| “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.” | |||
Richard Boisvert, Le Soleil
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| “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
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| “Alain Coulombe’s deep basso and breath control as Sparafucile were nothing short of wondrous.” | |||
J.H.Stape, Review Vancouver
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| “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
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| “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
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| “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, www.resmusica.com
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| “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, The Toronto Star
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| “The smaller roles were sharply etched, especially Alain Coulombe, his deep bass resonating with the stentorian authority essential to Oroveso.” | |||
Robert Jordan, Opera Canada
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| “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
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| “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
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| "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
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| "Alain Coulombe tended to dominate the proceedings through sheer physicality when he was onstage as Pistola." | |||
Andrew L. Pincus, The Berkshire Eagle
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| "Alain Coulombe, as Collatinus, conveyed deep emotion with his velvety, powerful bass voice." | |||
David Lasker, The Globe and Mail
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| "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
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| Click here for Alain Coulombe's Complete Review Archive
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