Mireille Asselin - Soprano

Mireille Asselin, Soprano http://www.mireilleasselin.com/

Mireille Asselin is a Canadian soprano in the midst of an exciting career. In December of
2015 she created excitement by jumping in as Adele for opening night of DIE FLEDERMAUS
at the Metropolitan Opera under the baton of James Levine. The critics raved that she
"stole the show" with her "crystalline voice" and "abundant charm", hailing it as one of
New York's "most enchanting performances of 2015".

2016-17 marks Mireille's fourth season at the Met, where she debuted as Poussette in
MANON in March '15. This year she covers Jemmy in GUILLAUME TELL and Rosina
in IL BARBIERE DI SIVIGLIA. Mireille also returns to Opera Atelier and the Royal
Opera of the Palace of Versailles singing the role of Créuse in Charpentier's MEDÉE.
She makes her debut with the Minnesota Orchestra in the MESSIAH, and with the
Handel and Haydn Society singing Iris in SEMELE.

As a respected interpreter of early music Mireille appears regularly with Opera Atelier in
Toronto and at the Boston Early Music Festival where her most recent roles have
included Celia (LUCIO SILLA), Morgana (ALCINA), Galatea (ACIS AND
GALATEA), Minerva (ULISSE), and La Musica/Euridice in ORFEO. She made her
European opera debut as Princesse Andromède (PERSÉE) at Versailles in 2014, and
recently sang the title role in BERENICE at the 2016 Göttingen International Handel
Festival, Germany.

As a member of the Canadian Opera Company’s Ensemble Studio from 2011-2013 she
performed Adele in FLEDERMAUS, Servilia in CLEMENZA DI TITO, the title role in
Handel’s SEMELE (Ensemble Studio performance), and Contessa Ceprano in
RIGOLETTO. She has also appeared with Ash Lawn Opera (Despina, COSI FAN
TUTTE), Wolf Trap Opera (Thérèse, MAMELLES; Frasquita, CARMEN; Nannetta,
FALSTAFF), and the Glimmerglass Festival (Phénice & Lucinde, ARMIDE). Her other
operatic credits include Susanna (NOZZE DI FIGARO), Pamina (ZAUBERFLÖTE), the
title role in Stravinsky’s ROSSIGNOL, Lauretta (GIANNI SCHICCHI), and Soeur

Mireille is an accomplished concert singer and recitalist and has appeared with many of
North America's major orchestras and festivals. She is also an acknowledged champion
of contemporary music and has participated in a number of premieres and workshops of
new works. In 2013, her debut album Ash Roses was released on the Centrediscs label to
great acclaim. In April 2011, she made her Carnegie Hall debut singing Vaughan
Williams’ DONA NOBIS PACEM and returned to Carnegie in January of 2012 to give a
recital in the Song Continues series. Mireille has also done film work, starring as Pamina
in the feature film Magic Flute Diaries.

Ms. Asselin obtained her Master of Music from Yale University’s prestigious Opera
Program in 2010. Prior to her studies at Yale, she completed a Bachelor of Music at the
Glenn Gould School of The Royal Conservatory of Music in Toronto (2007).

Opera Repertoire

Composer Opera Role
Britten A Midsummer Night’s Dream Helena, Tytania
Charpentier Actéon Nymphe, Chasseur
La couronne de fleurs La déesse Flore
La descente d’Orphée aux enfers Aréthuze, Proserpine
Médée Princesse Créuse
Donizetti Don Pasquale Norina
L’Elisir d’Amore Adina
La fille du régiment Marie
Gluck Iphigénie en Tauride Diane
Handel Acis and Galatea Galatea
Alcina Morgana
Semele, Iris Semele
Berenice Berenice
Theodora Theodora
Humperdinck Hänsel und Gretel Gretel
Lully Armide Phénice, Lucinde
Persée Princesse Andromède
Massenet Werther Sophie
Manon Manon, Poussette
Monteverdi Orfeo Euridice, La Musica
Minerva Il ritorno d'Ulisse in patria
Mozart La Clemenza di Tito Servilia
Così fan Tutte Despina
Don Giovanni Zerlina
Lucio Silla Celia
Le Nozze di Figaro Susanna
Die Zauberflöte Pamina, Papagena
Offenbach Les contes d’Hoffmann Olympia
Poulenc Les Dialogues des Carmélites Soeur Constance
Les Mamelles de Tirésias Thérèse
Puccini La Bohème Musetta
Gianni Schicchi Lauretta
Purcell Dido and Aeneas Belinda, First Witch
Ravel L’Enfant et les sortilèges L’Enfant, La Tasse Chinoise
Respighi La Bella dormente nel bosco L’usignuolo
Rossini Il Signor Bruschino Sofia
Guillaume Tell Jemmy
Il barbiere di Siviglia Rosina
Steffani Niobe Niobe
J. Strauss Die Fledermaus Adele – (performed in English and German)
R. Strauss Der Rosenkavalier Sophie
Stravinsky Le Rossignol Le Rossignol
Verdi Un Ballo in Maschera Oscar
Falstaff Nannetta

