| “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
Puccini’s La Bohème, L’Opéra de Québec
October 2006
|
| “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
Verdi’s Rigoletto, Pacific Opera Victoria
April 2006
|
| “Alain Coulombe’s deep basso and breath control as Sparafucile were nothing short of wondrous.” |
J.H.Stape, Review Vancouver
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
Verdi’s Rigoletto, Pacific Opera Victoria
April 2006
|
| “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
Mozart’s The Magic Flute, Canadian Opera Company
December 2005
|
| “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
Lully’s Persée live dvd performance
by Opera Atelier and Tafelmusik Baroque Orchestra, EuroArts
|
| “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
Prokofiev’s L’Amour des Trois Oranges, Opera In
Concert
February 2005
|
| “The smaller roles were sharply etched, especially Alain Coulombe,
his deep bass resonating with the stentorian authority essential to
Oroveso.” |
Robert Jordan, Opera Canada
Bellini’s Norma, Pacific Opera Victoria
October 2004
|
| “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
Debussy’s Pélleas et Mélisande, co-production Festival
Vancouver and Vancouver Opera
August 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
Britten’s The Rape of Lucretia, L’Opéra de Montréal
April 2003
|
| "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
Monteverdi’s L’Incoronazione di Poppea, Opera Atelier
April 2002
|
| "Alain Coulombe tended to dominate the proceedings through
sheer physicality when he was onstage as Pistola." |
Andrew L. Pincus, The Berkshire Eagle
Verdi's Falstaff, Tanglewood Music Festival
August 2000
|
| "Alain Coulombe, as Collatinus, conveyed deep emotion with his velvety, powerful bass voice." |
David Lasker, The Globe and Mail
Britten's The Rape of Lucretia, Canadian Opera Company
November 1999
|
| "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
Charpentier’s Médée, Opera Atelier
November 2002 |
> Complete Review Archive
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