparafucile, his powerful bass projecting the lowest notes handsomely.” John Guinn, Opera News 2010 - 2011”One final note about this particular production – which has us wondering if MOT has a secret to finding amazing bass singers. Now, in Rigoletto, we are treated to French-Canadian bass Alain Coulombe, who returns to MOT as the assassin Sparafucile after his debut in 2007's Cyrano. It’s not a huge role, but he was just delightful. As he reminds Rigoletto who to ask for if he ever needs a rival done away with, Coulombe sings his name, ‘Sparafucile,’ with the last syllable holding the low F note as he walks the length of the stage and exits. Wonderful!” Patty Nolan, Detroit Theater Examiner “Coulombe's assassin, Sparafucile, is darkly evil – and his voice, a bass, serves the character well.” Donald V. Calamia, encoremichigan.com "Bass Alain Coulombe was oily and effective as Sparafucile." Mark Stryker, Detroit Free Press “As the shadowy Sparafucile, bass Alain Coulombe matched singing of menacing intent with sure stage presence.” Lawrence B. Johnson, The Detroit News “Also, it would be great to listen to Mr. Coulombe performing a title role in some opera - I think he was bigger than his Sparafucile!” Tatyana Ypsilanti, Michigan Opera Theatre’s blog “The bass voice of Alain Coulombe as Ramfis was powerful and wonderful.” Sanat K. Das, The Calgary Herald “The lower-voiced men were all vocally solid -Gaétan Laperrière in fine voice as Aida's father, Amonasro, and with equally impressive singing from Alain Coulombe as Ramfis and David Bedard as the King of Egypt. The singers clearly enjoyed tucking into music that permits vocal amplitude and a sense of the heroic.” Kenneth DeLong, The Calgary Herald “The lower-voiced men were all vocally solid. Gaétan Laperrière was in fine voice as Aida's father, Amonasro, with equally impressive singing from Alain Coulombe as Ramfis and David Bedard as the King of Egypt.” Kenneth DeLong, Opera Canada “Alain Coulombe, as the Bailiff, is a sumptuous bass and an accomplished actor and is especially believable in his interactions with the half dozen children who occasionally populate the stage.” Alan Conter, The Globe and Mail “Lors des deux premiers actes, seul Alain Coulombe tire son épingle du jeu. Une basse retentissante et une diction confortable sont des éléments qui laissent présager un opéra haut en couleur.” Thomas Bastien, patwhite.com “La basse Alain Coulombe incarne un bailli de grande classe.” Jacques Hétu, Resmusica.com “Old-pro basso Alain Coulombe was solid as the Bailiff.” Arthur Kaptainis, The Gazette “La partition aussi laissait tout ce qu’il faut de place aux belles voix de ceux déjà nommés et à celle très riche et trop courtement entendue d’Alain Coulombe dans le rôle du Bailli.’’ Martin Prévost, pieuvre.ca “The standouts in the first half were the comprimario roles. Alain Coulombe, as the bailiff, was superb. He delivered a velvety, well-rounded bass that could serve as a benchmark for aspiring singers.” Earl Arthur Love, ConcertoNet.com “Hegedus et Coulombe faisant excellente figure.” Christophe Huss, Le Devoir “The soloists were terrific: the laserlike soprano Joni Henson, mezzo-soprano Emilia Boteva, tenor Roger Honeywell, and bass Alain Coulombe—all Verdian singers with regard to tonal weight.” Lloyd Dykk, Straight.com “The smaller roles were all well taken, particularly the two Canadian basses - Alain Coulombe as a sonorous King and Phillip Ens as Ramfis.” Joseph So, La Scena Musicale “Other strong performances belong to basses Phillip Ens as Ramfis and Alain Coulombe as the King of Egypt.” John Terauds, Toronto Star “Le Commandeur, qui apparaît au tout début et à la toute fin, bénéficie de la présence et de la grande voix de basse d’Alain Coulombe.” Claude Gingras, La Presse “Bass Alain Coulombe’s notable acting skills underscored his Zuniga with growing menace.” Holy Harris, Opera Canada 2009 - 2010“Supporting roles were strong: the rumblingly resonant instrument of Alain Coulombe's Zuniga.” Gwenda Nemerofsky, Winnipeg Free Press |
