British-Canadian baritone Alexander Dobson has been praised for his musical and dramatic artistry on both opera and concert stages.  He was lauded for his “gripping embodiment of Wozzeck” (Journal Voir) in a production of the Berg opera with Théâtre du Nouveau Monde and Orchestre Métropolitain, conducted by Yannick Nézet-Séguin. Other roles of note include the title role in Don Giovanni, the Count/Le Nozze di Figaro and Thomas Betterton/Prince of Players, all with Florentine Opera, and Guglielmo/Così Fan Tutte, Belcoré /L’elisir d'amore and Ned Keene/Peter Grimes, all with L’Opera de Montréal.

Acclaimed for his accomplished blend of stagecraft and vocal ability, Mr. Dobson is particularly in demand for contemporary stagings. His recent performance as “The Master” in Coleman Lemieux & Compagnie’s production of Against Nature was praised for its “clarity and sustained feeling” (The Globe and Mail ) More recently Alex sang in the world premiere of The Night Falls by Ellis Ludwig Leone with Ballet Collective and made the Canadian premiere in Angels Bone with Loose Tea Theatre in Vancouver and Toronto singing the role of Mr. XE. Dobson was also acclaimed as “The Pilot” in Soundstreams’ production of Airline Icarus, a new opera by Brian Current. The recording of Airline Icarus was the winner of the JUNO for Classical Composition of the Year in 2015. The recording of Carlisle Floyd’s Prince of Players, with Florentine Opera and the Milwaukee Symphony, was released in April 2020 on the Reference Recordings label and received two GRAMMY(r) nominations. Alexander made his London debut at the Linbury Theatre with Royal Opera House Covent Garden in the premiere of The Midnight Court by Ana Sokolovic. He also was acclaimed for his appearances in a staged performance of Zemlinsky’s Lyric Symphony directed by Atom Egoyan at Spoleto Festival USA, and as King Karl in Schubert’s Fierrabras with Toronto’s VOICEBOX:Opera in Concert.

Other opera engagements include Raimbaud/Le Comte Ory for Edmonton Opera, Maximilian/Candide with Calgary Opera; “Guillaume” in the French version of Così fan tutte with Opera Lafayette; Count Almaviva/The Marriage of Figaro with Against the Grain; Marcello/La Bohème with Saskatoon Opera, Pacific Opera Victoria, and on television in BRAVO’s StreetScenes version of the work; Silvio/Pagliacci for L'Opéra de Québec; Mercutio/Roméo et Juliette for L’Opera de Montréal and also for Opera Ontario; Harlequin/Ariadne auf Naxos for Calgary Opera,  Sonora/La fanciulla del West with L'Opera de Montreal; and Aeneas/Dido and Aeneas with The Theatre of Early Music. He has sung Escamillo/Carmen in concert with the Kitchener-Waterloo Symphony. 

Concert performances of note include Walton’s Belshazzar's Feast with Toronto Symphony and Sir Andrew Davis, Mahler’s Songs of a Wayfayer with Orchestre Métropolitain, Faure Requiem with the Windsor Symphony, and Mahler’s Symphony No. 8 with Yannick Nézet-Séguin conducting the combined National Arts Centre Orchestra and Orchestre Métropolitain. He has sung Mozart’s Requiem with the Milwaukee Symphony and San Antonio Symphony and Haydn’s Seasons with Cleveland Orchestra. Alexander has sung Handel’s Messiah with Philadelphia Orchestra (Cristian Macelaru, conductor), Calgary Philharmonic (Nicholas McGegan), Kansas City Symphony, Orchestra London, National Arts Centre Orchestra (Paul Goodwin), St. Thomas Church in New York, Edmonton Symphony, Grand Philharmonic Choir, Elmer Isler Singers, Boris Brott Festival, and Spiritus Chamber Choir, Brahms Requiem with Pacific Chorale, Orchestre Metropolitain, Peterborough Symphony, Seattle Symphony and Bach’s St. John Passion with Bach Society of St. Louis. Among his many Canadian engagements this past season were Beethoven’s Symphony No. 9 with the Hamilton Philharmonic.

