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R E V I E W S

« Notons, d’autre part, l’impressionnante performance de Mia Lennox dans le rôle de Madame de Croissy. Ses plaintes sont touchantes, formulées dans un phrasé coulant, et ne perdent jamais rien de leur clarté. La scène de l’infirmerie, de ce point de vue, est particulièrement réussie. On la voit râler, souffler, agoniser jusqu’au délire ... Il faut bien le dire : nous avons eu le frisson ! »
“Note, on the other hand, the impressive performance of Mia Lennox in the role of Madame de Croissy. Her complaints are touching, formulated in flowing phrases, and never lose any of their clarity. The death scene, from this point of view, is particularly successful. We see her rage, sigh, agonize into delirium... It must be said, we had the shivers!”

bachtrack Sébastien Daigle

« Une des scènes « culte » des Dialogues des Carmélites est celle où Madame de Croissy (Mia Lennox, mezzo-soprano), agonise lentement sur son lit de mort. La richesse de son timbre de voix, son souffle irrégulier et ses respirations difficiles font ressortir sa terrible peur de la faucheuse. »
“One of the cult scenes of Dialogues des Carmelites is that in which Madame de Croissy (Mia Lennox, mezzo-soprano) slowly dies in agony on her deathbed. The richness of her vocal timbre, her irregular and laboured breathing bring out her terrible fear of the grim reaper.”

Les Mazrou, Vincent Mazrou

“As the aged prioress Madame de Croissy, mezzo-soprano Mia Lennox gave a convincing performance, expressing a wide range of human sorrow and suffering with a naturalness that can only be innate.”

La Scena Musicale, Kiersten Van Vliet

« …elle est accueillie par Madame de Croissy, personnage magnifiquement incarné par Mia Lennox. »
“…(Blanche) is greeted by Madame de Croissy, a character magnificently embodied by Mia Lennox.”

Les Méconnus, Marie-Paule Primeau


« La mort difficile de la prieure (interpretation saisissant de réalisme par la mezzo-soprano Mia Lennox) est le premier pas vers l’issue dramatique. »
“The difficult death of the Prioress (interpreted with a striking realism by mezzo-soprano Mia Lennox) is the first step towards the dramatic outcome.”

The Art and Opera Review, Raphaelle Occhietti


“Mezzo-soprano Mia Lennox gave authenticity to the dying prioress, Madame de Croissy, reflecting both her strength and fear.”

Times Argus, Jim Lowe


« Mia Lennox incarne de façon émouvante les tourments de madame de Croissy. »
“Mia Lennox embodies in a moving way the torments of Madame de Croissy.”

La Presse, Caroline Rodgers


“As the old, scorned daughter-in-law-elect of the Mikado, Katisha, mezzo-soprano Mia Lennox sang with a rich and warm sound and an enviable low register. Katisha is a big sing, exposing plenty of technical prowess, and Mia filled out the role with a really lovely sound.” 

Schmopera.com


“Mia Lennox was a very fine Katisha, usually assigned to a low mezzo or contralto. Lennox acted and sang well, without excessive histrionics and she refrained from truck driver chest tones one sometimes encounters in this role.”

Joseph So, La Scena Musicale


“Cesaroni’s strong soprano and Mia Lennox’s (who portrayed Katisha) mezzo-soprano voices stood out for me for their rich tones and crisp edginess (in particular Lennox’s).”

Samantha Wu, Mooney On Theatre


“Lucia Cesaroni’s wonderfully flexible soprano and Mia Lennox’s burnished mezzo commanded our sympathies completely as Anne Trulove and Baba respectively, two women wronged by Tom in different ways.”


Ian Cochrane, Monday Magazine (The Rake's Progress)

“..her delivery of spoken lines was delectable, revealing a mix of both hauteur and vulnerability.”

Concerto.net, Michael Johnson (Earnest: The Importance of Being)

“Hamilton mezzo-soprano Mia Lennox communicated her texts with intelligence.”

Hamilton Spectator, Leonard Turnevicius (Messiah)

“I was much taken with Mia Lennox’s dark, velvety alto. She did not spit out He Was Despised in anger but floated on what seemed an infinite sea of gentle, profound sorrow which she communicated brilliantly.”

Hugh Fraser, Hamilton (Messiah)

“Lennox’s sonorous, agile mezzo negotiated Mozart’s florid melodic lines with apparent effortlessness.”

Robert Jordan, Opera Canada (Idomeneo)

“Mezzo-soprano Mia Lennox as his son Idamante delivered a winning performance vocally and dramatically. Trouser roles are always hard to pull off, but Ms. Lennox did so with reserves to spare.”

JH Stape, Review Vancouver (Idomeneo)

“Mia Lennox, in the trouser role of Idamante is physically ideal in the part…her fine mezzo soprano is rich and pleasing. Clearly this singer has a wonderful career ahead of her.”

Grania Litwin, Victoria Time Colonist (Idomeneo)

“The comic roles of the father and the two stepsisters (Cheryl Hickman and Mia Lennox) were also well sung and acted. The antics of the sisters made for very good comedy indeed, and the singing of both parts was pert and attractive.”

Kenneth DeLong, Calgary Herald (La Cenerentola )

“…the dark mezzo-soprano of Mia Lennox was an apt vocal match for the venerable nurse Bianca…”
Robert Jordan, Opera Canada (Rape of Lucretia)

“… and Mia Lennox’s dark mezzo was a nice fit for the nurse, Bianca, though she looked far too young and gamine-jointed to be referring to her mistress as “my child.””

Elissa Poole, Globe and Mail (Rape of Lucretia)

“If too young for the part of an old woman, Mia Lennox makes the most of Bianca, Lucretia’s caring serving maid.”

JH Stape, Review Vancouver (Rape of Lucretia)

“Dramatically, Mia Lennox steals the show in the role of Mistress Quickly. She has great stage presence, and her physical comedy is nothing short of hilarious.”

Jerry West, Daily News (Falstaff)

“Et j’affirme ici sans crainte que la mezzo Mia Lennox campe une sorcière tout à fait idéale, tant par un magnifique timbre vocal et une grande versatilité, que par un jeu scénique des plus convaincant, souvent empreint de touches tragi-comiques.”

Roger Cormier, L’Acadie Nouvelle (Hansel und Gretel, with the Atelier Lyrique de L’Opéra de Montréal)

“Very good:…the mother, played by Canadian Mia Lennox, with great dramatic expression.”

Frank Piontek, Bayreuth Zietung (Hansel und Gretel with Deutsche-Franzosichen Forum Junger Kunst)

“Fortunately, mezzo Mia Lennox brought powerfully impressive pipes to the four songs, with flashy flamboyance and beguiling tone indicating huge potential for the future…”

Geoff Chapman, Toronto Star (with Talisker Players, world premiere of Alexander Rapoport’s Northscapes)

“(Betsy Jola’s “Caprice à Deux Voix) was delightfully sung (and played) by Amelia Watkins and Mia Lennox.”

Richard Dyer, Boston Globe (Tanglewood Music Center, Contemporary Music Week)

“As Oberon…Mia Lennox was vocally and dramatically more convincing as an androgynous, imperious King of Faries.”

Paul Baker, Opera Canada (A Midsummer Night’s Dream)


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