April 8, 2013
The Toronto Star, Richard Ouzounian
Mozart’s The Magic Flute

“Colin Ainsworth establishes once again, from his very first notes, that vocal purity is the best attribute a tenor can possess. Add perfect leading man looks and a wonderful sense of bewildered charm and you have the quintessential Tamino.”

April 9, 2013
The Toronto Sun, John Coulbourn
Mozart’s The Magic Flute

“...tenor Colin Ainsworth dons the role of the reluctantly heroic Tamino in such a way that it’s hard to believe it wasn’t tailor-made for him…”

November 19, 2012
Calgary Herald, Stephan Bonfield
Verdi’s Otello

“Colin Ainsworth was in strong lyric voice all night as the disgraced Cassio”

August 2, 2012
Musical Toronto, John Terauds
Vaughan-Williams’ On Wenlock Edge

“For the songs, the Nash Ensemble, one of England’s gifts to chamber music, was joined by Canadian tenor Colin Ainsworth. Together, they wove a delightfully scenic path through the thicket of tragedy and elegy that runs through the poetry.
Ainsworth, whose voice has broadened and perhaps even darkened a bit over the past few years, coloured the text as deftly as did the instrumentalists in Vaughan Williams’ original arrangement for piano quartet. There really was no nuance left unexplored, turning the performance into pure magic.”

July 29, 2012
The Classical Review, Charles T. Downey
Lully’s Armide

“Colin Ainsworth’s flexible high tenor was a perfect match for the role of Renaud, full-bodied and true of intonation but also capable of airy lightness at the top, with good looks to boot.”

January 30, 2012
Calgary Herald, Kenneth Delong
Heggie’s Moby Dick

“Colin Ainsworth was also first class in his portrayal of the Greenhorn, his singing plangent in tone when needed, but also sweetly seductive in the portrayal of the Greenhorn’s inner un-certainties; he was particularly in his effective duets with Queequeg.”

April 25, 2011
Chicago Classical Review, Lawrence A. Johnson
Charpentier’s Medée

“The clear standout in the cast was Colin Ainsworth as Jason. The Canadian tenor possesses an ardent, youthful voice ideal for this repertoire, and he provided some of the finest singing of the evening. Dramatically, Ainsworth also plumbed a surprising emotional intensity in the weak, vacillating Jason, with his devastated agony in response to Medea’s horrific act lifting the opera out of its stilted conventions.”

April 24, 2011
Chicago Tribune, John von Rhein
Charpentier’s Medée

“The Canadian tenor Colin Ainsworth, as the opportunist Jason, sang off the words expressively, displaying a clear, full, beautiful, forwardly placed French lyric tenor sound.”

November 19, 2009
Monday Magazine, Ian Cochran
Stravinsky’s The Rake’s Progress

“Lyrical tenor Colin Ainsworth’s Tom Rakewell maintains a glimmer of his callowness even as he descends into debauchery and madness.”

November 15, 2009
Victoria Times Colonist, Kevin Bazzana
Stravinsky’s The Rake’s Progress

“The clear, articulate voice and boy-next-door quality that made the tenor Colin Ainsworth so appealing as Tamino in The Magic Flute last season are also well suited to the role of Tom Rakewell, and as an actor Ainsworth is convincing and affecting at every stage of the duped, doomed hero’s ‘progress’.”

November 14, 2009
International Opera Review, Bernard Jacobson
Stravinsky’s The Rake’s Progress

“…in Colin Ainsworth’s Tom Rakewell we were treated to a tenor who confounds our expectations of the type by being tall, slim, and intelligent.”

November 14, 2009
The Globe and Mail, Elissa Poole
Stravinsky’s The Rake’s Progress

“Tenor Colin Ainsworth is an affecting Tom.”

