Julie-Boulianne; Photo Credit: Dennis Kwan
One of the rewards of being a music critic is having the opportunity to anticipate the success of a young performer. Seven and a half years ago, my review of Julie Boulianne’s New York debut recital began: “It took just one or two phrases to realize that mezzo-soprano Julie Boulianne, Joy in Singing’s 2003 Award Winner, is a great talent – a beautiful voice, a strong technique, a compelling stage presence.” And in the last paragraph I stated: “Her performance of the aria from ‘Les Huguenots’ leads one to anticipate success on the opera stage.” Recently I had the pleasure of hearing Ms. Boulianne on the stage of the Metropolitan Opera, singing small but attention-grabbing roles in performances of Glucks “Iphigénie en Tauride” (March 2nd) and Gounod’s “Roméo et Juliette” (March 3rd.) And “success on the opera stage” it was!
In “Iphigénie en Tauride” Ms. Boulianne performed the role of the goddess Diana. As any deus ex machina should, she made her entrance rapidly dropping from the fly space above the stage while suspended by a wire. (I wonder how it must have felt beginning her Met debut on February 12th in such a manner.) In 2003 I heard her in the intimate confines of Merkin Concert Hall. But how would she fare on the vast stage of the Metropolitan Opera House? I am happy to report that her rich voice filled the hall (I was sitting in the balcony) and she commanded the stage just as the goddess she was portraying should.
When singing the pants role of Stephano in “Roméo et Juliette,” she had the stage to herself at the beginning of Act III. No longer as a goddess, but this time a young man, she sang her aria with impetuous abandon and was most convincing in the sword fight which followed.
These two fine performances give us a taste of what Ms. Boulianne is capable of. To again quote from my October 28, 2003 review: “This listener would relish the chance to hear her Cherubino.”
– Harry Saltzman for New York Concert Review; New York, NY
