In May, Etienne Dupuis sings Eugen Oneguin & Don Carlo in Berlin Deutsche Oper :
Oper Aktuell : Should this opera of Verdi have been called Posa instead of Don Carlo? This is the question the audience could have posed after yesterday’s 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.
Since he made his debut in Berlin Deutsche Oper in the role of Zurga/Les Pecheurs de Perles , Canadian baritone Etienne Dupuis has become a rising star in the international stage and has performed in Opera, concerts and recitals in Canada and Europe. He was back in Berlin Deustche Oper for Figaro/Il Barbiere di Siviglia, Germont/la Traviata, Marcello/La Bohème, Silvio/Pagliacci, Hoël/Dinorah, Posa/Don Carlo, the title role of Eugen Oneguin ; he also sang MarcelloLa Bohème in Vancouver Opera, André Thorel from Massenet’s Thèrèse and La Vivandiere from Benjamin Godard with Festival de Radio France in Montpellier, Valentin/Faust, Joe de Rocher/Dead Man Walking and Figaro/Il Barbiere di Siviglia with Montreal Opera, Zurga/Les Pecheurs de Perles with Opera National du Rhin and Opéra de Nantes, the Count of Nozze di Figaro with Calgary Opera, Metternich from L’Aiglon with Montreal Symphony Orchestra.
Etienne Dupuis made his studies in Montreal and started his career in Montreal Opera where he sang in various productions ; he was then invited for Lescaut in Puccini’s Manon Lescaut for the New Israeli Opera, Marcello in La Bohème with Opéra de Québec, Opéra de Montréal and Edmonton Opera, Papageno from Die Zauberflöte for the Vancouver Opera and Opéra de Tours, Mercutio from Romeo et Juliette with Opéra de Québec and in Hawaii Opera Theatre, Figaro in Il barbiere di Siviglia for Opéra de Marseille, Opéra de Montpellier, Opéra de Massy and Opera d’Avignon. He was also Silvano from Un ballo in Maschera with Opéra de Paris, Silvio from I Pagliacci with Opera de Montréal and Opera de Marseille, Lescaut from Massenet’s Manon with Calgary Opera, Schaunard with Opéra de Monte Carlo, Enrico from Lucia di Lammermoor with Opéra de Québec, Escamillo from Carmen with Pacific Opera Victoria, Valentin from Faust with Opéra de Tours, John Sorel from Menotti’s Consul with Opera de Montreal, Johnny Rockfort in the operatic version of Starmania with Québec and Montreal Opera:
Among his main projects : several productions with Berlin Deutsche Oper, L’Heure Espagnole & l’Enfant et les Sortilèges with Glyndebourne Festival, Albert from Werther at the Liceo, Lescaut from Massenet’s Manon at the Opera de Marseille, Claudio/Beatrice et Benedicte with La Monnaie in Brussels, Cecil/Maria Stuarda with Opera d’Avignon Opera , Zurga/Les Pecheurs de Perles with Zurich Opera, Germont/La Traviata with Opéra du Rhin in Strasbourg…
Upcoming Productions :
Etienne DUPUIS returns back to Berlin Deutsche Oper for several productions : Rodrigo from “Don Carlo” on 23, 26, 30 April & 3 may, the title role of “Eugen Oneguin” on 7, 10, 14 & 24 May, Figaro from “Barber of Seville” on 20 & 22 May
Felix Leclerc concert – OSTR – september
Marie Josée Montminy (http://www.lapresse.ca/le-nouvelliste/arts-spectacles/201409/15/01-4800235-soiree-magique-a-lostr.php) starts her review with these words : « Let me start this review …with a request to the conductor and artistic director Jacques Lacombe: could you invite again baritone Étienne Dupuis who, on saturday, made me live one of my greatest OSTR concerts over the past 8 years .. »
Les Pêcheurs de Perles – Opera du Rhin – May 2013
… Quebecker Étienne Dupuis makes a big impact as Zurga with a pure, clear sound and an exemplary diction, displaying a formidable strength and stage presence.’ (Resmusica-Michel Thome). Translation
‘Projected into the heart of the work by the staging choice, Étienne Dupuis, flawlessly carries the weight that Vincent Boussard and Georges Biset equally place upon him. Of this 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 emotions even further’ (Forum Opera). Translation
La Bohème – Vancouver Opera – octobrer 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 worldly-wise painter, baritone Étienne Dupuis is in consistently fine vocal form, and his easy-going stage manner makes him a joy to watch as well as to hear – Vancouver Sun-David Gordon Duke
Faust – Opéra de Montréal – May 2012
The young Étienne Dupuis as Valentin was solidly focused and rang out with assurance and panache – Earl Arthur Love/Concerto Net – May 2012
Étienne Dupuis donne un relief inusité au personnage de Valentin, témoignant un peu d’humanité et d’empathie pour sa sœur 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
Deutsche Oper Berlin – Pearl Fishers – 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: Étienne Dupuis” www.noethers-kritiken.de)
“…with the gallant and most appealing Baritone, Etienne Dupuis..”
“Ante Jerkunica lässt seinen prächtigen Bass strömen, aber den besten Eindruck hinterlässt Étienne Dupuis. Was für ein elegantes und dennoch stürmisch zupackendes Porträt. Zudem ist sein Zurga auch charakterlich so überzeugend, dass man glatt vergisst, dass er ja eigentlich in Abendgarderobe steckt (Klassik-in-Berlin)
Ante Jerkunica lets his beautiful bass flow freely, but leaving the biggest impression was Étienne 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 Étienne Dupuis in hohem Maße. Der kann mithalten und braucht sich hinter Calleja nicht zu verstecken. Beider Stimmen vereinigen sich aufs Schönste.(http://www.der-neue-merker.eu)
In this famous duet, the less well-known Canadian Bariton Étienne Dupuis surprises to a great degree. He stands 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’orages’estcalmé” lamenting his decision to punish Nadir.(NPR Berlin)