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"Lovell has a luminous lyric tenor voice with perfect enunciation and phrasing."



"In any given year, Canada is well represented at the world’s most prestigious classical music and opera venues. Artists like Angela Hewitt, Jan Lisiecki and Yannick Nézet-Séguin give regular sold-out performances with top ensembles around the globe. But in 2018, it was Canada’s emerging classical music talents that made the most headlines by winning an extraordinary number of international music competitions."


"Also finishing the program is tenor Josh Lovell, enormously impressive in Idreno’s aria “Ah, dove il cimento?” from Rossini’s Semiramide.  Lovell tossed off the role’s treacherous runs with ease and clarity, and let forth some stunning laser-beam high notes.  This is a tenor ready for prime time in roles currently occupied by Juan Diego Florez and Lawrence Brownlee."


"Josh Lovell as Prince Ramiro recalls that golden era of singing when an Alfredo Kraus was a lifelong style-perfect tenore di grazia. Lovell's timbre is fantastically beautiful and his supple, finely melting phrasing full of good taste, his easily appealing height seems to know no limits beyond the high C... No wonder the Vienna State Opera secured the young Canadian."



"Canadian tenor Josh Lovell was cast as Don Ottavio, often played as an effete and ineffectual individual; here, in his rich velvet doublet and hose and carrying a sword, he came over as a strong and determined character. Lovell has a luminous lyric tenor voice with perfect enunciation and phrasing: ‘Dalla sua pace’ was one of the highlights of the evening."


"The central couple were dream casting: Anush Hovhannisyan’s Donna Anna was sung with infinite grace, while Josh Lovell partnered her as Don Ottavio with an expressive purity of tone which we all too seldom hear."


"As Lindoro in the excerpt from Il barbiere, first-year member Josh Lovell demonstrated his impressive tenor in a stellar performance of this challenging part, executing the florid lines with style and poise. His phrasing made any breaths he took unnoticeable, as he delivered lines and phrases with the finesse of a seasoned professional."


"In the final selection from the first half of the program, the quartet from Rossini’s La scala de setaJosh Lovell, whose sumptuously developed, lyric tenor will be a major addition to productions of works from the Baroque and bel canto repertoire. Lovell’s secure top notes, expressive line, and clear decoration in rapid passage work helped transform this Rossinian gem into a fitting first conclusion... Lovell’s impressive runs and top pitches call for further Rossinian contributions…"


The Canadian showed two sides of his singer’s personality. In Mozart he was lyrical, somewhat introverted, stylish. In Donizetti he blazed fearlessly and with confidence through the famous series of ceiling notes at the end of ‘Pour mon âme’. His voice is compact and solid, with a revered-naïve tone that makes him cut for Donizetti’s Tonio and other bel canto parts with a comical touch.


"Lovell drew attention to himself in the closing gala of the young ensemble of the Dominique Meyers era with the flawlessly phrased "Un'aura amorosa" from Mozart's Così fan tutte."


"Canadian tenor Josh Lovell proved his comic timing and ease with bel canto at the Schwabacher concert, and he got us again with his ridiculously sexy approach in a seduction scene from Rossini's Le Comte Ory . Teresa Castillo was his target this time, and she eyed his booty-shaking, chest-baring antics with a combination of interest and disdain. She triumphed with a tier of cake in his face. They brought the house down."


"Josh Lovell's Casimir, all easy high notes and wonderfully moulded lines, was simply spectacular."


"Conversely, tenor Josh Lovell’s solos were a consistent case for joy. His light-colored timbre was well suited for the gentle 'Comfort ye my people.' But he also projected very clearly over the forceful orchestral accompaniments in 'Thou shalt break them with a rod of iron,' without any coarsening of tone."


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