| Colin Ainsworth |
Introduction "This young Canadian tenor proved himself entirely equal to the taxing role of Orpheus: in the aria L'espoir renait dans mon ame - a fiendishly difficult vocal marathon - he displayed a rock-solid technique, excellent diction, and a virile tone ... Ainsworth looked every inch his part" The Globe and Mail, Colin Eatock BiographyRecognized internationally and across North America, tenor Colin Ainsworth has built his reputation based on exceptional singing, impeccable diction and a diverse range of repertoire. Commended by the Toronto Star for a “magnetic stage presence that was the ideal embodiment of a romantic lead” and in the Globe and Mail for “a rock-solid technique, excellent diction, and a virile tone” (Gluck’s Orphée), Mr. Ainsworth’s career continues to expand. Company debuts and new roles figure prominently in his 2009-2010 schedule, highlighted by his first bow with Calgary Opera as Laurie in Adamo’s LITTLE WOMEN. He took on the role of Tom Rakewell in THE RAKE’S PROGRESS for the first time for Pacific Opera Victoria conducted by Timothy Vernon. He debuted with the Toronto Symphony in a Pops programme called THE GOLDEN AGE OF BROADWAY and for the Aldeburgh Connection will be heard in a programme of Wolf Lieder. Returning to Edmonton Opera, he is featured as Cassio in OTELLO. His Festival season for summer of 2009 began in Göttingen with the works of Cherubini and Isaac Hayes under the baton of Nicholas McGegan. The concerts were repeated in Hanover and also recorded there for future release. The high-flying tenor role in CARMINA BURANA claimed his attention in Vancouver and for the Elora Festival in Ontario. Earlier in 2008-2009 he was in Edmonton for Nadir in LES PÊCHEURS DE PERLES and Tonio in LA FILLE DU RÉGIMENT; in Hamilton, Victoria, B.C. and London, Ontario for Tamino in DIE ZAUBERFLÖTE, while MESSIAHs were scheduled for the Vancouver and Edmonton symphonies and the Iseler Singers of Toronto. A particular highlight for last season was his debut with Philharmonia Baroque of San Francisco (Nicholas McGegan conducting) in the title role of Rameau’s PYGMALION. This was followed by the title role in ROBERTO DEVEREUX for Opera in Concert and he returns to OIC for Arturo in I PURITANI in the current season. Ainsworth’s summer season for 2008 included his debut with Lake George Opera in New York as Rinuccio in GIANNI SCHICCHI and Frederic in PIRATES OF PENZANCE. He also appeared at the Westben, Bayfield, and sang DIE SCHÖNE MÜLLERIN at the Elora Festival. Praised for his “ability to move seamlessly between different areas of the repertoire”, Mr. Ainsworth is eagerly sought out for his interpretations of operas ranging from Monteverdi to the contemporary works of MacRae and Britten. He made his critically acclaimed debut with Royal Opera and the Edinburgh International Festival in the world première of Stuart MacRae’s opera THE ASSASSIN TREE as Youth. Also praised was his debut with the Greek National Opera singing Orphée in Gluck’s Paris version of ORPHÉE ET EURIDICE, a role he reprised with Opera Atelier under Andrew Parrott. He made his L’Opéra Français de New York debut as Castor in CASTOR ET POLLUX, conducted by Yves Abel, and joined the Montreal Baroque Festival for Monteverdi’s L’ORFEO. Recent CD releases include Vivaldi’s LA GRISELDA (Ottone) for Naxos, ‘Schubert Among Friends’ with Gerald Finley, ‘Gloria in excelsis Deo’ with Tafelmusik, and the première recording of Derek Holman’s cycle The Heart Mislaid for the Aldeburgh Connection’s ‘Our Own Songs’ disc. His 2007-08 schedule included the world premiere of Victor Davies’ opera, THE TRANSIT OF VENUS with Manitoba Opera, Ralph Rackstraw in H.M.S. PINAFORE and Fenton in Verdi’s FALSTAFF - both with Edmonton Opera, Jaquino in Beethoven’s FIDELIO with Vancouver Opera, Handel’s MESSIAH with the Vancouver Bach Choir and Mozart’s REQUIEM with Tafelmusik Baroque Orchestra. On the concert stage, he was engaged by Orchestra London, the Elora Festival Singers (Bach’s ST. MATTHEW PASSION), the Talisker Players in a chamber recital, and the Vancouver Symphony (Beethoven’s Symphony No. 9). In 2005-2006 he debuted at Glimmerglass Opera as Jean in Massenet’s LE PORTRAIT DE MANON, appeared as Renaud in Lully’s ARMIDE for Opera Atelier, as Damon in ACIS AND GALATEA for Toronto Masque Theatre, as Ottone in Vivaldi’s LA GRISELDA for Opera in Concert and Apollo in Monteverdi’s L’ORFEO for Opera Atelier. His concert performances included DIE SCHÖPFUNG for Orchestra London, Mozart’s KRÖNUNGSMESSE and DAVIDDE PENITENTE for Choeur St. Laurent and an all-Mozart program for the Aldeburgh Connection. Further credits include Festival Vancouver (Haydn’s HARMONIEMESSE and Charpentier’s MESSE DE MINUIT conducted by Hervé Niquet), Don Ottavio in DON GIOVANNI (Opera Atelier under Andrew Parrott), CARMINA BURANA (Kitchener-Waterloo Symphony) and MISSA SOLEMNIS (Orchestre Métropolitain with Yannick Nézet-Séguin). His concert schedule included Bach’s MASS IN B MINOR with the Amadeus Choir and Menno Singers, concerts with the Aldeburgh Connection and the Evangelist in Bach’s with the Bach Consort, Nicholas McGegan conducting. Operatic highlights of past seasons include Pylades in Opera Atelier’s IPHIGÉNIE EN TAURIDE with Parrott, the title role in Britten’s ALBERT HERRING and Lysander in MIDSUMMER NIGHT’S DREAM, Ernesto in Donizetti’s DON PASQUALE, Almaviva in IL BARBIERE DI SIVIGLIA, Lully’s PERSÉE and Charpentier’s MEDÉE. Additional credits include Britten’s ST. NICOLAS CANTATA, Bach’s MASS IN B MINOR, WEIHNACHTSORATORIUM and JOHANNES PASSION (arias), and Haydn’s STABAT MATER. His discography includes Rameau’s CASTOR ET POLLUX (Opera in Concert/Aradia), Charpentier’s MESSE DE MINUIT, the collected Masses of Vanhal and a live DVD recording of Lully’s PERSÉE. January 2010
