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French-Canadian mezzo-soprano Julie Boulianne has been acclaimed for the agility and expressive power of her dark-hued mezzo-soprano in a wide repertoire, with a special focus on the music of Mozart and Rossini. The New York Times said of her performances of Rossini’s La Cenerentola, “Julie Boulianne made Angelina a girl of honesty and spirit, ready to battle for her right to go to the ball and to forgive her obnoxious family. Her warm, flexible mezzo came into its own in her final, triumphant rondo." In the 2016-2017 season, Julie Boulianne will debut at the Aix-en-Provence Festival in the world premiere of Philippe Boesmans Pinocchio, return to Théâtre des Champs-Elysées for Donna Elvira, a debut role in Don Giovanni, make her house and role debut with the Théâtre du Capitole de Toulouse as Béatrice in Béatrice et Bénédict, perform the title role of La Cenerentola for her debut with Opéra-Théâtre de Limoges and return to Opéra de Québec as Rosina in Il Barbiere di Siviglia.  Recital and symphonic highlights include Chausson&rsquo

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French-Canadian mezzo-soprano Julie Boulianne has been acclaimed for the agility and expressive power of her dark-hued mezzo-soprano in a wide repertoire, with a special focus on the music of Mozart and Rossini. The New York Times said of her performances of Rossini’s La Cenerentola, “Julie Boulianne made Angelina a girl of honesty and spirit, ready to battle for her right to go to the ball and to forgive her obnoxious family. Her warm, flexible mezzo came into its own in her final, triumphant rondo."

In the 2016-2017 season, Julie Boulianne will debut at the Aix-en-Provence Festival in the world premiere of Philippe Boesmans Pinocchio, return to Théâtre des Champs-Elysées for Donna Elvira, a debut role in Don Giovanni, make her house and role debut with the Théâtre du Capitole de Toulouse as Béatrice in Béatrice et Bénédict, perform the title role of La Cenerentola for her debut with Opéra-Théâtre de Limoges and return to Opéra de Québec as Rosina in Il Barbiere di Siviglia.  Recital and symphonic highlights include Chausson’s Poeme de l’ amour and Beethoven’s Egmont Schauspielmusik with the Bamberg Symphony, and sing recitals with the Tuesday Music Club in San Antonio and in Québec.

Julie Boulianne enjoyed many house and role debuts in the 2015-2016 season, including a debut with the Royal Opera House, Covent Garden as Aloès in Laurent Pelly’s production of Chabrier’s comedic opera L’Étoile, at Opernhaus Zürich as Annio (debut) in Mozart’s La Clemenza di Tito, conducted by Ottavio Dantone, the BBC Proms as Marguerite in Berlioz’ La Damnation de Faust and at Opéra de Lyon in a role debut as Robin-Luron in Offenbach’s rarely performed Le Roi Carotte, at Angers Nantes Opéra as Concepción in L’Heure espagnole in a co-production with the Orchestre National des Pays de la Loire. Operatic engagements also included a return to Opéra Grand Avignon in a role debut of Mallika in Delibes Lakmé. Orchestral highlights included Janáček’s Glagolitic Mass with Yannick Nézet-Séguin and the Orchestre Métropolitain, Juliette in Berlioz’ Roméo et Juliette with l’Orchestre National du Capitole de Toulouse, a debut with Gulbenkian Musicá in Lisbon, Portugal in the Pergolesi Stabat Mater, Berlioz’Les Nuits d’Été with the Fort Worth Symphony, Beethoven’s Missa Solemnis with the Indianapolis Symphony, and Mahler’s Symphony No. 4 and select Mozart arias with the Illinois Symphony Orchestra.