“The spoken dialogue (as originally intended for the Opéra Comique back in 1875) comes across well in the 2000-seat house. Special mention in this regard must go to Alain Coulombe, a rich-voiced Zuniga.” |
Michael Johnson, ConcertoNet.com
|
“Why this Carmen would have the hots for this Don José... why not go for the snappy and efficient Captain Zuniga of booming-voiced Alain Coulombe instead?” |
The Hamilton Spectator (blog)
|
“A group of talented cast members make this Toronto production a powerful musical and dramatic interpretation of the opera. Among them is French bass baritone Paul gay as matador Escamillo, French Canadian bass Alain Coulombe, the Canadian Opera Company Chorus, and the opera’s children chorus.” |
Madalina Hubert, The Epoch Times
|
“Le décor est beau sans éblouir; il accorde toute la place à la musique absolument magnifique ainsi qu’aux voix superbes de chanteurs chevronnés dont, entre autres, Rinat Shaham,(Carmen), ...Alain Coulombe (Zuniga).` |
Annik Chalifour et Esther Vlad, L’Express
|
“The smaller roles were mostly very well filled. Quebec bass Alain Coulombe was a rock-solid Captain of the Guard.” |
Ken Winters, The Globe and Mail
|
“Norma, Vancouver Opera’s 50th anniversary season opener, is rich with quality and, for some theatre goers, nostalgic meaning. With no less than 135 productions under his belt, Maestro Richard Bonynge is a foremost expert on Norma. .Also displaying powerful voices were the two leading men, Alain Coulombe (bass, last appeared with VO as Zuniga in Carmen) and Richard Margison (tenor, just finished a Metropolitan Opera run of Aida). After copious quantities of sweet female voices, one needed the reassuring and grounding “lows” they offered up.” |
Andrea Hayley, Epoch Times
|
“Among the lead roles, the best singing came from Kate Aldrich as a most attractive Adalgisa and from Alain Coulombe’s sonorous Oroveso.” |
Bernard Jacobson, The Opera Critic
|
2008 - 2009
|
“As Raimondo the chaplain, bass Alain Coulombe deserves special mention in as much as his was easily the most imposing and engaging male voice in the cast. Although he boomed and resonated as a respectable bass should, there was refreshing nuance and delicacy in his singing.” |
Anonymous Opera Blog
|
“Parmi les quelques voix de chez nous, celle de la basse Alain Coulombe, sombre et sans reflets, donne à son Raimondo la solennité que réclame le rôle.” |
Rejean Beaucage, Journal Le Voir
|
“Bass Alain Coulombe, a Canadian, found the bel canto core in the role of Raimondo.” |
Arthur Kaptainis, The Gazette
|
“Stephen Costello (Edgardo), Jorge Lagunes (Enrico) et Alain Coulombe (Raimondo) permettent à l’opéra de trouver sa particularité avec une qualité vocale sans faille. L’opéra trouvera preneur par la force globale des chanteurs, réunissant une équipe méritoire.” |
Mélanie Thibault, La Grande Époque, Montréal
|
“The cast is heavy with low voices: basses Phillip Ens and Alain Coulombe and baritone Daniel Sutin did themselves proud.” |
John Terauds, Toronto Star
|
“The COC cast represents the beauty of the lower male voice. Basses Phillip Ens as Jacopo Fiesco and Alain Coulombe as Pietro sing with glory.” |
Paula Citron, classical963fm.com
|
“Daniel Sutin, Alain Coulombe and Phillip Ens (the last two Canadians) all patrolled the lower depths impressively.” |
Arthur Kaptainis, The Gazette
|
“Bass Alain Coulombe as Pietro shows why he oftens appears with the COC.” |
Alidë Kohlhaas, lancetteer.com
|
“...As resplendent as that (voice) of Alain Coulombe, who brought vivid characterization to the role of Zuniga.” |
Robert Jordan, Opera Canada
|
| “There is also exceptional work from any number of the supporting players too, not the least of which are mezzo Lauren Segal, bass Alain Coulombe and mezzo Sonya Gosse as Natasha's cousin, father and godmother respectively.” |
