The Metropolitan Opera - Le nozze di Figaro - February 2020

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"Etienne Dupuis‘ Count was another treasure of the evening. Younger than usual, closer to forty than fifty, which makes sense, his more lyric baritone, still resonant in the lower range and large in general, made for a fairly complex figure, one who is really able to see the value of his relationship with his wife in the end and to ask her forgiveness sincerely. (Herr Meister adopted an almost mystical breadth of tempo for this part.) Before, he is largely under the control of his desire for Susanna and an atavistic compulsion to satisfy his craving and his will. It may be that he feels in love with her in a Cherubino-ish way as well, but the production makes it clear that his eye and hands are accustomed to wandering. I suspect he may have benefited from a close study of Marcel Dalio’s great performance as a count of more recent mint in La Règle du jeu, one who did not, like Almaviva, grow up in an ancestral castle and palace."

New York Arts - February 2020

Opéra national de Paris - Don Carlo - October/November 2019

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"Kudos also to Marquis Posa, sung by the Canadian baritone Etienne Dupuis in a homogeneous, elegant and stylistically very precise manner. He also knew how to grip the audience with his poignant and expressive sorrow in “O Carlo ascolta” (delivered lying face down!)."

Opera Online - October 2019

​Opéra de Montréal - Eugene Onegin - September 2019

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"Australian Nicole Car as Tatyana and Montrealer Etienne Dupuis as Onegin are riveting in their vocal and acting presentations. Both are powerful and subtle, dynamic and delicate when the character and music call for it. They have a magnetic chemistry that goes beyond being a couple in real life."

Montreal Theatre Hub - September 2019

Australian Recital Tour - Sydney concert - August  2019

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“Though Dupuis’ handsome lyric baritone has grown of late, he’s still able to scale it back to provide the intimacy required of French song. He brought great tenderness to Duparc’s Chanson triste, making it a short but intense emotional journey, while the same composer’s Le manoir de Rosamonde, a sinister evocation of thwarted love, was conveyed with ample vocal glamour. Simplicity of expression is Dupuis’ gift, the baritone choosing to impart meaning through subtle verbal inflection and tonal shading. The spaciousness and gentle insistence of his singing in Hahn’s L’Énamourée was one of the recital’s highlights, while Ravel’s still little-heard song cycle Trois chansons de Don Quichotte à Dulcinée allowed the baritone to demonstrate his gift for comedy, particularly in the closing drinking song.

Both singers took to the stage to give the world premiere of Kevin March’s La Noche Oscura, a duet written for them by the composer after Dupuis starred in his opera Les Feluettes. A setting of a 15th-century poem by Carmelite friar San Juan de la Cruz, it’s an enchanting depiction of a clandestine meeting of lovers, seeing Dupuis and Car sing in French and English respectively, voices weaving in and out of each other, before coming together in Spanish. A special moment, made more so by the composer’s presence.

They later returned to the stage for the duet Ah! Dite alle giovine from La Traviata, establishing the scene’s fraught dramatic context with ease. Car, who made her debut as Violetta for Opera Australia in 2018, presented the character’s torment in a voice of surpassing loveliness, while Dupuis was every bit the rueful but headstrong patriarch. Car had earlier sung a deeply felt Il ne revient pas from Gounod’s Faust, which seemed to transform anguish into exaltation, while Dupuis gave a noble account of Posa’s Per me giunto from Verdi’s Don Carlo.

Not wanting to disappoint the audience, they offered up two classy encores – Non ti scordar di me and the Waltz from Lehár’s Merry Widow. Those gathered would have kept them on for much longer if they could."

Limelight Magazine - August 2019

​Opéra national de Paris - Don Giovanni - June/July 2019

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“Certainly, Etienne Dupuis has a beautiful appearance, by the seduction of his timbre as well as by the caresses of the cantabile”.

Diapason Magazine - July 2019

​Opéra de Marseille - Faust - February 2019

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"Valentin glorieux et sonore, il parvient à arracher les larmes au moment de sa mort."

Resmusica - February 2019

Opéra de Marseille - La Traviata - December 2018

“The duet with Germont (interpreted by Étienne Dupuis) is the peak of beauty. The baritone is what Germont should be: sober but charismatic, overwhelming but lovable, powerful but intimate. His bright timbre and impeccable diction are a hit at every stage, including his arrival at the party, where he admonishes his son."

