Joshua Hopkins

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by Joshua Hopkins October 18th, 2010

Houston, we have a recording!

Houston.  Late May, 2010.  3 p.m.

Over a year has passed since I have recorded my debut disc, and the copy of the first edit arrives in the mail.  The contents of this small package represent hours of Johanne’s creative wizardry, having assembled all of the material we recorded into one cohesive, non-stop recital.  I admit it has been a long while since I have given the disc much serious thought, as it has been a busy season of exciting opera and concert performing projects, including a variety of role and company debuts.  A release date of October 26, 2010 has been decided upon, but there is much to be done before this puppy appears on shelves or is beamed onto the Internet.  I feel a churning mixture of nerves, excitement, dread and hope in my stomach as my shaking fingers begin to clumsily open the manila envelope.  It’s time for an initial listening session all the way through, no stopping and no specific judgments or critiques.  I load the disc into my CD player and crank up the volume on my surround sound system.

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by Joshua Hopkins June 29th, 2009

Why make a recording?

In early May of 2009, I recorded my debut solo disc with pianist Jerad Mosbey in the beautiful Charlevoix region of eastern Québec. I was privileged to join the roster of ATMA Classique, an admirable classical recording label based in Montréal, headed by Johanne Goyette. I chose a program consisting of English language art song written by 20th Century composers from Canada, the U.S. and the U.K. This repertoire continues to astonish me by its depth and beauty. The lead-up to these recording sessions required months (in many cases, years) of preparation and countless internal mental battles, but the joy of making a disc and the arrival of a completed journey left me with a great sense of accomplishment. The following is a narrative that explores some of the troubled issues, concerns, discoveries, worries, and revelations that fought a hearty battle in my mind, during both the months leading up to the project, and the actual three days of recording.

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by Joshua Hopkins July 7th, 2008

Breathing into Freedom: An Afternoon Session with Patsy Rodenburg

As from 2008 BBT is offering all musicians on its roster an introductory consultation and practical session with Patsy Rodenburg, Director of Voice at the Guildhall School of Music and Drama and until recently at the Royal National Theatre.  Joshua Hopkins writes about his session with her on 28th June…

In recent years, I have developed a significant fear of singing in a recital setting. This fear grew out of a comment made to me in 2005 that described my physical posture as stiff. Since then, I have been battling with this affliction, stiffness, and have felt it hinder my performance in recitals. My breath ceases to be efficient, my legs tighten, and over the course of a recital program, my voice tires. In a constant effort to improve my ability as an artist, naturally I am driven to seek assistance from specialists who can help me face my challenges. In one afternoon session with Patsy Rodenburg, I not only learned the simple tools necessary to alter my bad habits, but also gained the confidence to overcome my fears.


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