Full RepertoireOpera
Concert
Musical Training
Vocal Preparation Dr. Mark Goodrich, University of Boston
Coaching Nico Castel, New York
Awards
Engaged By
Reviews“The Evangelist role is difficult. Many of the recitatives are challengingly high and require great versatility – demanding that the soloist sing tenderly in one movement, then be strong and fiery in the next. This seemed to be a piece of cake for tenor Colin Ainsworth, who sailed through the role beautifully, wooing us with his light, sweet voice and earnest delivery. His aria Frohe Hirten, elit, ach eilet was performed with smooth ease – and he never seemed to stop to breathe.” Winnipeg Free Press, December 2007 “Colin Ainsworth, a lyric tenor, at first sounded light for the heroic Castor, but in the last two acts summoned the power and variety the role demands.” New York Times, Allan Kozinn, May 2007 “Best among the singers were the brothers: tenor Colin Ainsworth as Castor and baritone Alexander Tall as Pollux. Ainsworth comes closest to the French Baroque ideal – he has an attractive, highly placed voice that moves with ease into the haute-contre range and he sings with style.”Classics Today.com, Robert Levine “Central to any staging of the Orpheus myth – especially Gluck’s 1774 version, created for the greatest tenor in Paris – is a character who must literally sing his way in and out of Hell. Happily, Opera Atelier has a firm foundation for its production in Colin Ainsworth. This young Canadian tenor proved himself entirely equal to the taxing role of Orpheus: in the aria L’espoir renait dans mon âme – a fiendishly difficult vocal marathon – he displayed a rock –solid technique, excellent diction, and a virile tone. (Wisely, he kept his cadenza in this aria down to sensible proportions.) Front and centre – which is where he spent much of the opera – Ainsworth looked every inch his part. Opera Atelier’s poised theatrical style suits him well, and he suits it just as well, with dramatically effective results. Similarly, Ainsworth was consistently simpatico with conductor Andrew Parrott. In the aria J’ai perdu mon Eurydice, they charted a course through shifts in tempo and dynamics that wrung every drop of emotion from this famous lament.”The Globe and Mail, Colin Eatock, April 2007 “Tenor Colin Ainsworth is Orpheus incarnate, his high, lyric voice doing justice to the difficult vocal role. His magnetic stage presence was the ideal embodiment of a romantic lead.”The Toronto Star, John Terauds, April 2007 “Colin Ainsworth gives an impassioned account of the virtuoso role of Orpheus, nailing the innumerable sky-high notes with ease.”Eye Weekly, Christopher Hoile, April 2007 “Ainsworth continued his ascendancy into the stardom stratosphere with his portrayal of Actéon in the first production …powerful, lyrical, emotional and a vivacious sailor in the second.”Globe and Mail – Ken Winters “Handsome tenor Colin Ainsworth is every inch the prince and his lyric voice is a golden treasure.”(Opera Atelier, THE MAGIC FLUTE) Toronto Star – John Terauds “Notable…ardent tenor supplication to our Lord…Colin Ainsworth sang this with grace and feeling.”The Gazette, Montreal – Arthur Kaptainis “In particular Ainsworth’s rich, powerful voice struck me. Ainsworth sent shivers down my spine as he sang of his love for Norina during a heart-wrenching tenor aria.”The Star Phoenix – Shannon Boklaschuk “It takes no great gift of prophecy to forecast a long and successful career for the young Canadian tenor Colin Ainsworth…he has a flexible, well-trained voice and the ability to move seamlessly between different areas of the repertoire.”Toronto Star – Robert Crew “Colin Ainsworth is every inch the prince and his lyric voice is a golden treasure.” (Opera Atelier, THE MAGIC FLUTE)The Toronto Star – John Terauds “Colin Ainsworth sings with his whole instrument, creating a sound that has beauty and precision…an excellent command of the dramatic purpose of his recitatives and airs, looking into the audience with emotional conviction…established himself as a charismatic force.”Edmonton Journal – Bill Rankin “Castor is sung by Colin Ainsworth, a high tenor who slips easily into the haute-contre register, sweet and even in tone and often very expressive.” (Recording – Castor et Pollux)Stanley Sadie “Colin Ainsworth is excellent as Actéon,…his lyric voice just keeps getting stronger every year, without losing any of its sweetness.”Toronto Star – John Terauds “Ainsworth’s crystalline tenor is more powerful than ever.”(Opera Atelier, Armide)Eye Weekly – Christopher Hoile “Tenor Ainsworth was alive to the Handelian discourse, with gleaming clarity of enunciation and a dramatic intensity that overrode the fundamental lightness of his timbre.” The Globe and Mail – Ken Winters |