Soprano Nathalie Paulin has established herself in the United States, Canada, Europe and the Far East as an interpretive artist of the very first rank. Winner of a Dora Mavor Moore Award for Outstanding Opera Performance, she has collaborated with internationally renowned conductors including Jane Glover, Michael Christie, Robert Spano, Kent Nagano, Yannick Nézet-Séguin, Antony Walker, Bernard Labadie, Sir Roger Norrington, Andrew Parrott, David Agler, Jacques Lacombe, Graeme Jenkins, and Andrew Litton on both the concert platform and in opera. As well, critics have been lavish in their praise. Reviewing from Chicago, John van Rhein noted that “Paulin in particular is a real find; her rich, agile voice possesses great depth and allure, her manner radiates sensuous charm.” Ms. Paulin debuted for L’Opéra de Montréal as Mélisande in PÉLLÉAS ET MÉLISANDE and for Chicago Opera Theater as Galatea in ACIS AND GALATEA. She was re-engaged by Chicago Opera Theater for the title role in SEMELE and for Mary in LA RESURREZIONE, both by Handel. She has also been heard as Susanna in LE NOZZE DI FIGARO for Cincinnati Opera and the Dallas Opera featured her in CARMEN and CUNNING LITTLE VIXEN.
Of special interest in Ms Paulin’s 2015-2016 season, were performances of scenes from late 18th Century French operas by Sacchini, Cherubini and Martini conducted by Ryan Brown for Opera Lafayette in D.C. and New York, also recorded for Naxos. Upcoming and recent engagements also include MESSIAH for Portland Baroque, the Naples Philharmonic, the New Jersey Symphony and Orchestre symhonique de Trois Rivieres, Fauré’s REQUIEM for the Vancouver Symphony, Mozart’s REQUIEM for Symphony Nova Scotia, CARMINA BURANA for Festival de Lanaudiere, Mahler’s Symphony No. 2 for the Kingston and Ottawa symphonies, Bach Cantatas for Stratford Summer Music, the title role in THEODORA for Vancouver Early Music, the Countess in LE NOZZE DE FIGARO for Opera Lyra Ottawa and Beethoven’s MASS IN C with Tafelmusik.
Her 2013/2014 season included Micaëla in CARMEN with Opera Tampa, Handel and Vivaldi for Harry Christophers and Boston’s Handel and Haydn Society and Beethoven’s Symphony No. 9 for the Seattle Symphony. As well she was heard as Marie in WOZZECK with Montreal’s Nouvel Ensemble Moderne, with Orchestre symphonique de Laval in POÈME DE LAMOUR ET DE LA MER and starred as Calisto in the Cavalli opera for Cincinnati Opera.
In the summer of 2012, Ms. Paulin debuted for Bard Summerscape (New York) in Chabrier’s LE ROI MALGRÉ LUI, a production that was also performed at the Wexford Festival. Further engagements in 2012-2013 included performances of Mozart’s REQUIEM for Toronto’s Tafelmusik and the Alberta Ballet (Calgary and Edmonton), LALLA-ROUKH for Opera Lafayette (Washington D.C. and New York City), MESSIAH for the Colorado Symphony, Métella in LA VIE PARISIENNE for L’Opéra de Québec, Vivier’s LONELY CHILD for L’Orchestre symphonique de Trois-Rivières and Beethoven’s Symphony No. 9 for Orchestra London Canada. She was heard on the recital platform in Dallas, Ottawa and Toronto.
Ms. Paulin’s 2011-2012 season included MESSIAH for the Seattle Symphony, Ireland’s Wexford Festival Opera as La Baronne in LA COUR DE CELIMÈNE, Handel’s HERCULES for Tafelmusik, Hétu’s LES CLARTÉS DE LA NUIT for the National Arts Centre Orchestra, MATTHÄUS PASSION for the Calgary Philharmonic, Marzellina in FIDELIO for Edmonton Opera, the title role in RODELINDA for Houston’s Mercury Baroque and CARMINA BURANA for the Orchestre symphonique de Québec.
