"Owen McCausland’s Don Ottavio was finely wrought both vocally and dramatically, his aria Il
mio tesoro sung artfully and with clear coloratura."
Neil Weisensel, The Globe and Mail, Nov 27, 2018
"Kudos to Owen McCausland (Pedrillo) for singing with almost heroic tone, in a role that’s often under-sung. As the one soloist with the least European experience, he offered very impressive German diction in his huge amount of dialogue"
Joseph So, Ludwig-Van SCRUTINY, Feb 8, 2018
" Tenor Owen McCausland, a COC favourite in recent years, was stunning in his role as a fisherman"
David Richards, torontoconcertreviews.com, May 4, 2018
"Young Canadian tenor Owen McCausland did a cracking job as a last-minute replacement for John MacMaster. He has a bright, ringing, enchantingly coloured voice, with a wonderfully secure top...He’s sharply attentive to the nuances of the poetry, and his performance was alert and thoroughly engaged.
Natascha Gauthier, artsfile.ca, Nov 21, 2017
"His tone is wonderfully broad for a tenor and he shaped the phrasing with clever restraint."
Lev Brotishenko, Montreal Gazette, September 13, 2014
“McCausland was in good form with fine ensemble work, good acting and a touching Tradito, schernito”
John Gilks, operaramblings.com, February 8, 2014
“Ensemble Studio’s Owen McCausland created a memorable Reverend Adams with his pure tenor and clean projection (attributes that also benefited his Parpignol ( in la boheme) the next night).”
James Sohre, operatoday.com, November 5, 2013
“Tenor Owen McCausland brought exceptional depth to the part of the Reverend Horace Adams. His depiction of the man's compassion coupled with his moments of fall from grace illustrated the frailty of the human condition perfectly.”
Brian Hay, norules-nolights.com, October 9, 2013
“First Nazarene Craig Irvin and Second Nazarene Owen McCausland were remarkably fine, making the most of their brief scene and capturing our attention with their beautifully judged singing.”
Sohre, operatoday.com, May 30, 2013
“The vocal contributions from Owen McCausland, Adam Luther and Robert Gleadow ring out from the nethermost reaches of the house like inspired solo brass instruments.”
thestar.com, March 9, 2013
"Tenors Owen McCausland and Adam Luther gave a strong presence to the roles of the young sailor and the shepherd.”
Brian Hay, norule-nolights.com, Febreuary 4, 2013
“The tenor who stepped in as Schade was Owen McCausland, currently a member of the COC Ensemble Studio program. Like a great many people in the theatre, I was disappointed to hear that Schade was indisposed – but my disappointment turned to delight when I realized I was witnessing the debut of a very promising young artist. McCausland’s clear, bright tenor seemed made for Mozart – with just a touch of vibrato, and smooth phrasing that brought his role to life. Moreover, he threw himself wholly into his leading role with confidence, portraying a complex character – uncertain of those around him, and burdened by the decisions he must make – in a very human way. McCausland is one to watch!”
Colin Eatock, colineatock.com, February 11, 2013
“It's hard to imagine what went through Owen McCausland's mind when he got the call to fill in for an ailing Michael Schade. It's the opportunity of a lifetime but nobody wants to step in that way. Overcoming the reaction of a disappointed audience is another hurdle. The young tenor seemed nervous initially, then spread his wings and gave a rich performance showing a man capable of acting in anger but wishing desperately not to do so. His voice resonated with openness that sounded absolutely free of guile, perfect for the role of 'Tito'. His performance had plenty of high points but his rendition of 'Tito's' final aria, 'Se all impero amici Dei', stands as a defining one.”
Brain Hay, norules-nolights.com, February 10, 2013
“Seasonal flu prevented Michael Schade from performing the title role on February 9, 2013. The opportunity presented itself for a young tenor Owen McCausland. Hopefully for Mr. McCausland this will turn out to be one of those career milestones after which everything changes because we the audience had a chance to see that he is a tenor to keep an eye on. At the incredible age of 22 he assumes the role of a Roman emperor with a maturity, confidence and conviction extraordinary for a singer at such an early stage in his career and at that age."
OperaToronto’s Blog, February 9, 2013
“In this case, the second-act Tito has the richer role, and McCausland did well at exploring the character’s several moods. Happily, he also had a chance to sing the full role several other times, when he replaced tenor Michael Schade in the mainstage production. I caught one of those performances a week later and McCausland had become an impressive Tito, building a full character by the work’s end and handling the opera’s important and difficult recitatives with real feeling.”
Jon Kaplan, nowtoronto.com, February 9, 2013
“Had I not found out that McCausland was not the scheduled lead, I would have thought he was certainly born for the role. For most, it is likely that you will only see a show once and that will be the experience you have and you remember. And what an experience McCausland gave this audience; I have always enjoyed seeing the COC ensemble grow and garner more stage presence and hope to see his career continue to blossom.”
thesceneinto.com, February 2013
“The title role was divided between two tenors, one (Christopher Enns) flinty and Germanic, the other (Owen McCausland) glowing and Italianate. McCausland was on Act 2 duty.... there is some real gold in that throat. He is also a natural actor.”
Arthur Kaptainis, National Post, February 7, 2013
“On this occasion, McCausland sang Tom Rakewell's "Here I stand" with impressively ringing tone.”
La Scena Musical, September 19, 2012