Flaminia/Il mondo della luna, Opéra de Rennes, Anger-Nantes Opéra
“The three other girls are amazing: sparkling vocalises for Canadian Mélanie Boisvert...”
Diapason, February 2008

“Mélanie Boisvert, excellent light soprano...”
forumopera.com, January 2008

“Mélanie Boisvert [...] vocalises with charm and lightness in Ragion nell'alma siede... »
resmusica.com, January 2008

Le Rossignol, Opéra national du Rhin, Strasbourg
“The nightingale flies from side to side of the stage in a flight of feathers while the superb young Canadian soprano Mélanie Boisvert casts her crystal trills.”
Opéra Magazine, May 2007

“The distribution is solid and offers splendid moments, like Mélanie Boisvert, excellent as the nightingale...”
forumopéra.com, March 2007


Recital/ Gummersbach Civic Centre
“Rarely do we hear such a lovely voice. A young and fresh tone with brilliant, clear top notes... Her voice adjusted perfectly to the changes of character from one melody to the next and kept its listeners rapt with attention from the first note to the very last.”  
Oberbergische Volkszeitung, March 2006


Recital/ Marck Castle, Tecklenburg
“It was a perfect opening concert: a great, interesting and impressively fresh voice. [...] Mélanie Boisvert was convincing with her young, strong voice, with a charming expression, tinted with irony at times.”
Westfälische Nachrichten, October 2005


Olympia/Les contes d'Hoffmann, Opéra de Québec
“Mélanie Boisvert’s mechanical doll is doubly impressive, as much for her acrobatic vocalises as for the likelihood and comic genius of her character’s jerky movements.”
Le soleil, May 2005


Olympia/Les contes d'Hoffmann, Opéra Lyra d'Ottawa
“Timmins-native Boisvert handles Olympia's big aria smoothly, earning immediate applause...”
The Ottawa Sun, April 2005

“Mélanie Boisvert [...] delivers her lyrical vocalises with ease.”
Le Droit, April 2005


Orianna/Amadigi di Gaula, Neue Opernbühne Berlin
“Much good fortune also with casting. Mélanie Boisvert, with her marvellously clear voice and most beautiful melodic tone...”
Orpheus, October 2004


Cunégonde/Candide, Opéra de Rennes
“The soprano Mélanie Boisvert plays a radiant Cunégonde (Candide’s fiancé). After jumping and dancing like a fury, she displays in Glitter and Be Gay a very moving virtuosity and expressiveness. Her voice becomes soft, radiant, mischievous, powerful, melancholy...  no contest, the most beautiful voice in the cast. And a real knack for acting!”
concertclassic.com, April 2004

“Perfectly fresh and naïve, the young Mélanie Boisvert amuses herself and the public as Cunégonde, whose great aria, as famous as it is difficult, fits her like a glove.”
Diapason, May 2004


Olympia/Les contes d'Hoffmann, Opéra national du Rhin, Strasbourg
“Mélanie Boisvert’s coloraturas as Olympia impress as much for the immaculate technique of her staccato as for the beauty of its crystal clarity.”
Opernwelt, December 2002

“Olympia the coloratura is played by Mélanie Boisvert, whose highly precise technique and crystal purity are marvellous despite the perilous variations of its vocalises.”
L'Alsace, December 2002


Gala concert of the winners/Concours int. de Montréal des Jeunesses Musicales 2002
“I found just as amusing as the first time the mechanical doll of Canadian Mélanie Boisvert, whose colaratura is dazzling...”
La Presse de Montréal, June 2002


Concours int. de Montréal des Jeunesses Musicales 2002
“Soprano Boisvert impressed with a free well projected voice that soared through Salle Pierre-Mercure; combined with an innate musicality and a presence for the stage honed in Germany, she became the crowd favourite. When Boisvert [...] opened her mouth, the two-third full audience knew they were in for something special. The Pie Jesu from Fauré's Requiem showed in the petite soprano an excellent legato and an impressive vocal project. Her performance of the aria Grossmächtige Prinzessin from Strauss's Ariadne auf Naxos brought the house down.”
La Scena Musicale, www.scena.org