John Coulbourn, Toronto Sun
|
“Outstanding in secondary roles are Alain Coulombe as Nathasha’s father and Lauren Segal as the cousin who foils Nathasha’s elopement with Anatole.” |
Michael Johnson, ConcertoNet.com
|
“The strong Canadian cast also included Alain Coulombe as a noteworthy Count Ilya Rostov.” |
Leonard Turnevicius, Jamilton
|
“The bright light among the men was Alain Coulombe, whose vocal power and sympathetic presence delivered a compelling portrayal of the chaplain.” |
Janelle Gelfand, Opera Canada |
2007 - 2008 |
“Of the men, the evening’s standout was Alain Coulombe, who as the chaplain (Raymond) was imposing in presence as well as in vocal power.” |
Janelle Gelfand, Cincinnati Enquirer
|
“Bass Alain Coulombe was fittingly menacing as Butterfly’s uncle (The Bonze), who condemns her for abandoning her Japanese faith.” |
Mary Ellyn Hutton, Music in Cincinnati
|
“Also making strong impressions were Alain Coulombe, who cursed Butterfly as the Bonze, and Kelvin Chan, as Prince Yamadori.” |
Janelle Gelfand, The Cincinnati Enquirer
|
“Alain Coulombe a fait un Sarastro parfaitement solennel.” |
Claude Gingras, La Presse
|
“ The large cast was studded with supporting characters, including several excellent young Canadians- Alain Coulombe (Lignière), Gaétan Laperrière (Le Bret) and Daniel Okulitch (Carbon/Inconnu).” |
Ursula Weiss, Opera Canada
|
2006 - 2007 |
“The soloists, of course, bear considerable mention for their work in this performance. The biggest single entry goes to bass Alain Coulombe, who sat everyone up in their seats with his bold and declamatory “Tuba mirum.” |
Steven Baric, The Thunder Bay Chronicle-Journal
|
“The men, especially the baritones and basses were notable as is expected in a Russian opera. Special mention should be given …to Alain Coulombe as the priest who in a humorous turn inappropriately brought up the famous “Russian” writer Gogol when administering the last rites to Boris Timoveyovich and was outrageously plastered during the wedding scene.” |
Ralph Lindheim, Toronto Slavic Quarterly (University of Toronto)
|
“Bass Alain Coulombe (Colline) was eminently credible, and is also blessed with a voice that remains strong throughout the register.” |
Renée Maheu, Opera Canada
|
“La basse Alain Coulombe, par la nature même de sa voix, n’avait pas d’aussi brillants airs à défendre. En revanche, on a pu retrouver chez lui cette noblesse et cette sobriété qui le distinguent, qualités qui donnent à tout ce qu’il chante, qu’il s’agisse de Mozart ou de Halévy, un caractère humain et solennel.” |
Richard Boisvert, Le Soleil
|
“Bass Alain Coulombe’s basso profundo voice offers a different, less flashy type of repertoire, but nonetheless, we heard once again in his two arias the nobility and sobriety that make him so unique. Those exquisite qualities bring to everything he sings, may it be Mozart or Halevy, a deeply human and solemn mood.” |
Richard Boisvert, le Soleil
|
“Heureusement, nos Laquerre, Antoun et Coulombe sont là, avec leur presence et leurs vraies voix.” |
“Forunately, our Laquerre, Antoun and Coulombe are part of the concert, with their great presence and authentic voices.” |
Claude Gingras, La Presse
|
“Lesser roles were nobly served by Quebecers Alain Coulombe, Frédéric Antoun and Olivier Laquerre…” |
Arthur Kaptainis, The Gazette
|
| Puccini’s La bohème, L’Opéra de Québec,
October 2006 “Un autre qui montre sur scène une aisance parfaite, c’est la basse Alain Coulombe. Il nous régale en plus de sa belle voix de basse, plus franche et plus libre que jamais.” |
| “Another singer who shows on stage a perfect ease is the bass Alain Coulombe. He treats us with his beautiful bass voice, stronger, freer than ever.” |
Richard Boisvert, Le Soleil
|
| “Je salue la prestation remarquable d’Alain Coulombe dans son rôle de Colline, le philosophe, et plus particulièrement au dernier tableau lorsqu’il chante des notes de basse profonde avec emotion et sensibilité.” |
