"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, 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
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, Rossini and Berlioz. 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 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 operaL’Étoile, at Opernhaus Zürich as Annio (debut) in Mozart’s La Clemenza di Tito, conducted by Ottavio Dantone, the BBC Proms Berlioz's Romeo & Juliet, 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 DelibesLakmé. 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’sL’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 inRusalka 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 Sivigliafor 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 inL’enfant et les sortilèges, the Baltimore Symphony singing Mendelssohn’s A Midsummer Night’s Dreamwith 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’sLes 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’sLieder eines fahrenden Gesellen and Kindertotenlieder. In 2014, she recorded Handel & Porpora - The London Years with harpsichordist Luc Beauséjour on Analekta label, which received nominations at the Juno Awards and at the International Classical Music Awards.
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.