“Collin Shay betört als Counter-Tenor |
Collin Shay enchants as a countertenor”

“Venable’s score reveals flashes of Collin Shay’s gifted countertenor (not to mention their talent at a keyboard).”

“Collin Shay as a tour guide also made strong impressions.”

“...the countertenor of Collin Shay as the Tour Guide . . . also leave an impression.”

“This is the first time I’ve heard this countertenor – who made a strong impression in the Royal Opera’s Mamzer Bastard at Hackney last year – and it’s clear what all the fuss is about. The quality of Shay’s voice is exceptional – even, firm and in his lower register substantial and very beautiful, and he slips into Oberon’s liminal and predatory ways with the utmost ease.”

“Collin Shay . . . established impressive vocal authority for the “captain of this fairy band”. . . He sang especially exquisitely of the “bank where the wild thyme blows””

“Shay conveys Yoel’s growing bewilderment with touching veracity.”

“Collin Shay sustains an ethereal countertenor line as Yoel that provides haunting colour to the artful simplicity of Zisser’s vocal writing.”

“Collin Shay’s supple, rich countertenor brings Ottone, Poppea’s spurned lover, to life”

“The voices of Ottavia and Ottone (Collin Shay) stood out in particular due to their timbre qualities.”

“There’s also tender singing from Collin Shay worth praising. His countertenor voice as Ottone brings the opera to a pause with its dazzling textures, particularly when he sings to Poppea, which pulls on your heart strings.”