| “I want to mention the outstanding performance of Alain Coulombe in the role of Colline the philosopher, even more so in the last scene, when he sings basso profundo notes with lots of pathos and sensibility.” |
Lise Deschênes, La Voix Gaspésienne
|
“Completó el elenco de bohemios una muy profesional labor del bajo Alain Coulombe en el personaje de Colline.” |
Horacio Tomalino, Mundoclasico.com
|
| Bellini’s I Puritani, Festival Vancouver &
Vancouver Opera, August 2006 “Even the minor roles were a case of gala casting: Alain Coulombe, familiar to Victoria and Vancouver, delivered a polished performance as Lord Valton.” |
J H Stape, Review Vancouver
|
2005 - 2006 |
| Verdi’s Rigoletto, Pacific Opera Victoria, April
2006 “Alain Coulombe is flawless and disturbing as Sparafucile. His massively deep bass voice probes the theatre like the growl of a lion.” |
Grania Litwin, Times Colonist
|
| “Alain Coulombe, with a booming bass voice that got beefier the lower it went, was a Sparafucile as ruthless and malevolent (yet curiously principled) as you’re likely to find this side of a maximum-security prison.” |
Robert Jordan, Opera Canada
|
| “Alain Coulombe’s deep basso and breath control as Sparafucile were nothing short of wondrous.” |
J.H.Stape, Review Vancouver
|
| Puccini’s La Bohème, Edmonton Opera, March 2006 “Bass Alain Coulombe (Colline), singing to his overcoat, helped build the atmosphere around Mimi’s deathbed nicely. He movingly captured the character’s quixotic wistfulness.” |
Bill Rankin, Opera Canada
|
| “The scene where Colline says goodbye to his overcoat before leaving to sell it for a cordial to comfort the expiring Mimi is sung wistfully by bass Alain Coulombe and helps establish the funeral climax.” |
Bill Rankin, Edmonton Journal
|
| Britten’s The Rape of Lucretia, Pacific Opera
Victoria, February 2006 “As Collatinus, bass Alain Coulombe sang with cavernous tone and believable warmth.” |
Elissa Poole, The Globe and Mail
|
| “Roman general Collatinus, Lucretia’s husband was portrayed admirably by bass Alain Coulombe, who made his character’s adoration for his wife palpable in every note.” |
Robert Jordan, Opera Canada
|
| Mozart’s The Magic Flute, Canadian Opera Company,
December 2005 “With his lush, resonant voice former Ensemble member Alain Coulombe was as magisterial a Sarastro as one could wish. His bass plumbed the challenging depths of “In diesen heil’gen Hallen” with full security of tone.” |
Christopher Hoile, Stage Door
|
| “Alain Coulombe as a sonorous Sarastro had his part well defined from the start.” |
Jon Kaplan and Glenn Sumi, NOW Magazine
|
| “Veteran bass Alain Coulombe gave gravitas to Sarastro.” |
Paula Citron, Opera Canada
|
| Lully’s Armide, Opera Atelier and
Tafelmusik Baroque Orchestra, November 2005 “Alain Coulombe was a huge success as Armide’s uncle, the sorcerer Hidraot.” |
Keith Garebian, Stage and Page
|
| “Bass Alain Coulombe was in fine voice as Armide’s sorcerer uncle.” |
Christopher Hoile, Opera News
|
| Lully’s Persée live DVD performance by
Opera Atelier and Tafelmusik Baroque Orchestra, EuroArts “Alain Coulombe dans Phinée…ravit sans doute la première place…assurément par le style et l’engagement du chanteur. Il revêt le costume du rival malheureux qui lui sied bien. Le rôle de Phinée, tout comme celui de Mérope, deux êtres blessés, déchirés, équidistants de leur amour, est exigeant et demande de vivre intensément le drame.” |
Jacques Hétu, resmusica.com
|
| “With the exception of the strongly sung Phinée of Alain Coulombe, both as to quality and real understanding of the expressive nuances of Lully’s recitative.” |
Brian Robins, Fanfare Magazine
|
| “Du côté des hommes, Alain Coulombe et Olivier Laquerre allient puissance et justesse.” |
Viet-Linch Nguyen, www.forumopera.com
|
| Von Weber;s Der Freischütz, co-production
Festival Vancouver and Vancouver Opera, August 2005 “Alain Coulombe also offered an authoritative Hermit, in ringing and elegant voice.” |