In the summer of 2010, Ms. Paulin made her Rotterdam Philharmonic debut in L’ENFANT PRODIGUE with Nézet-Séguin, who was also her conductor for Mahler’s SYMPHONY NO. 8 at the National Arts Centre in Ottawa and Place des Arts in Montréal. Featured in the Elora Festival’s Beethoven MASS IN C, she was also heard as Susanna in LE NOZZE DI FIGARO for Opera Hamilton, and in the title role in RODELINDA for Pacific Opera Victoria. Concert highlights included MESSIAH in Portland and Trois-Rivières, LES INDES GALANTES for Boston Baroque, Vivier’s LONELY CHILD for the Windsor Symphony, recitals for Toronto’s Aldeburgh Connection, Toronto Summer Music, Caraquet in New Brunswick, Indian River, PEI, and the role of Emmy in DER VAMPYR for the Lanaudière Festival.
Summer activities in 2009 included a number of events built around the Congrès Mondial Acadien in Nova Scotia and New Brunswick, while further into the season, she sang the title role in Massenet’s MANON for both Calgary Opera and Opera Lyra Ottawa. She rounded out the season with MESSIAH for the McGill Chamber Orchestra, Haydn’s DIE JAHRESZEITEN for the Calgary Philharmonic (Taurins), performances for Opera Lafayette in Washington D.C. and New York (LES ARTS FLORISSANTS and ARMIDE) and MESSIAHs in Montreal and works of Graupner for Les Idées Heureuses.
The 2008-2009 season was notable for her Atlanta Symphony debut in Mozart’s REQUIEM, Haydn with Boston’s Handel and Haydn Society and Washington Concert Opera concerts co-starring with Stephanie Blythe. Also on her schedule were SEMELE for Pacific Opera Victoria, Handel’s HERCULES with Chicago’s Music of the Baroque, Mahler’s SYMPHONY NO. 4 with the Hamilton Philharmonic as well as concerts with the Fredericton Chamber Music Festival, Ottawa Chamber Music Festival, Scotia Festival (MAHLER NO. 2) and the CBC Vancouver Radio Orchestra.
Her 2007-2008 season included DON CARLOS (Thibault) for the Canadian Opera Company,DIE LUSTIGE WITWE (Valencienne) for the Dallas Opera and DIE ZAUBERFLÖTE (Pamina) for Arizona Opera, as well as engagements with the Phoenix Symphony, and the Arion Ensemble of Montreal. In 2006-2007 Ms. Paulin’s schedule included Handel’s ORLANDO for Washington Concert Opera, Pamina in DIE ZAUBERFLÖTE for Vancouver Opera, Micaëla in CARMEN for Calgary Opera, Poulenc’s GLORIA for L’Orchestre Métropolitain du Grand Montréal and PEER GYNT for L’Orchestre symphonique de Québec. For the Brooklyn Philharmonic, she was featured in Gorecki’s Symphony No. 3 and Mozart’s EXSULTATE JUBILATE and returned to Cincinnati for Despina in COSÌ FAN TUTTE.
Past seasons have included Constance in DIALOGUES DES CARMÉLITES and Zerlina in DON GIOVANNI(Vancouver Opera), Micaëla in CARMEN (L’Opéra de Québec), the title role in SEMELE for Arizona Opera, Laoula in L’ÉTOILE and Antonia in LES CONTES D’HOFFMANN (Cincinnati Opera), MESSIAH for the Toronto Symphony, Mozart’s REQUIEM for the Calgary Philharmonic and Bach’s MASS IN B MINOR for the Thunder Bay Symphony. Ms. Paulin’s Dora Award was for her portrayal of Belinda in Opera Atelier’s production of DIDO AND AENEAS and also on her schedule were Leïla in LES PÊCHEURS DE PERLES for Festival Vancouver, Antigone in Sacchini’s OEDIPE À COLONE for Washington D.C.’s Opera Lafayette and Norina in DON PASQUALE for L’Opéra de Montréal. On the concert stage, her schedule called for Mendelssohn’s LOBGESANG with L’Orchestre symphonique de Québec, Poulenc’s GLORIA with the Spokane Symphony and the works of Bach, Pergolesi and Vivaldi with the Calgary and Edmonton symphonies. On the festival circuit Ms. Paulin has been heard in Berlin, Montreal and Vancouver in Caldara’s CLODOVEO, RÈ DI FRANCIA, Scarlatti’s STABAT MATER for the Elora Festival and at Lamèque for Handel’s LAUDATE PUERI and ODE TO SAINT CECILIA.
