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.
— -Peter Reed, Classical Source, 2019 - for Midsummer Night's Dream
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”
— Roy Westbrook, Bachtrack, 2019 - for Midsummer Night's Dream
Shay conveys Yoel’s growing bewilderment with touching veracity.
— Tim Ashley, The Guardian, 2018 - for Mamzer / Bastard
Collin Shay sustains an ethereal countertenor line as Yoel that provides haunting colour to the artful simplicity of Zisser’s vocal writing.
— Curtis Rogers, Classical Source, 2018 - for Mamzer / Bastard

Collin Shay’s supple, rich countertenor brings Ottone, Poppea’s spurned lover, to life
— Charlotte Valori, bachtrack, 2017 - for L'Incoronazione di Poppea

The voices of Ottavia and Ottone (Collin Shay) stood out in particular due to their timbre qualities.
— Enza de Francisci, playstosee, 2017 - for L'Incoronazione di Poppea

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.
— Mary Nguyen, culturevulture, 2017 - for L'Incoronazione di Poppea