J.H.Stape, Review Vancouver |
2004 - 2005 |
| Verdi’s Un ballo in maschera, Vancouver
Opera, May 2005 "Alain Coulombe offered a richly menacing Tom, dark of voice and presence.” |
J H Stape, Review Vancouver
|
| A Kurt Weill Cabaret, Calgary Opera
Association, March 2005 “Each of the singers was perfectly chosen for the particular song…Coulombe bringing to mind Bing Crosby in equally successful renditions of Thousands of Miles and Mon Ami, My Friend.” |
Kenneth DeLong, Opera Canada
|
| “Bass Alain Coulombe rumbles forth “Thousands of Miles” from the Weill-Maxwell Anderson 1949 musical about the South Africa Lost in the Stars.” |
Martin Morrow, Calgary’s News and Entertainment Weekly
|
| Prokofiev’s L’amour des trois oranges,
Opera In Concert, February 2005 “The star had to be Toronto-based bass Alain Coulombe, whose rich, commanding basso was tailor-made for the role of the King of Clubs.” |
John Terauds, Toronto Star
|
| “Talented bass Alain Coulombe as the King of Clubs demonstrated his vast experience by walking away with the singing honours.” |
Paula Citron, Classical 96
|
| Britten’s Albert Herring, Canadian
Opera Company, December 2004 “Bass Alain Coulombe - like Krisztina Szabo, an Ensemble Studio graduate - was the rich-voiced police superintendent.” |
Tamara Bernstein, National Post
|
| “Bass Alain Coulombe was also in fine fettle as Superintendent Budd, the village constable.” |
Paula Citron, Classical 96.3 FM
|
| Bellini’s Norma, Pacific Opera
Victoria, October 2004 “The smaller roles were sharply etched, especially Alain Coulombe, his deep bass resonating with the stentorian authority essential to Oroveso.” |
Robert Jordan, Opera Canada
|
| Bizet’s Les Pêcheurs de Perles, co-production Festival Vancouver and Vancouver Opera, August 2004 “But bass Alain Coulombe, as the high priest Nourabad…with his rich, sombre tone.” |
Jessica Werb, The Georgia Straight
|
2003 - 2004 |
| Lully’s Persée, Toronto Opera Atelier,
May 2004 “Good to see Opera Atelier’s revival of Persée, one of its best productions…Added theatricality comes from singers Alain Coulombe and Monica Whicher, who generate emotions beneath the period gestures. It’s well sung and played.” |
Jon Kaplan, NOW Magazine, Toronto
|
| “Now Persée is back with us once again, revived Friday night at the Elgin Theatre, and if anything it looks and sounds even more impressive this time…Monica Whicher makes a welcome return from the 2000 cast, as does the Canadian bass Alain Coulombe in the one note, high dudgeon role of the jealous Phineé, brother to the king.” |
William Littler, Toronto Star
|
| Monteverdi’s L'Incoronazione di Poppea,
Cleveland Opera, March 2004 “Alain Coulombe was a forceful wreck of a philosopher as the doomed Seneca.” |
Donald Rosenberg, The Plain Dealer, Cleveland
|
| 20th Anniversary Gala Concert, Opéra de Québec,
December 2003 “Alain Coulombe, qui n’a rien perdu de son magnétisme, s’est imposé avec un Fiesco (Simon Boccanegra) dans l’oeil duquel on perçoit une lueur terrible, une sorte de noirceur très captivante.” |
| “Alain Coulombe, who always sings with such magnetism gave to Fiesco (Simon Boccanegra) an imposing stature, and we could see in his eyes the terrifying light of doom, a captivating darkness.” |
Richard Boisvert, Le Soleil, Québec
|
| Debussy’s Pelléas et Mélisande,
Vancouver Opera/Festival Vancouver, August 2003 “Alain Coulombe… had vocal prowess to spare, the warmth of his voice as seductive as it was soothing.” |
Vancouver Sun
|
| “The beautiful deep bass of Alain Coulombe brought the wisdom and serenity of the aged Arkel to calm the storms of passion or to comfort melancholy and sadness.” |
Jane Penistan, Review Vancouver
|
| Bellini Gala Concert, Festival International de
Lanaudière, August 2003 “Bass Alain Coulombe continues to impress as usual, and we wonder how such a booming sound can be produced by such a slender man.” |