Mr. Dobson is also a dedicated recital artist. Composer Derek Holman wrote the song cycle Daybreak and a Candle End especially for Alexander and the Talisker Players. Mr. Dobson has also performed Dichterliebe with Talisker Players Chamber Music and Coleman Lemieux Dance Company, and Schubert’s Winterreise to great acclaim in Montréal, Victoria, England, Paris, and, with Yannick Nézet-Séguin at the piano, in Toronto. Alexander has also been heard frequently on CBC Radio Canada in recital and concert.

Alexander graduated from the University of Toronto Opera Division and the Faculty of Music at the University of Western Ontario with Honours.  He is also an alumnus of the Music Theatre Program at the Banff Centre, Music Academy of the West in Santa Barbara, the Steans Institute for Young Artists at Ravinia, and L’Atelier Lyrique de L’Opera de Montreal.  Alexander is the recipient of numerous awards and prizes including those from the International Voice Competition of Paris (including the Edward Marshall Association Award for Outstanding Baritone), the Jeunesses Musicales National Competition, the Marilyn Horne Competition (Music Academy of the West), and the Jacqueline Desmarais Competition.

An ardent singer since childhood, Alexander's solo début was at twelve years old, as a treble soloist in the Canadian premiere of Lloyd Webber's Requiem under conductor Elmer Iseler.

Alex is currently Professor of Applied Voice at Mount Allison University.

BACH  | St. Matthew Passion | “Jesus” | Orchestre Métropolitain | Yannick Nézet-Séguin, cond.

“The cast was superb…Jesus, baritone Alexander Dobson, was expressive and tangy.”

— Arthur Kaptainis, Montreal Gazette

| Magnificat | Ottawa Bach Choir

“ he commanded attention…and his higher register was impressive” – La Scena Muscale

BIZET | Carmen | "Escamillo" | Nassau Music Society

"Baritone Alexander Dobson as Escamillo sang the Toreador Song 'Votre toast, je peux vous le rendre' very convincingly, strutting his stuff to much acclaim." — Anita MacDonald, The Tribune

BRIAN CURRENT | Airline Icarus | “Pilot” | Soundstreams Canada | Brian Current, cond.

“These strengths came together impressively in the one big aria in the piece – sung by Dobson in a warm and smooth voice, over intricate ostinato patterns from the nine-piece orchestra. It was at this moment that Airline Icarus finally took wing and soared.” — Colin Eatock

The penultimate track is an ethereal “Pilot’s Aria,” first solemnly and then soaringly intoned by baritone Alexander Dobson (who also sings the part of the baggage attendant in the opening). The plane may have disappeared, but it doesn’t interfere with the pilot’s private bliss. — Joshua Rosenblum, Opera News

FAURE | La Bonne Chason | Talisker Players

Dobson gave a very nuanced reading, sometimes soaring to sweet pianissimo high notes, sometimes boldly taking the stage in fearless declamations.  — barczablog

FLOYD | Prince of Players | Thomas Betterton | Florentine Opera

         “Bass-baritone Alexander Dobson is rock-solid as Thomas Betterton.” – Artsfuse           

NIC GOTHAM | Nigredo Hotel | “Raymond” | Tapestry New Opera

“Dobson’s rich voice, nuanced delivery and strong stage presence as a paranoid neurosurgeon were mesmerizing.”

— John Terauds, Toronto Star

GOUNOD | Roméo et Juliette | “Mercutio” | L’Opera de Montreal

 “Alexander Dobson was a debonair ‘Mercutio’, highly suggestive and clear voiced in ‘Mab, la reines des mensonges'.” — Leonard Turnevicius, Hamilton Spectator

“Alexander Dobson (Mercutio), the best actor by far, made his Queen Mab ballad brisk and snappy...” — Opera (UK)

HANDEL | Acis and Galatea | “Polyphemus” | Mark Morris Dance Group | Nicholas McGegan, cond.

