Mireille Asselin, Soprano http://www.mireilleasselin.com/
A singer deemed “superb” by the Los Angeles Times, and praised by Opera Canada for her “vivacious stage presence” and as a “soprano that charms and brightens a room”, Mireille Asselin enjoys a diverse, international career spanning concert, opera and recital work.
To date, Mireille has sung five seasons at the Metropolitan Opera, where she debuted as Poussette in MANON. She then made waves by jumping in as Adele for opening night of DIE FLEDERMAUS under the baton of James Levine, giving a performance that critics raved "stole the show", hailing it as one of New York's "most enchanting" of the season.
As a respected performer of early music she also appears regularly with Opera Atelier, the Boston Early Music Festival and other period ensembles. She made her European operatic debut in 2014 at the Royal Opera of the Palace of Versailles in Lully's PERSÉE and her Carnegie Hall concert debut in 2012.
In the 2018/19 season, Mireille makes debuts with The Harris Theater in Chicago, with Garsington Opera in England, the Champs-Elysées in Paris, and with Odyssey Opera in Boston in addition to touring extensively with the Mirror Visions Ensemble in recital across North America and in Europe. Her most recent album "Inspired by Canada - Notre Pays" with the Amici Chamber Ensemble was released this year on Marquis Records to great acclaim. This season also brings her back to both Opera Atelier in Toronto and the Royal Opera in Versailles performing a double-bill of ACTÉON/PYGMALION, as well as to the Handel & Haydn Society in Boston where she will perform and record Haydn’s HARMONIEMESSE.
Ms. Asselin is a graduate of the Canadian Opera Company Studio, Yale University and the Royal Conservatory of Music. For more info visit www.mireilleasselin.com.
|Britten||A Midsummer Night’s Dream||Helena, Tytania|
|La couronne de fleurs||La déesse Flore|
|La descente d’Orphée aux enfers||Aréthuze, Proserpine|
|La fille du régiment||Marie|
|Gluck||Iphigénie en Tauride||Diane|
|Handel||Acis and Galatea||Galatea|
|Humperdinck||Hänsel und Gretel||Gretel|
|Monteverdi||Orfeo||Euridice, La Musica|
|Minerva||Il ritorno d'Ulisse in patria|
|Mozart||La Clemenza di Tito||Servilia|
|Così fan Tutte||Despina|
|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|
|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|
|Il barbiere di Siviglia||Rosina|
|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|
|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|
|Il Trionfo del Tempo e del Disinganno||Bellezza|
|Apollo e Dafne|
|Hindemith||Cum natus esset|
|Mahler||Symphony No. 4|
|Mass in C-minor (Grand Mass)||1st and 2nd soprano|
|Vaughan Williams||Dona Nobis Pacem|
|Webern||Lieder, op. 8|
|Lieder, op. 13|
“Almost all of Helen’s character gets revealed from Asselin’s facial mannerisms, perhaps an unintentional bit of stage-craft symbolism for the most beautiful of mortals. Slyly pointing out a handsome athlete to her cohort, struggling to maintain composure as Paris sings, eyes blazing in frustrated fury – Asselin’s face unmasked Helen’s personality. She acted and sang marvelously.”
“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.”
“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.”
“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.”
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.”
“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.”
“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.”
“Both pieces benefited from consistently stylish singing, with Mireille Asselin… standing out among this capable ensemble cast.”
“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).”
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.
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.
MediaMusic For A While, by Henry Purcell
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)