Ms Paulin has also been heard as Adina in L’ELISIR D’AMORE, Oscar in UN BALLO IN MASCHERA, Andromède in Lully’s PERSÉE and Héro in BÉATRICE ET BÉNÉDICT. Frequently heard on both the French and English CBC networks, she is a past winner of the Montréal Symphony Competition and holds a Master’s Degree from the Université de Montréal. She won the Dvorak prize and has also received awards and prizes from the George London Foundation in New York, the Young Mozart Singers’ Competition in Toronto and the Canadian Music Competition. Ms Paulin is currently a member of the Vocal Department at the Faculty of Music, University of Toronto.
- Antonio Sacchini: “Oedipe a Colone” with Opera Lafayette, Ryan Brown, Director Naxos label 2006
- Felicien David: “Lalla Roukh” with Opera Lafayette, Ryan Brown, Director Naxos label 2014
- Antonio Caldara: “La Conversione di Clodoveo, Re di Francia” with Le Nouvel Opera, Alexander Weimann, Director ATMA Classique label 2011
- Faure and Durufle Requiems with the Elora Festival Singers, Noel Edison, Director Elora Festival Singers label 2010
|Berlioz||Héro||BÉATRICE ET BÉNÉDICT|
LES PÊCHEURS DE PERLES
|Caldara||Clotilde||LA CONVERSIONE DI CLODOVEO|
|Alexina||LE ROI MALGRÉ LUI|
|Debussy||Mélisande||PELLÉAS ET MÉLISANDE|
|ACIS & GALATEA
|Janáček||The Vixen||CUNNING LITTLE VIXEN|
|Lehár||Valencienne||DIE LUSTIGE WITWE|
|LE NOZZE DI FIGARO
COSI FAN TUTTE
|Offenbach||Antonia||LES CONTES D’HOFFMANN|
|Poulenc||Blanche||DIALOGUES DES CARMÉLITES|
|Purcell||Belinda||DIDO AND AENEAS|
|Sacchini||Antigone||OEDIPE À COLONNE|
|UN BALLO IN MASCHERA
|Bach||Cantata 51 (Jauchzet Gott in allen Landen)
Cantata 211 (Coffee Cantata)
Mass in A Major (BWV 234)
Mass in B Minor (BWV 232)
Mass in G Major
|Brahms||Ein Deutsches Requiem|
|Desmarest||Les Grands Motets|
|Dvorák||Mass in D dur|
|Gorecki||Symphony of Sorrowful Songs, No. 3|
Israel in Egypt
Laudate Pueri Dominum (Psalm 112)
Ode for St. Cecilia’s Day
Missa Brevis in F (Jugendmesse)
|Mahler||Symphony Nos. 2, 4|
|Mendelssohn||Lobgesang (opus 52)|
|Mercure||Cantate pour une Joie|
|Mozart||Litaniae in E flat major
|Stabat Mater||Le Bourgeois Gentilhomme|
“Few singers get to play a caring daughter, a self-sacrificing lover and a murderous mother in a single evening, as the soprano Nathalie Paulin did on Sunday at the Rose Theater at Jazz at Lincoln Center….a couple of the soloists — particularly Ms. Paulin… — could hold the stage in these spare surroundings…” [Opera Lafayette, Opera and the French Revolution] New York Times, Zachary Woolfemay
“In Opera and the French Revolution the three lead characters of Antigone, Sapho, and Médée were all stunningly performed by Canadian soprano, Nathalie Paulin. She epically sang her way from devoted daughter, to spurned lover, to murderous mother with supersonic skill and steaming passion. Her Antigone was a strong yet subservient woman serving the needs of her ailing father. She was sensual and sad as the tragic lover, Sapho, and she was aflame as the unhinged mad mother, Médée. A triumph of a performance! Paulin was the epicenter of the production, a magnetic force around which the fates created chaos. She was utterly spellbinding. Bravo!” [Opera Lafayette, Opera and the French Revolution] New York Theater Guide, Jacquelyn Claire
“His Countess was Nathalie Paulin, who balanced the light-hearted elements of the show with depth in her arias lamenting the passing of love in her relationship.” [The Marriage of Figaro, Opera Lyra] Barcza Blog, Peter Barcza
“We also see and hear how the more serious solos and deep emotional moments take us beyond the comedy and develop in acts three and four as the Countess (Nathalie Paulin) laments her husband’s infidelities (a beautifully lyrical soprano with deep emotional ranges).” [The Marriage of Figaro, Opera Lyra] Capital Critics’ Circle, Alvina Ruprecht
“Paulin was charming as the innocent Calisto. She sang Cavalli’s poignant laments with believable emotion and a pure-toned soprano.”
