Reviews in English and French | Press

 

Handel’s Agrippina, Premiere January 2010

"The power-hunger Agrippina ultimately manages to cast Ottone as a traitor. He – the only honest character – renders a pained and haunting lament, which was the vocal highlight of the evening. Coupled with a strong voice, Mireille Lebel’s baroque affects were a pure delight. Her speaking delivery of the recitatives, as well as the timbre of her voice, made her the star of the evening..."
TLZ, 25 January 2010

 

Handel’s Messiah, December 2009

‘Mezzo-soprano Mireille Lebel made the most of her beautiful arias, her voice captivating and her singing highly expressive. She even got an extra in the rarely heard “How beautiful are the feet,” usually sung by the soprano.’
Calgary Herald, 7 December 2009 

 

Ravel’s L’Enfant et les Sortilèges, Premiere November 2009

‘Mireille Lebel is convincing both vocally and theatrically in the role of a wild rascal…’
Thüringer Allgemeine [Translated from German], 11 November 2009

'Mireille Lebel bei leistet als wilde Göre stimmlich und darstellerisch Überzeugendes…'
Thüringer Allgemeine, 16.11.2009

 

Mozart’s Le nozze di Figaro, Premiere September 2009

'Above all, it was a trio of Sylphids, beautiful both vocally and visually, which crowned the director: Ilia Papandreou (Contessa), Julia Neumann (Susanna), Mireille Lebel (Cherubino).'
Thüringer Allgemeine [Translated from German], 29 September 2009

 'Was den Regisseur vor allem adelte war ein Trio wundershön singender und anzusehender Sylphiden: Ilia Papandreou (Gräfin), Julia Neumann (Susanna), Mireille Lebel (Cherubino).'
Thüringer Allgemeine, 29.09.2009

‘It is also the excellent ensemble that turns it all into such pure delight. In it, Mireille Lebel is a wonderfully virile Cherubino…’
Freies Wort [Translated from German], 21 October 2009

'Das Ganze macht aber auch ein exzellentes Ensembles zum puren Vergnügen. Dabei ist Mireille Lebel ein wunderbar viriler Cherubino...'
Freies Wort, 21.10.2009

 

Blow’s Venus and Adonis and Charpentier’s Actéon (Boston Early Music Festival) November 2008,
Reprised June 2009

‘…Canadian mezzo-soprano Mireille Lebel, playing Cupid in Venus and Adonis, sang the beautifully nuanced recitatives and dancelike airs of the Prologue with equal stylistic sensitivity.’
The Boston Musical Intelligencer, 15 June 2009

'She had able partners in Mireille Lebel, as an alluring Cupid'
New York Times, 15 June 2009

‘Standouts in "Venus and Adonis" included mezzo Mireille Lebel, whom Houston friends may remember from her wonderful solo work in "Messiah" this past year at Jones Hall'
www.arslyricahouston.blogspot.com, June 2009

‘Like the hostess of an abnormally talented garden party, Mireille Lebel presided over the gathering, catalyzing action with graceful, long-limbed gestures, and lending her delicious mezzo-soprano to an 8-year-old Cupid’
Boston Herald, 1 December 2008

 

Haydn’s Stabat Mater, June 2009

‘La mezzo soprano Mireille Lebel, chez qui on a pu apprécier la richesse du timbre et l’émission particulièrement nette des graves…’
Le Soleil, 4 June 2009

 

Concert of Handel and Vivaldi Arias, May 2009

‘Quebec’s Mireille Lebel, a stately mezzo-soprano, was unforgettably regal in her portrayal of Judith as she performed several exuberantly fast solo arias. Her powerful yet emotionally expressive performances, backed by the tight violin section led by Lamon, who is an excellent violinist in her own right, evoked standing ovations.’
The Jewish Tribune, June 2009

 

Mozart’s Cosi fan tutte, March & April 2009

'Mezzo-soprano Mireille Lebel was lustrous as Dorabella…Both acted with natural flair.'
The Montreal Gazette, 31 March 2009

