Mia Lennox


Mia Lennox



Elegant and striking with a sizeable instrument, Canadian mezzo-soprano Mia Lennox is recognized for the beauty, colour, and power of her instrument as well as her innate dramatic sense. Hailed by critics as having “…powerfully impressive pipes with flashy flamboyance and beguiling tone,” Ms. Lennox is equally at home on both the concert and operatic stage. Her career has included a diverse range of operatic roles and a rich mix of concert and oratorio work.

In the 2016/2017 season, Ms. Lennox appeared in the role of Madame de Croissy in Dialogues des Carmélites with l’Opéra de Montréal. Ms. Lennox’s performance was hailed by critics who stated that she “…gave a convincing performance, expressing a wide range of human sorrow and suffering with a naturalness that can only be innate” and “…interpreted with a striking realism.” 

On the concert stage during the 2015/16 season, Ms. Lennox was the alto soloist in Mendelssohn’s Elijah with the Grand Philharmonic Orchestra, a featured soloist with the Hamilton Philharmonic Orchestra in “A Night At The Opera”, and alto soloist in Beethoven’s Ninth Symphony with L’Orchestre de Trois Rivières and the Brott Summer Festival. Operatic engagements included Katisha in the Toronto Operetta Theatre’s production of The Mikado, in which critics stated, “…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.” However, her most adventurous achievement by far was covering the roles of Siegrune, Waltraute, Grimgerde, Schwertleite, and Rossweise in Die Walküre at the Canadian Opera Company on less than two weeks notice.

Ms. Lennox’s engagements have included appearances in almost every opera house in Canada as well as concert and oratorio performances across the country. Operatic engagements in past seasons have included Meg in Falstaff, Baba the Turk in A Rake’s Progress, Idamante in Idomeneo, Suzuki in Madame Butterfly, and Bianca in Rape of Lucretia all with Pacific Opera Victoria; Jade Boucher in Dead Man Walking and Dryad in Ariadne auf Naxos with l’Opéra de Montréal, Lola in Cavelleria Rusticana with Edmonton Opera, Ines in Il Trovatore with Opera Ontario, Tisbe in La Cenerentola with Calgary Opera, and Gwendolen in the world premiere of Earnest: The Importance of Being with the Toronto Operetta Theatre.

On the concert stage, Ms. Lennox has sung Haydn’s Mass in a Time of War with the Thunder Bay Symphony, Haydn’s Lord Nelson Mass with the Bach Elgar Choir, the Verdi Requiem with Jurgen Petrenko, Handel’s Messiah with the Bach Elgar Choir, the Amadeus Choir, the Elmer Iseler Singers, the Kingston Symphony, the National Academy Orchestra, and the Hamilton Philharmonic Orchestra; Mahler’s Symphony of a Thousand with the Brott Summer Festival, Beethoven’s Ninth Symphony with the Thunder Bay Symphony and the Brott Summer Festival, Bach Cantata #70 with Helmut Rilling, and the Bach Magnificat and Respighi’s Lauda per la nativita del signore with the London Symphony. Ms. Lennox was also a guest artist with the Amanda Johnston Recital Series in Toronto.

Ms. Lennox’s diverse training as a young artist involved work in North America and Europe. She was awarded a prestigious Emerging Artists grant from the Canada Council for the Arts, which was used to fund a three-month role study project in London, England. Building on her natural affinity for trouser roles, Ms. Lennox studied the roles of Octavian (Der Rosenkavalier) and der Komponist (Ariadne auf Naxos) under the mentorship of internationally renowned Australian mezzo-soprano Yvonne Minton, an authoritative interpreter of both roles. Further interpretative work on the role of der Komponist ensued under the tutelage of British vocal coach and conductor, the late Martin Isepp.

As a member of the Atelier Lyrique de l’Opéra de Montréal, she sang the role of Dryad and covered the role of der Komponist for l’Opéra de Montréal’s production of Ariadne auf Naxos. She toured the Maritime Provinces and Québec as die Hexe in Hänsel und Gretel for the Atelier Lyrique and also appeared as the Sorceress in the Montréal production of Dido and Aeneas. Ms. Lennox was a semi-finalist in the Concours Musicale de Montréal and appeared in recital at La Chapelle Historique du Bon Pasteur as the winner of the Début Young Artist Competition.

