As Pamina in The Magic Flute with Opera Atelier –
“Laura Albino sang Pamina with real emotion, with a richly textured soprano. Her Ach, ich fuhl's, one of the world's saddest pieces of music, was heartbreaking.”
Robert Harris, The Globe and Mail
As Sylvia in Haydn’s L’Isola Disabitata with Thirteen Strings, Ottawa –
“As the optimistic younger sister Sylvia, soprano Valérie Bélanger is a star soubrette in the making, with a clear, sunny tone and lively stage presence. She has ringing top notes…”
Natasha Gauthier, Ottawa Citizen
As Oksana G with Tapestry Opera –
"...this is an involving, important work featuring some very fine performances, with soprano Gennadi giving a star-making turn in the lead."
Catherine Kustanczy, Toronto Star
As Minnie in Fanciulla del west –
“A true verismo soprano who excelled throughout her range. Theatrically, she also has the role wonderfully under control and was extremely convincing.”
Wolfgang Habermann, Der neuer Merker
As Lily Pollard in Bandits in the Valley with Tapestry Opera –
"Taverner is ravishing as the diva – what a treat to hear her creamy soprano up close."
Glenn Sumi, Now Magazine
As Giulietta in Bellini's Capuletti e Montecchi with Voicebox: Opera in Concert –
"Caitlin Wood as Giulietta was a wonderful surprise... her beautiful legato line in a soaring voice that was never shrill... her ornamentation appears effortless"
As Mistress Slender in Salieri’s Falstaff with Voicebox:Opera in Concert –
"Smooth-toned and fluid [she] enchanted. Charging her revenge aria, ‘Vendetta, sì, vendetta’, with crackling energy, Bogdanowicz lit up the stage."
Ian Ritchie, OperaGoTo.com
As a Finalist in the COC Centre Stage Competition, 2015 –
"Fiery eyes and a flashy dress had me enthralled. Add the fireworks of her remarkable coloratura, each triplet was solidly in tempo and had wonderful direction. I was sold. Brava.“
Greg Finney, Schmopera.com
As Rosina in The Barber of Seville with Opera Lyra Ottawa –
"...charming, playful, and quite believable as a young starlet hemmed in by her keepers. Her sumptuous mezzo tone and impressive vocal agility takes the spotlight..."
Chrissy Steinbock, Apt. 613
As Cornelia in Handel's Giulio Cesare with Thirteen Strings –
"One of the pleasures of this production was high quality of the singing all around. Even at that, there were some outstanding voices. Maria Soulis portrayed Cornelia... with elegance and tragic grace, and possibly the evening's finest singing."
Richard Todd, Ottawa Citizen
Soloist in Dublin Messiah with Aradia Ensemble –
"His voice has a rich texture and his sense of dramatic shading is impeccable. He captured the joyous exultation of 'O Thou That Tellest Good Tidings to Zion' with an ease that appeared effortless."
Brian Hay, NoRules-NoLights.com
As Tolomeo in Handel’s Giulio Cesare with Thirteen Strings –
“Countertenor Cabena portrayed the black-hearted Tolomeo as an effeminate masochist, delightfully in certain scenes, and with strong, articulate singing to boot.”
Richard Todd, Ottawa Citizen
As Archie in Cowtown Opera’s Archibaldo –
“Jacques Arsenault plays Archie with a resonant tenor and genial good humour. "
Kenneth deLong, Calgary Herald
Bach’s St. John Passion with Portland Baroque Orchestra –
“Tenor Jacques Olivier Chartier sang an impassioned, soft aria whose overall meaning became clear through his realization of the music.”
As Father Alexander in Oksana G. with Tapestry Opera –
"Adam Fisher’s sweet, bright, and youthful tone was perfection in the role of kindhearted Father Alexander... He approached the role with unassuming candor and vulnerability, which was instrumental in making the story ring true."
Keira Grant, MooneyOnTheatre.com
As Conte Almaviva in Il Barbiere de Siviglia –
“Jean-Philippe made his mainstage debut in Act II, and he was a total riot. I loved how he moved as 'Don Alonso', loved the air-piano bit, and I thought he had great comic chops. He has a throatier, darker sound than Haji, which I thought made him a particularly endearing Count.”
Jenna Douglas, Schmopera
As Stefano in Filumena with Calgary Opera –
“Tenor Ernesto Ramirez was Stefano, Emilio’s son, and as the love interest he gets a good share of the big tunes – and he made the most of them. Ramirez’s warm-toned voice and lyricism were everywhere to be heard, especially in the picnic scene where the lovers fall in love.”
Kenneth Delong, Calgary Herald
In Rocking Horse Winner with Tapestry Opera –
"The surprise of the night was Asitha Tennekoon....his silky, emotional presence on stage – both vocally and dramatically – gave the show a powerful focus."
Robert Harris, The Globe & Mail
As Figaro in Barber of Seville with Saskatoon Opera –
“Clarence Frazer deserves special mention for his charming performance as the sneaky character pulling the strings in the plot of this opera buffa. His expressive voice and face are central to the production’s success.”
Heather Persson, Saskatoon StarPhoenix
In Louise with Opera in Concert –
“...vocally resonant and assertive, dramatically commanding... supreme concentration and nimble artistic instincts. Mazerolle astonished, setting Act IV ablaze with fury, then quickly extinguishing the flames... Time froze. Mazerolle mesmerized.”
As Colline in La Bohème –
“Giles Tomkins' Colline received prolonged applause after his beautifully sung ‘Vecchia Zimarra’.”
Dawn Martens, Opera Canada
Directing Dido and Aeneas with Theatre Bleue, Switzerland –
"From an aesthetic point of view, François Racine’s staging is a gem. The subtle lighting effects, using a colour palette that seems to reflect the characters’ very soul, the coherent style and the use of a refined body language (choreography by Etienne Frey) make this a mesmerizing show.”
Denise de Ceuninck, L’Express
Opera Lyra Ottawa
Ottawa Bach Festival