‘D’emblée, c’est toute l’équipe qui nous fait vivre des moments délicieux et du bon théâtre. Une talentueuse Fiordiligi, tenue par Caroline Bleau, belle prestance sur scène, voix un peu verte pour un rôle aussi exigeant mais avec des qualités évidentes. La mezzo-soprano Mireille Lebel en Dorabella, campe un personnage certes plus extérieur, plus spontané sans doute parce que le rôle l’exige. Deux voix qui méritent toute notre attention. Chacune à sa façon habite son personnage avec subtilité et brio : complémentaires et complices en amour. Les deux jeunes femmes, sémillantes, pieds-nus au premier acte, ne sont pourtant pas interchangeables. On ne s’ennuie pas avec de tels partenaires.’
ResMusica, 1 April 2009

'Le duo Caroline Bleau-Mireille Lebel (Fiordiligi et Dorabella) est bien assorti. Voila deux chanteuses sûres et solides'
Le Devoir, 3 April 2009

 

Greenmountain Opera Festival Gala, March 2009

‘Mezzo-soprano Mireille Lebel not only sang the part of Bizet’s “Carmen,” she was the part. With blazing red hair and a look of real sultriness, to say nothing of an agile and brilliant but rich voice, she delivered the seductive Carmen of the “Seguedille.” As in the opera, Belanger’s Don José, beautiful sounding but none-too-heroic was no match for the worldly Carmen.’
Times Argus, 11 March 2009

 

Recording of Lully’s Psyché, 2008

‘Magnifique casting, également dans le détail, avec les premiers pas au disques de jeunes chanteurs canadiens fort intéressants : le ténor Colin Balzer, la mezzo Mireille Lebel et la basse Olivier Laquerre.’
www.classicstodayfrance.com 

 

Massenet’s Thaïs, October 2008

‘The smaller roles of Crobyle and Myrtale were impressively taken by Julie Daoust and Mireille Lebel, yet more fine singers from Quebec, which seems to have no end of them these days.’
Review Vancouver, October 2008

 

John Metcalf’s A Chair in Love, July 2008

‘…the Dogtor/Doctor is a cheeky and charismatic mezzo Mireille Lebel’
Wales Online.co.uk, July 2008

 

Ravel’s L’Heure espagnole, March and April 2008

'Beau plateau, donc, dominé par le ténor raffiné Antoine Bélanger et le charme de Mireille Lebel, qui s'affirme, après les Michèle Losier, Philipp Addis, Marie-Josée Lord, Étienne Dupuis, Marianne Fiset et d'autres, comme la vedette de cette promotion de jeunes chanteurs.
Le Devoir, 28 March 2008

‘ À la première, mercredi, Mireille Lebel a incarné l'aguichante Concepcion de Ravel avec une bonne voix, une excellente diction et de l'intelligence.'
La Presse, 28 March 2008

 

Schubertiade, March 2008

‘…La contribution de la mezzo-soprano Mireille Lebel aura été aussi courte qu’appréciée. Cette jeune et grande rousse pleine de spontanéité est apparue dans une flamboyante robe écarlate pour chanter la Sérénade. Sa jolie voix transparente faisait penser à l’air du matin, fraîche et légèrement piquante…’
Le Soleil, 8 March 2008

 

Bizet’s Carmen, October 2007

‘Angela Welsh's Frasquita and Mireille Lebel's Mercedes provided some of the most entertaining moments in the fortune-telling scene. Both got into the spirit of this little moment of comedy splendidly, singing with giddy delight.’
Opera Canada, November/December 2007

 

Recording of Lully’s Thésée, June 2007

‘And Mireille Lebel demonstrates in the three roles of Dorine, Venus and Sheperdess, what perfect baroque singing can be: an ecstatic mixture of linguistically oriented delivery, shapeliness of phrase and a rich spectrum of vocal colors brought together with high musicianship.’
Frankfurter Allgemeine Zeitung [Translated from German], 11 August 2007