In the 2014-2015 season, Julie Boulianne debuted with the Dutch National Opera as Aloès in Chabrier’s L’Étoile, and performed Annius in Mozart’s La Clemenza di Tito at Théâtre des Champs-Élysées, and Marguerite in Berlioz’ La Damnation de Faust with the Orchestre National du Capitole de Toulouse at the San Sebastián Music Festival opposite Bryan Hymel.  Ms. Boulianne returned to Vancouver Opera for a role debut as Prince Orlofsky in Johann Strauss’ Die Fledermaus and debuted at New Orleans Opera as Cherubino in Mozart’s Le Nozze di Figaro. The artist also made her South American debut and role debut as Charlotte in Werther at Ópera de Colombia in Bogotá. Orchestral engagements included a debut with the Toronto Symphony Orchestra in Mozart’s Mass in C minor, a debut with the San Francisco Symphony in Beethoven’s Missa Solemnis, Honegger and Ibert’s L’Aiglon with Kent Nagano at the Orchestre symphonique de Montréal, Haydn’s Harmoniemesse with the Orchestre Symphonique de Québec and Grant Park Music Festival in Chicago, and the Mozart Requiem with the San Antonio Symphony, conducted by Sebastian Lang-Lessing.

In past seasons, Julie Boulianne has enjoyed several appearances at the Metropolitan Opera singing Siébel in Faust, Stéphano in Roméo et Juliette conducted by Plácido Domingo, Diane in Stephen Wadsworth’s production of Iphigénie en Tauride, conducted by Patrick Summers, the Kitchen-Boy in Rusalka alongside Renée Fleming, and Ascanio in Francesca Zambello’s production of Les Troyens, conducted by Fabio Luisi, which was seen internationally as part of the Met Live in HD cinema cast series. Ms. Boulianne made her role debut as Miranda in a new production by Robert Lepage of Thomas Adès’s modern masterpiece The Tempest, under the baton of the composer at the Festival Opéra de Québec. In past seasons she made her New York City Opera debut as the wily Lazuli in L’Étoile, directed by Mark Lamos; Cherubino in Le nozze di Figaro at Vancouver Opera and at Opéra de Montréal; the title role in Massenet’s Cendrillon at Opéra de Montréal and at l’Opéra de Marseille; Rosina in Il Barbiere di Siviglia for her debut at Minnesota Opera; and the title role in La Cenerentola at Aspen Opera Theater, Florida Grand Opera, Glimmerglass Opera, and Pacific Opera Victoria, as well as Fragoletto, the young hero of Offenbach’s Les Brigands, at both Opéra de Toulon and Opéra Comique in Paris.

On the orchestral stage, Julie Boulianne has performed with the Cleveland Orchestra singing in The Cunning Little Vixen conducted by Franz Welser-Möst; Charles Dutoit and the Boston Symphony in L’enfant et les sortilèges, the Baltimore Symphony singing Mendelssohn’s A Midsummer Night’s Dream with Marin Alsop, her Japanese debut at the Saito Kinen Festival in Honegger’s Jeanne d’Arc au bûcher, and the Mostly Mozart Festival in Haydn’s Lord Nelson Mass conducted by Yannick Nézet-Séguin at Lincoln Center. She appeared at Carnegie Hall performing Beethoven’s Missa Solemnis with the Orchestra of St. Luke’s under the baton of Sir Roger Norrington as well as performances of Handel’s Messiah with the Colorado Symphony, Haydn’s Theresienmesse with Les Violons du Roy in Québec City, a return to Festival Opéra de Québec in a role debut in Berlioz’ La Damnation de Faust, Mahler’s Symphony No. 2 with Orchestra Iowa, St. Matthew Passion with Orchestre Métropolitain in Montréal, and Beethoven’s Ninth Symphony with Pinchas Zukerman and the National Arts Centre Orchestra in Ottawa. She has also performed Ravel’s Shéhérazade with Emmanuel Villaume and the Utah Symphony, Berlioz’s Les Nuits d’Été with Yannick Nézet-Séguin and Orchestre Métropolitain, Messiah and Bach’s Mass in B minor with the Atlanta Symphony, Mahler’s Symphony No. 3 with the Calgary Philharmonic, and Mozart’s Coronation Mass with the Cincinnati Symphony, and is a regular guest of symphony orchestras including L’Orchestre de la Francophonie Canadienne, the Montreal Symphony Orchestra, the Nashville Symphony Orchestra, the Quebec Symphony Orchestra, the Edmonton Symphony Orchestra, and Les Violons du Roy.