Olyrix - December 2018

Barbican Centre, London - L'Enfance du Christ - December 2018

“Étienne Dupuis sharply contrasted Joseph’s assertive dignity with Polydorus’s world-weary authority…A beautiful performance of an exceptionally moving work.”

The Guardian - December 2018

Opéra national de Paris - L'Elisir d'Amore - October 2018

“The Canadian baritone’s timbre is charming, its elegant and nuanced line a real pleasure.”

Forum Opera - October 2018

Metropolitan Opera, New York City - La Bohème- September 2018

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“Also making his Met debut was Etienne Dupuis, Ms. Car’s husband, who revealed a suave, empathetic baritone as Marcello, the leading man’s best friend. Refined and charismatic, his singing anchored many ensemble numbers.”

New York Times, September 2018

Royal Opera House Covent Garden - La Bohème - June 2018

“For his London debut, Etienne Dupuis stands out as an ideal Marcello as much by his voice as by his presence and his intelligent interpretation which was both authoritative and youthful.”

Forum Opéra - June 2018

Deutsche Oper Berlin - Don Carlo - May 2018

"Etienne Dupuis’ Rodrigo was magnificent: bursting stage presence, poise in movement, a seductive baritone voice and an amazing sense of phrasing. The stage director’s idea of him wearing spectacles was effective in affirming his idealistic and self-sacrificing personality. His Act IV, “Per me giunto e il di supremo” followed by “Io morrò, ma lieto in core,” a farewell to his cherished friend Don Carlo and to life was a masterclass in conveying emotion through proper phrasing. This was the evening’s most moving moment."

Concertonet - May 2018

Teatro Real Madrid - La Bohème - December 2017

"The best singer in the first cast was baritone Etienne Dupuis as Marcello. He has a beautiful voice and gave meaning to what he sang."

Seen and Heard International - December 2017

Opéra national de Paris - Pelléas et Mélisande - September 2017

"Etienne Dupuis gives him an elegant and passionate characterization, rich in colors and nuances. From the first duet, the voice is sensual and captivating, the ease of the Canadian baritone’s clear timbre allowing him to avoid the pitfalls of the role. The last duet and the confession of love will be the highlight of the evening."

Forum Opéra - September 2017

Opera Australia - Thaïs - July 2017

"The evening belonged to the two leads. Étienne Dupuis was a stunning Athanaël: his ringing baritone had cut and penetration, and he showed himself capable of warmth in quieter passages."

Bachtrack - July 2017

Théâtre des Champs-Elysées - La Reine de Chypre - June 2017

“Étienne Dupuis, interpreting the role of Jacques de Lusignan, has a clear voice, beautiful diction and a certain vocal authority which indicates decidedly that he is an artist to follow.”

Resmusica - June 2017

Pacific Opera Victoria - Les Feluettes - April 2017

"Etienne Dupuis as the young Simon was a standout... ."

The Coloniast - April 2017

Opéra national de Paris - Iphigenie en Tauride - December 2016

“... we are, in any case, largely fulfilled by the excellence of the musical performance, mainly because of the three principal performers, the first of which is the Canadian baritone Etienne Dupuis as Oreste, who has a voice of rich colors and intense dramatic commitment… . ”

Opera Online - December 2016

Opéra de Montreal - Les Feluettes  - May 2016

"Dupuis, an Opéra de Montréal regular, impressed once again with his rich baritone and capable acting, revealing a character caught between his feelings and society's expectations."

Bachtrack - May 2016

Opéra de Marseille - Manon - Octobre 2015

"In the role of Lescaut, Etienne Dupuis is a beautiful discovery, with a baritone that is eloquent, musical and inspired which intelligently renews the qualities of a character that is often caricatured."

Concert Classic - October 2015

Glyndebourne Festival - L'Heure Espagnole - August 2015

"Baritone Étienne Dupuis all but steals L'Heure as the burly muleteer Ramiro, a happy-go-lucky muscle man whose pheromones are so strong it's a puzzle Concepción takes so long to catch their waft" 

What’s on stage - August 2015

Deutsche Oper Berlin - Don Carlo - May 2015

"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."