Reviews
Ever Boldly Baroque, Troupe Brings Its Style To Rare Caccini Opera
"The production’s clear star was French mezzo-soprano Sophie Michaux, who reveled in Alcina’s villainy with a deliciously preening, self-satisfied portrayal. The versatile singer seemed at ease with Caccini’s music, with subtle phrasing that expressively capitalized on the music’s innate ebbs and flows."
Kyle McMillan, Classical Voice North America
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Haymarket Opera Unwraps a Baroque Jewel Where Women Shine
"As Alcina, mezzo-soprano Sophie Michaux looked every bit the queen in a slim-lined gown that had a leather-like weight... she deftly shifted between pitiful, wronged woman and vengeful goddess. A fine actress, she deployed her smoke-tinged voice like a stealth missile, now sweetly beguiling, now darkly menacing.
Wynne Delacoma, Musical America
Ready or Not (Palaver Strings)
"...Barbara Strozzi’s Lagrime mie, sung here with febrile intensity by mezzo-soprano Sophie Michaux, with a beefed-up string accompaniment arranged by Adam Jacob Simon."
Rebecca Franks, BBC Music Magazine, Classical Music
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Blue Heron does "Christmas in Medieval England Right
"Sophie Michaux’s chocolatey mezzo-soprano made “Angelus ad virginem” (from the Arundel manuscript) float into the air like a fervent prayer."
Aaron Keebaugh, The Arts Fuse
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"...Barbara Strozzi’s Lagrime mie, sung here with febrile intensity by mezzo-soprano Sophie Michaux, with a beefed-up string accompaniment arranged by Adam Jacob Simon."
Rebecca Franks, BBC Music Magazine, Classical Music
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Blue Heron does "Christmas in Medieval England Right
"Sophie Michaux’s chocolatey mezzo-soprano made “Angelus ad virginem” (from the Arundel manuscript) float into the air like a fervent prayer."
Aaron Keebaugh, The Arts Fuse
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Classical home listening
“In Lagrime mie by Barbara Strozzi (1619-77), the mezzo-soprano Sophie Michaux expresses the lament’s fierce power.”
Fiona Maddocks, The Guardian
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“In Lagrime mie by Barbara Strozzi (1619-77), the mezzo-soprano Sophie Michaux expresses the lament’s fierce power.”
Fiona Maddocks, The Guardian
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Michaux Impersonates and Revives Strozzi
"Michaux used her flexible, beautiful, expressive voice throughout to capture the changing moods from anguish to humor, to show off the Strozzi’s and her own virtuosity, and to capture the inherent drama with remarkable aplomb."
Steven Ledbetter, Boston Musical Intelligencer
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"Michaux used her flexible, beautiful, expressive voice throughout to capture the changing moods from anguish to humor, to show off the Strozzi’s and her own virtuosity, and to capture the inherent drama with remarkable aplomb."
Steven Ledbetter, Boston Musical Intelligencer
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Blue Heron masterfully sings of sacred love in Petrach program
"Some writers of the time commented disapprovingly on a trend in madrigals to emphasize sensuality of tone over the intellectual virtues of counterpoint. (Think Rachmaninoff versus Schoenberg, circa 1920.) On Sunday, it was hard to agree with them, when a piece like Willaert’s “Quante volte diss’ io” (How often did I say) offered its rich blend of three male voices with mezzo Michaux’s creamy tone on top."
David Wright, New York Classical Review
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"Some writers of the time commented disapprovingly on a trend in madrigals to emphasize sensuality of tone over the intellectual virtues of counterpoint. (Think Rachmaninoff versus Schoenberg, circa 1920.) On Sunday, it was hard to agree with them, when a piece like Willaert’s “Quante volte diss’ io” (How often did I say) offered its rich blend of three male voices with mezzo Michaux’s creamy tone on top."
David Wright, New York Classical Review
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Talents of the World 2019 Review: International Voice Competition Grand Finals
"After Ryman was mezzo-soprano Sophie Michaux, whose first number was “Fra il Padre e fra l’amante” from Rossini’s “La Donna del lago.” Her bright vocality and demeanor made itself clear as Michaux launched into the ornamented lines with fun energy. These strong and joyful tones carried through her plunges into her lower register, able to rise back up to a powerful height. Her second number, “Give him this orchid” from Britten’s “The Rape of Lucretia,” made for a stunning contrast thanks to the dire musical atmosphere and Michaux’s grave interpretation."