Paula Citron, Opera Canada Magazine |
2002 - 2003 |
| Verdi’s Rigoletto, L’Opéra de
Québec, May 2003 “Le Sparafucile d’Alain Coulombe se donne une méchante gueule de crapule, avec ses cheveux longs et graisseux qui lui tombent sur le visage. Ce personnage dur et impitoyable s’exprime d’une voix imposante, voire terrifiante. Pour tout dire, Coulombe étonne comme à chacun de ses retours à Québec.” |
| "Alain Coulombe gives to his Sparafucile a mean and evil assassin figure, with long black dirty hair falling on his face. That violent and frightening man expresses himself with an imposing, even terrifying voice. Coulombe surprises us, like every time he comes back to sing in Quebec City." |
Richard Boisvert, Le Soleil, Québec
|
| “Daniele LeBlanc (Maddalena) et Alain Coulombe (Sparafucile) donnent une vérité toute crédible à leurs personages troubles; ils font du troisième acte un des moments les plus réussis de la soirée.” |
Michel Ferland, radio-canada.ca
|
| Britten’s The Rape of Lucretia, Opéra
de Montréal, April 2003 “From the pungent opening chords of L’Opéra de Montréal’s The Rape Of Lucretia, one sensed immediately that this was going to be a performance of special merit…above all Alain Coulombe, a superb Collatinus, with a voice most Wotans would envy…” |
Robert Markow, Opera News
|
| “Alain Coulombe, don’t on a apprecié l’ampleur du timbre, a joué son personage avec noblesse et autorité.” |
| “Alain Coulombe, of whom we appreciated the volume and colour of the voice, gave nobility and authority to his character.” |
Réal Boucher and Rémi Bourdot, www.forumopera.com
|
| Charpentier’s Médée, Toronto Opera
Atelier, November 2002 "The best work is by Alain Coulombe as the duplicitous King Créon. He's a real singing actor who uses all the tools at hand to create a memorable character." |
Jon Kaplan, NOW Magazine, Toronto
|
| “Bass Alain Coulombe’s forceful Créon showed he was born for this repertoire.” |
Paula Citron, Classical 96.3 FM
|
| "Alain Coulombe uses his smooth, rich bass to great effect as the duplicitous Créon. He makes Créon's descent into madness in Act 4 thoroughly gripping." |
Christopher Hoile, Stage Door
|
| "The bass Alain Coulombe lent gravity to King Créon." |
Joseph K. So, Opera Magazine
|
2001 - 2002 |
| Monteverdi’s L’Incoronazione di Poppea,
Toronto Opera Atelier, April 2002 "Alain Coulombe as Seneca gives the kind of assured, refined performance we've come to expect from him. Even as his sonorous bass lends gravitas to the philosopher's great final scene, he suggests a man forcing his emotion to bend to his will." |
Christopher Hoile, Stage Door
|
| Rossini’s Il Viaggio a Reims, Canadian
Opera Company, February 2002 "Standouts among the supporting roles include Alain Coulombe, hilarious as the Molierean doctor Don Prudenzio..." |
Christopher Hoile, Stage Door |
2000 - 2001 |
| Somers' Serinette with Soundstreams Canada
(Toronto), June 2001 "Other notable performers included…Alain Coulombe (Sam Jarvis Sr).…" |
Peter Dyson, Opera, January 2002
|
| "Bass Alain Coulombe was…rich and stentorian in voice" |
Colin Eatock, The Globe & Mail
|
| Idomeneo, Canadian Opera Company, April 2001 "Bass Alain Coulombe give sumptuous voice to the Oracle in Act 3." |
Christopher Hoile, Stage Door
|
| Britten's Billy Budd, Canadian Opera
Company, April 2001 "Mention should be made, too, of the strong contributions of…Alain Coulombe (Lieutenant Ratcliffe)…" |
Urjo Kareda, The Globe & Mail
|
| "…supported at every turn by impressive talent…Alain Coulombe…" |
John Coulbourn, The Toronto Sun, April 9, 2001
|
| Puccini's La Fanciulla del West, Canadian
Opera Company, January 2001 "Alain Coulombe was thrilling in his appearance as the bandit Castro" |
Tamara Bernstein, The National Post
|
| "There's some strong work from baritone John Fanning in the role of the Sheriff Jack Rance, as well as from COC stalwarts like bass Alain Coulombe…" |
John Coulbourn, The Toronto Sun
|