Ms. Lennox was a winner of the Jeunes Ambassadeurs Lyriques competition in Toronto and subsequently was chosen to participate in the Centre Nationale d’Insertion Professionelle d’Artistes Lyriques (CNIPAL) in Marseilles, France. While in Europe, she sang the role of die Mutter in Hänsel und Gretel at the Bayreuth Staatsoper with the Deutsch-Franzosichen Forum Junger Kunst. With l’Orchestre d’Aix en Provence, she appeared as alto soloist in Mozart’s Krönungsmesse. In the United States, she was a Fellow at the Tanglewood Music Center and was the soprano II soloist in the Bach Magnificat under the baton of Seiji Ozawa.

                                                                                                                                                       March 2017


Britten Oberon
Bizet Carmen/Mercedes CARMEN
Donizetti Camilla IL GIOVEDI GRASSO
Handel Arasmenes XERXES
Heggie Jane Boucher DEAD MAN WALKING
Humperdinck Hexe/Mutter HÄNSEL UND GRETEL
Mozart Third Lady
Purcell Sorceress DIDO AND AENEAS
Ravel Concepcion L’HEURE ESPAGNOLE
Strauss, J. Orlovsky DIE FLEDERMAUS
Strauss, R. Dryad/Komponist
Baba the Turk
Mistress Quickly


Bach, J.S. Magnificat in D major
Matthäus Passion
Johannes Passion
Cantata BVW 70, 110
Beethoven Symphony No. 9
Berlioz Nuits d’été
Druckman Animus II
Elgar Sea Pictures
De Falla El amor brujo
  Siete canciones populares españolas
Handel            Messiah
Haydn Mass in Time of War
Jolas, B. Caprice a deux Voix
Mendelssohn Elijah
Mozart Krönungsmesse
Pergolesi Stabat Mater
Rapoport Northscapes
Verdi Requiem


Dialogues des Carmélites (Madame de Croissy) – Opera de Montréal, January 2017

“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!” [English translation]
Bachtrack – Sébastien Daigle

“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.” [English translation]
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

“…(Blanche) is greeted by Madame de Croissy, a character magnificently embodied by Mia Lennox.” [English translation]
Les Méconnus – Marie-Paule Primeau

“The difficult death of the Prioress (interpreted with a striking realism by mezzo-soprano Mia Lennox) is the first step towards the dramatic outcome.” [English translation]
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 embodies in a moving way the torments of Madame de Croissy.” [English translation]
La Presse – Caroline Rodgers 

The Mikado (Katisha) – Toronto Operetta Theatre, January 2015

“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

“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

“(Betsy Jola’s ‘Caprice a Deux Voix’) was delightfully sung (and played) by Amelia Watkins and Mia Lennox Williams.”
Boston Globe – Richard Dyer

 “As Oberon…Mia Lennox was vocally and dramatically convincing as an androgynous, imperious King of Fairies.”
Opera Canada – Paul Baker

“I was much taken with Mia Lennox-Williams’ 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 – online review from Hamilton

“Hamilton mezzo-soprano Mia Lennox-Williams communicated her texts with intelligence.”
Leonard Turnevicius – Hamilton Spectator (Messiah)

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

“Lennox-Williams sonorous, agile mezzo negotiated Mozart’s florid melodic lines with apparent effortlessness.”
Opera Canada – Robert Jordan

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

“Mia Lennox-Williams, 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”.
Victoria Times Colonist – Grania Litwin

“…the dark mezzo-soprano of Mia Lennox-Williams was an apt vocal match for the venerable nurse Bianca…”
Opera Canada – Robert Jordan

“Mezzo, Mia Lennox-Williams was a potent sorceress.”
Montreal Gazette – Arthur Kaptainis

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

“Et j’affirme ici sans crainte que la mezzo Mia Lennox Williams 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 tragic-comiques.”
L’Acadie Nouvelle, Caraquet – Roger Cormier

“Very good:..the mother, played by Canadian Mia Lennox Williams with great dramatic expression.”
Bayreuth Aietung, Bayreuth – Frank Piontek

“Mezzo Mia Lennox Williams brought powerfully impressive pipes to the four songs with flashy flamboyance and beguiling tone indicating huge potential for the future…”
Toronto Star – Geoff Chapman


Mia Lennox appears as Mme de Croissy in Poulenc’s Dialogues des carmélites with Opera de Montréal. Performances are on January 28, 31 and February 2, 4.