The Cincinnati Enquirer, Janelle Gelfand
“The women are all excellent, especially soprano Nathalie Paulin, a convincingly innocent Calisto.”
Cincinnati City Beat – Anne Arenstein
“The several soliloquies of Calisto and her sexually-charged encounters with Jove are exquisitely sung by the very fine soprano Nathalie Paulin.”
Seen and Heard International, Rafael de Acha
“Canadian soprano Nathalie Paulin gives a tingling performance of the aria Je dis que rien ne m’épouvante .”
Tampa Bay Times, Stephanie Hayes
“Paulin’s maneuvering of a very convincing (but purely padded) pregnant bulge was as expertly comic as her tartly sparkling singing was idiomatically spot-on.”
Opera Canada, Patrick Dillon [Le Roi Malgré Lui, Bard Festival]
“[T]he soprano Nathalie Paulin offered a rich, nuanced tone that suited Alexina, Henri’s onetime flame and Fritelli’s wife.”
New York Times – Steve Smith
“The strongest work came from Nathalie Paulin, who displayed a rich, creamy soprano and excellent comic timing as Alexina…”
The Wall Street Journal – Heidi Waleson
“The most emotionally arresting moments were provided by … Nathalie Paulin as Alexina… Paulin’s soprano is …burnished, her singing assured and precise.”
TheClassicalReview.com- Corinna da Fonseca-Wollheim
“Nathalie Paulin made a richly sensual Alexina, with a full, gleaming soprano and a glamorous stage presence. Flirtatious and determined, she had good vocal and dramatic chemistry with Liam Bonner’s Henri.”
“The star of the show is clearly Nathalie Paulin, the production’s Manon. This is a grateful role for Paulin, who with her petite figure, happy-go-lucky character, and crystal-clear, lyric voice is perfectly suited to the part. Paulin is perfectly believable as the girlish Manon whom the audience first meets, and her initial attraction to de Grieux, the young man she ensnares and ultimately betrays, is compelling and natural. Paulin is equally fine in her portrayal of the other personalities of Manon we meet throughout the opera: the Manon who chooses diamonds over love, Manon as courtesan and belle of the ball, a Manon desperate to retrieve de Grieux’s love and the dying Manon. In all the arias, from the familiar “Adieu, notre petite table” in the second act to the famous “Gavotte” in the third act, Paulin came up trumps. Her singing was always limpid and sweet and yet had the strength and brilliance to make the emotional climaxes thrilling.”
Calgary Herald – Kenneth Delong
“Soprano Nathalie Paulin (Semele) was a vocal and thespian marvel, her voice breezily agile in florid passages yet sensitively nuanced when expressing yearning, bliss or determination.”
Opera Canada – Robert Jordan
“Nathalie Paulin, sun of the evening, merits a new invitation to Arion…”
Le Devoir – Christophe Huss
“Friday’s offering by the Handel and Haydn Society at Jordan Hall was a lively and original combination of English words and music from the late 17th and early 18th centuries. Instrumental interludes alternated with vocal pieces, sung by soprano Nathalie Paulin and baritone Jason Grant. Each singer had a showpiece as well: Paulin sang Dido’s lament from Purcell’s Dido and Aeneas exquisitely.”
