Etienne DUPUIS (W)

After opening the season with a concert dedicated to Felix Leclerc with Orchestre Symphonique de Trois Rivières and Meyerbeer’s Dinorah in Berlin Philarmonie , Etienne Dupuis is back in Montreal Opera in November for the “Barber of Seville”

Étienne Dupuis has been receiving international acclaim since his debut at Deutsche Oper Berlin in 2011 in the role of Zurga alongside Patrizia Ciofi (Leila) and Joseph Calleja (Nadir) in the Pearl Fishers. Following this debut, he was invited back to Berlin to perform in Barbiere di Siviglia (Figaro) , La Traviata (Germont) and more recently in October 2015, Hoël from Dinorah. 

Recent engagements include Marcello in Bohème with Vancouver Opera, Joe de Rocher in Dead Man Walking with Opéra de Montréal, André Thorel from Massenet’s Thèrèse and La Vivandiere from Benjamin Godard with Festival de Radio France in Montpellier, Figaro in Barber of Seville in Avignon and the role of Zurga with Opéra National du Rhin, Strasbourg and Opera de Nantes.

 After his studies at McGill University, Étienne began his career in various productions with Opéra de Montreal: Rigoletto, Die Zauberflöte, La Bohème, Turandot and Carmen.
On the main stages throughout Canada and Europe, he has sung Lescaut (Manon) for the New Israeli Opera, Marcello (La Bohème) with Opéra de Québec, Opéra de Montréal and Edmonton Opera, Papageno (Die Zauberflöte) with Vancouver Opera and Opéra de Tours, Mercutio (Romeo et Juliette) with Opéra de Québec and with Hawaii Opera Theatre, Figaro (Il barbiere di Siviglia) with Opéra de Marseille, Opéra de Montpellier and Opéra de Massy. He has also performed the role of Silvano (Un ballo in Maschera) with Opéra de Paris, Silvio (I Pagliacci), Marcello (La Bohème), Valentin (Faust) with Opera de Montréal, Lescaut from Massenet’s Manon with Calgary Opera, Schaunard with Opéra de Monte Carlo, Enrico from Lucia di Lammermoor with Opéra de Québec, Silvio (I Pagliacci) with Opera de Marseille, Escamillo (Carmen) with Pacific Opera Victoria, Valentin (Faust) with Opéra de Tours and John Sorel (Menotti’s Consul) with Opera de Montreal.

 Upcoming engagements with Deutsche Oper Berlin include Marcello (Boheme), Silvio (Pagliacci), the title role of Oneguine, Figaro (Il Barbiere di Siviglia) and Rodrigo (Don Carlo). Other engagements include Zurga with Zurich Opera ; Albert, Werther at Liceu in Barcelona, L’Enfant et les Sortilèges and L’Heure Espagnole at the Glyndebourne Festival; Lescaut in Massenet’s Manon in Marseille, Beatrice et Benedicte in La Monnaie de Bruxelles, Maria Stuarda in Opera d’Avignon, Germont of La Traviata with Opera du Rhin.

 Upcoming Productions  :

Opera de Montréal/Barber of Sevilla/8 to 15 november



Press review



Felix Leclerc concert – OSTR – september

Marie Josée Montminy  ( 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-
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.(

“mit galantem und bestens ansprechendem Bariton: Étienne Dupuis”
“…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.(
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)