  “The villain of the piece, who does not make an entrance until the second act, is the monster Polyphemus, expertly detailed by the baritone Alexander Dobson, who wonderfully captures the cyclops’ unrelenting desire for Galatea and his ultimately torturous fury against his rival Acis. Not only is his deep voice resounding, Dobson depicts Polyphemus’s increasing rage in a manner that is truly horrifying.” —    Andrew Beck, The Examiner

             | Messiah | Edmonton Symphony |

“Dobson’s thrilling baritone generated shivers of dread in ‘Thus saith the Lord’. His supreme moment came…with the glorious ‘the trumpet shall sound’, when he matched the resounding solo line of the trumpeter.”— Dave Nordstrom, The Morning Star

HAYDN | The Seasons | Carmel Bach Festival | Paul Goodwin, conductor

  | The Seasons | Cleveland Orchestra | Franz Welser-Möst, cond.

Dobson’s German declamation was superb, and his singing assured — especially without benefit of an orchestral rehearsal. — Daniel Hathaway, Cleveland Classical

  | L'isola disabitata | “Enrico” | Aradia Ensemble | Kevin Mallon, cond.

“Fashioning a supremely entertaining Enrico, baritone Alex Dobson portrayed a delightfully vulnerable sidekick, all awkwardness and good intentions, big-hearted and even bigger-voiced.” — Ian Ritchie, Opera Going Toronto

MAHLER | Symphony No. 8 | Orchestre Métropolitain du Grand Montreal | National Arts Centre Orchestra

| Yannick Nézet-Séguin, cond

“Of special note…the powerful baritone, full of authority, of Alexander Dobson” — Claude Gingras, La Presse

MOZART |  The Marriage of Figaro | "The Count" | Florentine Opera

"Alexander Dobson's cheating-yet-jealous Count Almaviva is built of a powerful, polished baritone sound and a commanding, though still funny, character."—Milwaukee Journal Sentinel

“Baritone Alexander Dobson captured the elegant and arrogant childishness of Count Almaviva, unable to control his sexual impulses (which plays with a difference in the #MeToo era).” Rick Walters, Shepherd Express

             | Don Giovanni | “Don Giovanni” | Orchestre Métropolitain du Grand Montreal | Yannick Nézet-Séguin, cond.

 “Alexander Dobson is a vivacious, absolutely seductive Don Giovanni, with a voice of superb tone.  A real career lies ahead of him.” — Claude Gingras, La Presse 

| Don Giovanni | “Don Giovanni” | Florentine Opera | Joseph Rescigno, cond.

"The title protagonist...was embodied in physique, serpentine poses and baritone power by Alexander Dobson. He flashes his sword and prowls for women like Douglas Fairbanks reborn into lechery."

— Dominique Paul Noth, Urban Milwaukee

             | The Magic Flute | “Papageno “ | Opera Hamilton | David Speers, cond.

“The famous birdman (Papageno) provides comic relief as the love story progresses. Alexander Dobson soared through his music with style, flair and understanding that will keep his schedule full for decades.”

— S. James Wegg, James Weg Review

JOHN PLANT | La notte bella | Talisker Players

"His rich, flexible voice has a timbre that can be as dark as a moonless summer night... had a knack for expertly shaping a musical phrase while also delivering the meaning of each text with great clarity."

— John Terauds, Toronto Star

PUCCINI | La Bohème  | “Marcello” | Saskatoon Opera

“Dobson was a particular standout in the production [as Marcello], his emotive voice paired with a charisma that elicits a fond affection for the playful rogue he portrays. His scenes with Fiset [Mimi] in the third act were among the most memorable of the evening.” — Heather Persson, The Star Phoenix

PURCELL | Dido and Aeneas | “Aeneas” | Toronto Masque Theatre

“Dobson, one of the most impressive Canadian baritones of this generation, is a wonderful actor and has a beautiful, rich and commanding voice, that is also as smooth as silk.” — Paula Citron, Opera Canada

“His gloriously dark and powerful voice was one of the highlights of the production.”