In March 2009, Naxos Records released a recording of Shéhérazade and L’enfant et les sortilèges featuring Julie Boulianne and the Nashville Symphony, which was nominated for the Grammy® Award for Best Classical Album. Ms. Boulianne can also be heard on a 2011 ATMA Classique release of Mahler’s Lieder eines fahrenden Gesellen and Kindertotenlieder.

A graduate of McGill University’s Schulich School of Music, Julie Boulianne won the First Prize in both the Canadian Music Competition and the Joy of Singing Competition in New York. She has also been awarded the International Vocal Arts Institute’s Silverman Prize, and in 2007, the Prix de la Chambre des Directeurs for Most Promising Career at the Concours International de Chant de Montréal.

 

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Reviews

"But it’s French-Canadian mezzo-soprano Boulianne who is the one to watch – Rossini’s endless coloratura is a killer, yet she rips through ornamentation like a carving knife. Her voice has both sweetness and bite, with hints of darker and deeper notes to come, all boding well for meatier roles down the line."

Paula Citron, Toronto Globe and Mail

"Julie Boulianne made Angelina a girl of honesty and spirit, ready to battle for her right to go to the ball and to forgive her obnoxious family. Her warm, flexible mezzo came into its own in her final, triumphant rondo."

Heidi Waleson, The Wall Street Journal

"Julie Boulianne, a mezzo-soprano, brought a rich, beautifully rounded tone to a duet and an aria (‘Adieu, fière cité’) from the Berlioz, and to a moving, wrenchingly characterized account of ‘When I am laid in earth’ (and the scene preceding it) from the Purcell."

Allan Kozinn, The New York Times

"Boulianne’s refined and elegant vocalism suited the put-upon Cinderella. Boulianne brought a touching intimacy to her opening aria ‘Una volta c’era un re’ and displayed facility with the coloratura bravura of the concluding ‘Non più mesta.’ Physically, the petite mezzo looked the part completely, with a waifish, vulnerable presence that underlined Cinderella's melancholy. She later assumed the throne with quiet, self-possessed dignity."

Lawrence A. Johnson, The Miami Herald

"The mezzo-soprano Julie Boulianne gives a beautifully understated performance as his dying wife [in Ned Rorem’s Our Town]."

Anthony Tommasini, The New York Times

"The one compelling reason to see ‘La Cenerentola,’ the Aspen Opera Theater Center’s first offering of the summer, is the mezzo-soprano singing the title role. Beg, borrow or steal to get a ticket for Julie Boulianne’s final performance at 7 p.m. Sunday in the Wheeler Opera House. She is the real deal… she sailed through her moments, big and small, and created a character sweet and innocent enough to justify the subtitle Rossini and his librettist, Jacopo Ferretti, appended to this very Italian version of the Cinderella story: ‘Or Goodness Triumphant.’ Boulianne has the presence to command the stage without histrionics, often by standing there with a gentle smile. She opens her mouth and the sound comes out unforced, ‘Nacqui all’affano’ in the final act. In interacting with the other singers, she seems a model of generous attention and consistently conjures up a feeling of reality. Only a first-year student at Juilliard, the French Canadian already has sang starring roles at l’Opéra Montréal—Rosina in Rossini’s ‘Il Barbiere di Siviglia’ and Annio in Mozart’s ‘La Clemenza di Tito.’ Aspen is fortunate to be hearing her at this stage of her career, much as audiences might remember fondly the likes of Renée Fleming and Susanne Mentzer when they sang here before becoming stars."

Harvey Steiman, Aspen Times

"As Isolier, Julie Boulianne displayed a truly lush lyric mezzo-soprano with a formidably large and secure top."

Fred Cohn, Opera News

"Julie Boulianne, as the page Isolier, who loves the countess, also sang with a round fullness."

Anne Midgette, The New York Times

"The way French-Canadian mezzo Julie Boulianne set the scene for Berlioz’s Romeo and Juliet in a long and hugely demanding solo was even more remarkable: I have never heard a more ravishing vocal command of the Albert Hall’s problematic acoustic."

Michael Church, Independent

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Discography