Reviews
“COC Ensemble bass Duncan Stenhouse pricked up ears with his trenchant vocal characterization of the small role of Zaretsky.”
- Gianmarco Segato for MyScena on COC's 2025 production of Tchaikovsky's Eugen Onegin
“Duncan Stenhouse was rather splendid and very brave as the First Apprentice, clowning drunkenly in a most precarious area of the set…”
- John Gilks for bachtrack on COC's 2025 production of Berg's Wozzeck
“It was followed by the first of two sets by Duncan Stenhouse; two of the songs from Four Romances on Poems by Pushkin, Op.46… They were very solidly sung with some impressive floaty high notes, [and] variation of colour… And finally, we got… what is probably Duncan’s party piece; two songs from Four Verses of Captain Lebyadkin, Op. 146… There is great scope for clowning here and Duncan slid unsteadily around the stage swigging from a hip flask while still producing some excellent singing. A most worthwhile tribute.”
- John Gilks for operaramblings
“Next up was Duncan Stenhouse with four pieces that illustrated the complex relationship between Brahms, Wagner and DvoÅ™ák. “Der Tod, das ist die kühle Nacht” from the Vier Lieder Op. 96 and “PÅ™i Å™ekách babylonských” from the Biblické písnÄ› were sung with excellent control and expressiveness... The two operatic pieces; “BÄ›da!, BÄ›da!” from Rusalka and “Abendlich strahlt der Sonne Auge” from Das Rheingold... were very well sung. It’s so good to have a genuine bass in the Ensemble again!”
- John Gilks for operaramblings
“Bass Duncan Stenhouse, the newest member of the Ensemble Studio, made a strong impression as the High Priest of Baal.”
- Joseph So for Opera Canada on COC's 2024 production of Verdi's Nabucco
“Bass Duncan Stenhouse, a new recruit to the Ensemble Studio and making his company debut as the High Priest of Baal, was also most impressive.”
- John Gilks for bachtrack on COC's 2024 production of Verdi's Nabucco
“We now have a real bass in the Ensemble in Duncan Stenhouse. ...he rocked Colline’s aria from La Bohème with absolutely convincingly solid low notes and excellent musicality."
- John Gilks for operaramblings
“Edward Jowle is a lively Schaunard, the musician, and Duncan Stenhouse is appropriately solemn as the philosopher Colline, both rounding out well the variety of temperaments among the students.”
- Curtis Rogers for Opera Today on the 2024 Longborough production of Puccini's La bohème
“Edward Jowle’s Schaunard and Duncan Stenhouses’s Colline both showed off the quality of the Emerging Artists scheme in finely sung, sharply drawn portraits…”
- Peter Reed for Opera Magazine on the 2024 Longborough production of Puccini's La bohème
“...the musician Schaunard and philosopher Colline given lively characterisations by Edward Jowle and Duncan Stenhouse.”
- Christopher Morley for Midlands Classical Music Making on the 2024 Longborough production of Puccini's La bohème
"His voice is a true bass, sturdy and warm in timbre, with the requisite gravitas to do justice to this piece."
- Joseph So for Ludwig van Toronto on the 2023 COC Centre Stage Competition
“The bass Duncan Stenhouse added notable punch to Mill's clerk Norton...”
- Yehuda Shapiro for Opera Magazine on the 2023 RAO production of Rossini's La cambiale di matrimonio
“Duncan Stenhouse […] impressed in his double turn as Buoso’s blustering, pretentious doctor and pernickety notary.”
- Benjamin Poore for Operawire ​on the 2021 RAO production of Puccini's Gianni Schicchi
"Duncan Stenhouse’s compassionate Keeper of the Madhouse rounded off a cast with no weak links and excellent interaction."
- Mark Berry for Opera Today on the 2022 RAO production of Stravinsky's The Rake's Progress
“a great command of the musical line and a great talent for telling stories.”
- Michael C Snelgrove for the Newfoundland Music Festival Classical Voice Competition ​
“Duncan[’s…] voice is well placed and [his] diction is clear and crisp. [He] created beautiful phrasing throughout and knew exactly what [he] wanted to create.”
- Monette Gould for the Newfoundland Music Festival Classical Voice Competition
“Duncan Stenhouse, as Sarastro, exhibited the stern regal posture befitting the role. He was very steady, […] his voice is outstanding”
- Daphna Levit for Opera Canada​ on the 2019 HSOF production of Mozart's Die Zauberflöte