— Richard Todd, The Ottawa Citizen

ROLFE, JAMES | Against Nature | “The Master” | Coleman Lemieux & Compagnie | James Kudelka, Director

“Alexander Dobson anchors the piece as The Master and seamlessly transitions between emotional and tonal fluctuations within the very abstract piece.” — Jason Karlos Broadway World

“It’s sung with clarity and sustained feeling by Dobson…who finds the necessary electric mania in his eyes.”

— Martha Schabas, The Globe and Mail

“Alexander Dobson forcefully and magnetically brings out the subtle nuances in the libretto … in the way he speaks, pauses, elongates vowels; the way his body physically reacts… It's marvelous to see the many shades of emotions, varying from humorous to dark, crossing over his face.” — Ted Fox, evi Dance Radio

“…a showcase for the formidable singing and acting abilities of baritone Alexander Dobson.  His voice is beautifully warm and multi-hued.  Rolfe’s sensitive score and Poch-Goldin’s imaginative libretto allow Dobson’s character to cover a huge range of emotions in just an hour – from satire and irony to disgust, joy, ecstasy, depression and resignation.  Dobson is such a fine actor and has such immaculate control of his voice he can colour his tone to convey multiple nuances in every line. — Christopher Hoile, Stage Door

SCHUBERT |  Fierrabras | “King Karl” | Voicebox: Opera in Concert | Kevin Mallon, cond.

The always dependable baritone Alexander Dobson made an excellent King Karl, authoritative both in voice and in stage presence. Schubert’s frequent requirements for Karl to sing in his lowermost range posed no difficulty for him. In fact, he seemed to relish sounding such Sarastro-like depths.  — Christopher Hoile, Stage Door

     | Winterreise |

“I find his voice to be absolutely perfect for this cycle [Winterreise], and overall, his performance was very impressive. First of all, he has the technical arsenal to do the cycle justice – there were no vocal compromises, everything was given its full measure. His beautiful and expressive baritone is quite dark, almost that of a bass-baritone when he decides to use a darker coloration in certain phrases, yet the high tessitura of some of the songs hold no terror for him. His passionate singing of ‘Erstarrung’, quite a difficult song for low voices, was fluid and supple, full of ecstasy and pain.” — Joseph So, La Scena Musicale

ANA SOKOLOVIC | The Midnight Court | “Merry Man” | Queen of Puddings Music Theatre

“…Dobson, who plays teacher ‘Merryman’, opens the work with a five minute soliloquy (most of it unaccompanied) of Daddaist wordplay and noise, making it look as easy as his walk in the woods.” — John Terauds, Toronto Star

 “As ‘Merryman’, Alexander Dobson instantly draws us in with an a cappella opening, singing a playful vocal line that turns him into a one-man percussive band.” — Jon Kaplan, NOW Magazine

STRAVINSKY | Pulcinella | Artis Naples | Andrey Boreyko, cond.

“…bass-baritone Alexander Dobson won the audience with the dramatic persona in his lover’s plea, “Con queste paroline”” — Harriet Howard Heithaus, Naples Daily News

GILBERT AND SULLIVAN | Pirates of Penzance | “Pirate King” | Toronto Operetta Theatre

“Of the major parts, the standout is Alexander Dobson as the Pirate King. What a voice, what perfect mannerisms and comic characterization with a commanding stage presence and looking like a more capricious Errol Flynn.”

— Harry Currie, The Record

WALTON, W | Belshazzar’s Feast | Toronto Symphony | Sir Andrew Davis, cond.

British-Canadian baritone Alexander Dobson was superb as he sang his ‘a cappella’ recitatives with authority and dramatic fervour. — David Richards, Toronto Concert Reviews

DU YUN | Angel’s Bone “Mr. Xe” | re-Naissance Opera/Sound The Alarm/Loose Tea Opera

“ Baritone Alexander Dobson as Mr. X.E. tendered arguable the most muscular portrayal of the evening, bullying, posturing, dangerous, voice raging and incandescent”  – Opera Going Toronto

ZEMLINSKY | Spring Symphony | Spoleto Festival USA (“You Are Mine Own”) | John Kennedy, cond.

"Dobson's fantastic baritone brought emotion to each pronounced phrase" —  Jonathan Williams, Opera Canada