'But above all others one must mention the mezzo-soprano Mireille Lebel in the roles of Dorine and Venus. Perfect technique, noble carriage, and especially a full palette of colours crown her singing. With a very personal timbre, her delivery- sensual, the vocal nuances packed with meaning- is stunning.'
Opernwelt [Translated from German], August 2007

 

Haydn’s Il mondo della luna, March & April 2007

‘…Mireille Lebel, dans le rôle de la soubrette Lisetta, belle voix de mezzo-soprano, parvient à incarner un personnage drôle et intéressant. On se souvient de son excellente Mallika, dans Lakmé, présenté à l’Opéra de Montréal en février dernier.’
ResMusica, 3 April 2007

‘Opening night bass-baritone Chad Louwerse as Buonafede and soprano Mireille Lebel as Lisetta stole the show with fine singing and acting.’
The Globe and Mail, 31 March 2007

 

Delibes’ Lakmé, February 2007

‘Retenons au premier acte, le charmant duo avec Mireille Lebel, Viens, Mallika, où les voix comme des lianes en fleurs s’entrelacent à un jardin suspendu, dans la douceur d’un matin parfumé…Mention particulière à la Mallika de Mireille Lebel, pour l’excellente d’une voix chatoyante et sa présence sur scène…’
ResMusica, 10 February 2007

‘No wonder that during the first intermission of Opera de Montreal’s production of Lakme half the guys in the queue to the washroom were either humming or whistling the Flower duet. Great as the British Airways versions are, if you’re in Montreal you can hear the melody as it was meant to be heard, beautifully sung by Canadian sopranos Aline Kutan (Lakme) and Mireille Lebel (Mallika) in this first co-production with Opera Australia.’
The Globe and Mail, 5 February 2007

‘Quant a Mireille Lebel, elle me semble le talent le plus prometteur des pensionnaires de l’Atelier lyrique.’
Le Devoir, 5 February 2007

 

Verdi’s La Traviata, November 2006

‘Heureusement, il y a quelques moments ou le chœur occupe le plateau et ou, surtout, Flora (Mireille Lebel, excellente) met un peu de piquant.’
Voir.ca, November 2006

‘Une mention pour la Flora de Mireille Lebel, pensionnaire de l’Atelier lyrique dont on suivra l’evolution avec interet.’
Opéra Magazine, January 2007

‘Mention honorable pour la sémillante Flora de la mezzo Mireille Lebel’
ResMusica, 9 November 2006

‘Supporting roles were all effectively done, particularly mezzo-soprano Mireille Lebel's effervescent Flora.’
Times Argus, 6 November 2006

 

Premiere of Ana Sokolovic’s The Midnight Court, June 2005

‘A fabulous chorus of four women, who double as musical instruments for much of the score, is played with panache by Xin Wang, Hanah Shelton, Mireille Lebel, and Catharin Carew.’
Toronto Star, 13 June 2005

 

Beethoven’s Mass in C Major, February 2006

‘The quartet – Chantal Dionne, Mireille Lebel, Eric Theriault and Matthew Cassils – Sang splendidly on their own and in concert...It says something about the local scene if four newcomers in their 20’s can sound like pros in their prime.’
The Montreal Gazette, 15 February 2006

 

Premiere of Michael Matthew’s Prince Kaspar, May 2005

‘The title character, a teenaged boy, was played by a twentysomething woman, Montreal-based mezzo soprano Mireille Lebel. This exercise in gender-bending worked remarkably well, given that Lebel was a commanding presence and that Kaspar represents innocence corrupted by experience.’
Winnipeg Free Press, 8 May 2005

 

An afternoon of Canadian chamber opera, March 2003

‘Mireille Lebel, as the Pretty Lady, provided high glamour, spirited singing and a sure gift for comedy.’
The Globe and Mail, 1 April 2003