The Boston Globe – David Perkins
“Philip Picket made his conducting début with the Handel and Haydn Society yesterday evening at NEC’s Jordan Hall in a program of music and words from the early years of English musical theatre. Vocal soloists were soprano Nathalie Paulin and baritone Jason Grant. Paulin’s warm, rich, nimble and persuasive instrument was brilliant and glittered in Blow’s Venus and Adonis in particular.”
Classical Voice of New England – Marvin J. Ward
“Nathalie Paulin, a singer of shimmering lines and exquisite phrasing, captured the fragility and turmoil of a perfect Mélisande—one of the most enigmatic characters in all opera.”
Vancouver Sun – Tara Wohlberg
“Paulin’s Antigone was deeply appealing in voice and stage presence.”
The Washington Post – Joseph McLella
“soprano Nathalie Paulin brought fiery power to the role of Angelica.” (Orlando)
The Washington Post – Stephen Brooks
“…daughter Antigone is the dramatically vibrant Nathalie Paulin who is also able to express the nobility of her charcter.”
(Recording OEDIPUS AT COLONUS, Naxos)
Musicweb International – Goran Forsling
“Nathalie Paulin, COT’s delectable GALATEA last year, sang Semele with sensuality and spirit, sailing through pages of ornate coloratura accurately and musically.”
Chicago Tribune – John von Rhein
“…Paulin’s lyric soprano is high, pure and strong. She appears supremely comfortable in the upper register but the voice is also secure and velvety in mid-range. Best of all, however, she sings with heart and commitment, whatever the material.”
The Toronto Star – Robert Crew
“…Canadian soprano Nathalie Paulin was pure class from her first note to her last. Her silky powerful voice sounds secure and free throughout her register. While she showed off laser-precise coloratura in Rejoice greatly, her use of ornamentation was restrained and tasteful.”
The Ottawa Citizen – Natasha Gauthier
“Full marks to her as a zealous angel with a riveting, stylish high voice that has the requisite keenly honed edge and her ability to adjust relatively no-frills delivery when assuming disciple John’s role. The change was as seamless as one could dare hope.”
The Toronto Star – Geoff Chapman
“Nathalie Paulin incarne l’héroine. La soprano on le sent, l’a bien travaillée, sa Manon. Elle la chante d’une voix belle et qui coule, elle la joue avec gout, measure et intelligence, de sorte qu’elle lui donne une existence à laquelle on croit tout à fait.”
Le Soleil – Richard Boisvert
“…her controlled but oft-soaring voice and presentation was ideally suited to the material, providing an ecstatic ring to her phrasing, that was what the five melodies required. Elsewhere she glowed.”
The Toronto Star – Geoff Chapman
“Her command of vocal line and the frequent trills and leaps in her singing style impressed this gala night’s Vancouver Festival audience.”
Vancouver – Ed Farolan
“Nathalie Paulin was a voluptuous Semele. Her soprano was clear and open.”
Chicago Sun Times
“Paulin sang with keening clarity. It’s a challenging coloratura role. She communicated directly with the audience, displaying a welcome charisma (a sense of let me take you there) that made a long evening worthwhile.” (THE TEMPEST, Ariel)
Times Colonist – Adrian Chamberlain
“Paulin, constantly flitting about the periphery of the action, was a theatrical and vocal tour de force, her quicksilver stage movements paralleled by her light, agile soprano voice. She certainly stole the show.”
(Pacific Opera Victoria, THE TEMPEST)
Opera Canada – Robert Jordan
WINNIPEG SYMPHONY ORCHESTRA
Nathalie Paulin performs with the Winnipeg Symphony Orchestra, for their upcoming performances of Górecki’s Third Symphony, entitled the Symphony of Sorrowful Songs. Shows run October 27 – 28, 2017 at the Centennial Concert Hall, Winnipeg.
Nathalie Paulin performs with the Kingston Symphony as the soprano soloist in Mahler’s Symphony no. 2. Concerts are on February 4 and 5 at the Isabel Bader Centre for the performing arts.
Nathalie Paulin joins the Ottawa Symphony Orchestra also singing Mahler’s Symphony no. 2. This prolific work will be performed on April 3 at the National Arts Centre.
“Gioisco che il tuo core” from Clodoveo, re di Francia by Caldara
“Pie Jesu” from Requiem by Fauré