Concert Repertoire

Composer Composition Role
Bach Cantatas BWV 21, 51, 68
Mass in B-minor
St. John Passion
St. Matthew Passion
Barber Knoxville: Summer, 1915
Beethoven Symphony No. 9
Brahms Ein Deutsches Requiem
Canteloube Chants d’Auvergne
Fauré Requiem
Handel Athalia Joas
Il Trionfo del Tempo e del Disinganno Bellezza
Saul Michal, Merab
Theodora Theodora
Apollo e Dafne
Haydn The Creation Eve
Hindemith Cum natus esset
Mahler Symphony No. 4
Mozart Coronation Mass
Exsultate, Jubilate
Mass in C-minor (Grand Mass) 1st and 2nd soprano
Regina Coeli
Orff Carmina Burana
Pergolesi Stabat Mater
Poulenc Gloria
Ravel Shéhérazade
Rutter Magnificat
Varèse Offrandes
Vaughan Williams Dona Nobis Pacem
Vivaldi Gloria
Webern Lieder, op. 8
Lieder, op. 13

Press Acclaim

“As the perky maid Adele, Mireille Asselin, a young Canadian coloratura soprano with a light, sweet voice and abundant charm, substituted for Lucy Crowe, who was ill.”

Anthony Tommasini, New York Times

“The soprano Mireille Asselin performed the maid Adele, replacing Lucy Crowe, who was ill. Asselin brought her lovely lyrical voice to the role, supported by a strong technique. Her coloratura was smooth and effortless, and her high notes were especially memorable in her arias… It was an impressive performance.”

Ako Imamura, Bach Track

“Possessed of a beautiful crystalline voice with a cool, bright middle register and clear-as-a-bell top, Asselin has a natural charm in her voice and in her bearing. Her vibrato is tight but not too rapid, perfect for this tittering role…We would be lucky indeed to hear work like this every night from the names at the top of the program.”

Eric C. Simpson, New York Classical Review

Soprano Mireille Asselin stole the show. She sounded flawless, with seemingly endless creative possibilities in her voice. Mireille is an Early Music pro as well, and she gave a lesson in how to ornament an aria; starting purely from her voice, she didn’t let a word go by without a specific interpretation. Morgana had the precious few moments of comedic relief during the show, and her hilarious staging of “Tornami a vagheggiar” is now officially the New and Improved Coat Aria (go see it, you’ll agree). Also, she plays a mean air-harpsichord.


“Asselin, a recognized champion of new music, sings with confidence, security, and high expression.”

Rick Phillips, Opera Canada

“The first great pleasure came from Mireille Asselin, whose presence lit up the stage whether as the coquettish Flore flirting with the dancing Zephyrs, or in the Underworld as a gravely regal Persephone. Her bright clear soprano brought sparkle to ‘La Couronne de Fleurs’. In ‘La Descente’, her expression of the text gave Persephone warmth and dignity.”

Elizabeth Paterson, Review Vancouver

“The biggest contrast of the evening was between the two works featuring the winning Canadian soprano Mireille Asselin: Samuel Barber’s 15-minute-long, 1947 ‘Knoxville Summer of 1915’ … and Gustav Mahler’s 55-minute 1902 Symphony in G Major…. With a fresh, agile voice, Asselin was excellent in both settings. Her operatic training served her well, especially in telling Agee’s story in singing prose. Reaching out to the audience in voice and in character, her subtle gestures in lines such as when the night locusts ‘enchant my eardrums’ and the quick drama of ‘the stars wide and alive,’ were captivating.”

Milton Moore, The Day (CT)

“Both pieces benefited from consistently stylish singing, with Mireille Asselin… standing out among this capable ensemble cast.”

Jeremy Eichler, Boston Globe

“Both works featured outstanding performances by the leads, namely Mireille Asselin’s ‘Flore’ in La Couronne, and Aaron Sheean’s ‘Orphée’ in La Descente. Aside from their exceptional musical artistry, both displayed an excellent grasp of the ‘elegant artifice’ of the Baroque acting style.

“Flore’s (Mireille Asselin) invocation of the coming of spring at the opening of La Couronne, for example, was immediately engaging — graceful and effervescent, (and quite impressive considering that Asselin had been holding a still pose at the front of the stage for almost thirty minutes while the audience was seated).”

Joel Schwindt, Boston Musical Intelligencer

To my ear, none of the singers, save one, gave completely convincing performances… This is a score that demands excellence at a high level. That one exception was Mireille Asselin as Morgana, who was seductive, charming and dramatically powerful.

Globe and Mail

To my ear, none of the singers, save one, gave completely convincing performances. They all had moments of power and beauty, but this is a score that demands excellence at a high level . That one exception was Mireille Asselin as Morgana, who was seductive, charming and dramatically powerful.

Robert Harris, The Globe and Mail


In uomini, in soldati (Mozart, Così fan tutte)

"Wir geniessen die himmlischen Freuden” (Mahler’s 4th Symphony) at Royal Conservatory Orchestra

"Rejoice greatly" (Handel's Messiah)

"Mein Herr Marquis" (Die Fledermaus, Strauss)

Press Kit

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Hi-Res Headshot