June 15, 2009, Lloyd Dykk
Orff’s Carmina Burana

“Everything is memorable about this joyously bewildering collection, which says only that life is a matter of luck and change, but two sections are especially so: “Olim lacus colueram” (“Once I Lived on Lakes”), a swan song performed by the excellent tenor Colin Ainsworth in slightly strangulated tones, as the bird laments the end of its freedom while turning on a spit…”

April 18, 2009
Review Vancouver, John Jane
Mozart’s Die Zauberflöte

“Colin Ainsworth leads the talented cast as the intrepid hero, Tamino, who is given a magic flute as a gift that, when played, can render fierce creatures to be tractable and playful. Ainsworth puts his fine lyric tenor to its best singing Dies bildnis ist bezaubernd schön early in the first act. His tender delivery set a tone of easy authority throughout the evening.”

Summer 2009
Opera Canada, Bill Rankin
Bizet’s Les Pêcheurs de Perles

“In fine voice, Ainsworth’s ‘Je crois entendre encore’ had everything opera lovers delight in – a beautiful melody sung with exquisite control and emotional directness.”

February 9, 2009
Edmonton Journal, Elizabeth Withey
Donizetti’s La Fille du Régiment

“Toronto-area tenor Colin Ainsworth, who played the besotted Tonio, earned his operatic stripes on Saturday with an early aria featuring – yowzers – nine high Cs. He nailed them, though, and the dapper Ainsworth even made it look fun. The audience of 1,850 rewarded him with heartfelt applause.”

December 8, 2008
The Globe and Mail, Ken Winters
Handel’s Messiah

“Colin Ainsworth was quite marvellous in all he sang. From his serene opening recitative, Comfort ye my people, to his passionate and convincing great succession of recitatives and arias beginning Thy rebuke hath broken His heart, to the ferocity of his aria Thou shalt break them, he sang with real distinction. I doubt you'd hear better anywhere, with his perfect enunciation, his sound at once lyrical and virile, and his spot-on coloratura.”

September 16, 2008
San Francisco Classical Voice, Georgia Rowe
Rameau’s Pygmalion

“In his Bay Area debut, Colin Ainsworth impressed as a Pygmalion of remarkable strength and agility. The Canadian tenor sang "Fatal Amour" with firm, ringing tone and ardent phrasing. His large voice was always audible, yet his soft singing was just as clear. In his concluding ariette, "Regne, Amour" (Reign, love), the juiciest line, "Epuise ton carquois" (Empty your quiver), was both softly floated and pointedly direct.”

San Francisco Chronicle, Joshua Kosman
“The singing in both pieces was first-rate and alert to the respective stylistic demands of the two
composers. Colin Ainsworth brought a bright, beautifully articulated tenor to the Arne, then darkened and deepened it as Pygmalion.”

July 21, 2008
The Globe and Mail, Ken Winters
Schubert’s Die Schöne Müllerin

“Ainsworth’s voice, a finely focused lyric tenor firm and steady throughout its range, is ideally suited to the work. His enunciation of Wilhelm Muller’s text was a model of clarity…his vocal technique encompassed every note of the score with ease.”

July 21, 2008
The Record, Stephen Preece
Schubert’s Die Schöne Müllerin

“The most immediate impression was Ainsworth’s striking physical appearance –with his long blond hair and broad smile – though as the music began, it was all about his wonderfully engaging vocal talent. The wildly expansive piece tested the full range of vocal expression, from the most tender, achingly-wistful sigh, to the full-throttle gesticulation of giddy glee; Ainsworth conquered all with confident technique, tone and temperament.”

May 2008
BBC Music Magazine, Nicolas Anderson
CD Review of Vivaldi’s Griselda

“…it is Marion Newman in the title role and Colin Ainsworth’s Ottone, rejected lover of Griselda, who steal the show for me.”

CD Review, Brigitte Cormier
Vivaldi’s Griselda

“Le ténor Colins Ainsworth (Ottone) est doté d’une bonne diction. Sa ligne de chant bien tenue rend son interprétation assez convaincante.”

April 2007
The Globe and Mail, Colin Eatock
Gluck’s Orphée et Euridice

“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 renâit dans mon âme] – a fiendishly difficult vocal marathon – he displayed rock-solid technique, excellent diction, and a virile tone…Ainsworth looked every inch the part…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.”

December 2005
The Globe and Mail, Ken Winters
Elmer Iseler Messiah

Tenor Colin Ainsworth was similarly alive to the Handelian discourse, with gleaming clarity of enunciation and a dramatic intensity”

Daniel Alexander