| "…supporting roles were generally strong….gangster Alain Coulombe comes to mind" |
Geoff Chapman, The Toronto Star |
| Lully's Persée, Opera Atelier Toronto,
October 2000 "Coulombe's Phinée was a stand out, vocally and dramatically." |
Tamara Bernstein, The National Post
|
| "Alain Coulombe, as Merope's partner in plotting, created a powerful presence." |
Urjo Kareda, The Globe and Mail
|
| "As the two villains, bass Alain Coulombe and soprano Monica Whicher stole the show…" |
Paula Citron, Classical 96 & 103 FM
|
| "Special kudos to principals Whicher, Pudwell, Paulin and particularly Coulombe." |
John Coulbourn, The Toronto Sun
|
| Verdi's Otello, Canadian Opera Company,
September 2000 "…Alain Coulombe a vocally stronger than usual Lodovico." |
William Littler, The Toronto Star
|
| "Mezzo soprano Anita Krause, tenor Michael Colvin and bass Alain Coulombe were excellent in supporting roles" |
Paula Citron, Classical 96 & 103 FM
|
| "…Alain Coulombe…were all impressive for bringing to life the smaller roles…" |
Wayne Gooding, Opera Now, March/April 2001
|
| Verdi's Falstaff , Tanglewood Music
Festival, August 2000 "Alain Coulombe tended to dominate the proceedings through sheer physicality when he was onstage as Pistola." |
Andrew L. Pincus, The Berkshire Eagle
|
| "Alain Coulombe looked both dangerous and degenerate as Pistola" |
Richard Dyer, The Boston Globe |
1999 - 2000 |
| Puccini's La Bohème, Canadian Opera Company, April 2000 |
| "Young Alain Coulombe (Colline) seems on the brink of an important career." |
Peter Dyson, Opera, July 2000
|
| "As for talented Canadian bass Alain Coulombe, his Colline shows that he's a major talent." |
Paula Citron, Classical 96 & 103 FM
|
| "COC ensemble bass Alain Coulombe makes the most of his one moment to shine in the coat aria." |
Joseph So, La Scena Musicale
|
| "…the excellent Colline-bass Alain Coulombe…" |
Tamara Bernstein, National Post
|
| Debussy's Pelléas et Mélisande, Canadian Opera Company, April 2000 |
| "Alain Coulombe brought remarkable dignity to [the] role [the Doctor]…" |
Robert Everett-Green, The Globe and Mail
|
| Mozart's Don Giovanni, Canadian Opera Company, January 2000 |
| "…Isabel Bayrakdarian, whose fresh-voiced, stylish Zerlina was nicely partnered by Alain Coulombe's Masetto." |
William Littler, The Toronto Star
|
| "…Alain Coulombe a very promising Masetto" |
Peter Dyson, Opera, April 2000
|
| "Alain Coulombe brought just the right touch of Cro-Magnon-but endearing-obtuseness to the peasant Masetto." |
Tamara Bernstein, National Post
|
| Britten's The Rape of Lucretia, Canadian Opera Company, November 1999 |
| "Alain Coulombe, whose bass seems to grow larger at each hearing, was a superb Collatinus." |
Peter Dyson, Opera, March 2000
|
| "Alain Coulombe, as Collatinus, conveyed deep emotion with his velvety, powerful bass voice." |
David Lasker, The Globe and Mail
|
| "Bass Alain Coulombe as Collatinus…has an ever richer sound, which works in effective contrast with fellow Roman officer Junius, baritone Gregory Dahl." |
Geoff Chapman, The Toronto Star
|
| "As the wronged husband Collatinus, Alain Coulombe was musically and dramatically convincing, particularly in Leblanc's poignant staging of the finale." |
Paul Baker, Opera Canada, Spring 2000
|
1998 - 1999 |
| Cavalli's Giasone, Canadian Opera Company,
December 1998 "…outstanding performances: Alain Coulombe as soldier Besso has a gorgeous bass voice you'll encounter only rarely…" |
Geoff Chapman, The Toronto Star
|
| "…scene with Besso, played with vocal assurance and wit by bass Alain Coulombe." |
Paul Baker, Opera Canada, Spring 1999
|
| "…quickly and thoroughly ensnared Besso (Alain Coulombe, with a promising cavernous bass)." |
Peter Dyson, Opera, March 1999
|
| “Alain Coulombe and Barbara Hannigan were very good as the servants of Giasone and Isifile, singing a very sexy love scene, with a great deal of charm.” |
Sandra Alston, U of T Library Magazine |