Logan Martell, Opera Wire
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"After Ryman was mezzo-soprano Sophie Michaux, whose first number was “Fra il Padre e fra l’amante” from Rossini’s “La Donna del lago.” Her bright vocality and demeanor made itself clear as Michaux launched into the ornamented lines with fun energy. These strong and joyful tones carried through her plunges into her lower register, able to rise back up to a powerful height. Her second number, “Give him this orchid” from Britten’s “The Rape of Lucretia,” made for a stunning contrast thanks to the dire musical atmosphere and Michaux’s grave interpretation."
Logan Martell, Opera Wire
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Talents of the World
"Sophie Michaux performed "Fra il Padre e fra l'amante" from Rossini's La Donna del lago so engagingly that we wanted to hear the entire opera. We always love Rossini's fioriturafireworks and she negotiated them well. There was also plenty of strength in the lower register. "Give him this orchid" from Britten's The Rape of Lucretia was sung with clarity of diction and limned the shame of a woman betrayed."
Voce di Meche
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"Sophie Michaux performed "Fra il Padre e fra l'amante" from Rossini's La Donna del lago so engagingly that we wanted to hear the entire opera. We always love Rossini's fioriturafireworks and she negotiated them well. There was also plenty of strength in the lower register. "Give him this orchid" from Britten's The Rape of Lucretia was sung with clarity of diction and limned the shame of a woman betrayed."
Voce di Meche
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Visiting the Sun King's Appartements
"Ceres, the Roman goddess of agriculture, sung by Sophie Michaux, a mezzo of astonishing range and flexibility, reported that the return of the Sun has caused flowers and grain to grow."
Virginia Newes, The Boston Musical Intelligencer
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"Ceres, the Roman goddess of agriculture, sung by Sophie Michaux, a mezzo of astonishing range and flexibility, reported that the return of the Sun has caused flowers and grain to grow."
Virginia Newes, The Boston Musical Intelligencer
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A Far Cry and Lorelei: Double the Pleasure
"Carolyn Shaw’s setting of I’ll Fly Away, arranged for the evening’s forces by Karl Doty, featured mezzos Sophie Michaux and Emily Morvash, and soprano Katherine Growden, whose pure and polished voices and magnificently evoked the down-home singing of the southern Appalachians without the least hint of pandering or parody."
Steven Ledbetter, The Boston Musical Intelligencer
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"Carolyn Shaw’s setting of I’ll Fly Away, arranged for the evening’s forces by Karl Doty, featured mezzos Sophie Michaux and Emily Morvash, and soprano Katherine Growden, whose pure and polished voices and magnificently evoked the down-home singing of the southern Appalachians without the least hint of pandering or parody."
Steven Ledbetter, The Boston Musical Intelligencer
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A handsome ‘Christmas Revels’ brings the party to Venice
"Highlights — really too many to mention — include Nathaniel Cox’s cornetto adaptation of an air by Emilio de’ Cavalieri, the Calabrian tuna-fishing song led by the ageless David Coffin, the searing harmonies of the carols from Corsica and Croatia, and the powerful singing of Lysander Jaffe, Gideon Crevoshay, and a vivacious Sophie Michaux."
Jeffrey Gantz, The Boston Globe
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Old World Music, Comedy from Renaissance Era Lights Up Christmas Revels – A Venetian Celebration
"This year’s program featured early music virtuoso Sophie Michaux, and world music practitioners Lysander Jaffe and Gideon Crevoshay, who performed a number of old world selections, including the hauntingly beautiful “Maria” "
Micheal Hoban, The Theatre Mirror
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Vibrant Traditions in Revels' "Venetian Celebration"
"Sophie Michaux proved at home in the Monteverdian repertoire playing her eponymous character La Sofia, her singing only rivaling her enthralling onstage presence."
Ian Pomerantz, The Boston Musical Intelligencer
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"Highlights — really too many to mention — include Nathaniel Cox’s cornetto adaptation of an air by Emilio de’ Cavalieri, the Calabrian tuna-fishing song led by the ageless David Coffin, the searing harmonies of the carols from Corsica and Croatia, and the powerful singing of Lysander Jaffe, Gideon Crevoshay, and a vivacious Sophie Michaux."
Jeffrey Gantz, The Boston Globe
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Old World Music, Comedy from Renaissance Era Lights Up Christmas Revels – A Venetian Celebration
"This year’s program featured early music virtuoso Sophie Michaux, and world music practitioners Lysander Jaffe and Gideon Crevoshay, who performed a number of old world selections, including the hauntingly beautiful “Maria” "
Micheal Hoban, The Theatre Mirror
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Vibrant Traditions in Revels' "Venetian Celebration"
"Sophie Michaux proved at home in the Monteverdian repertoire playing her eponymous character La Sofia, her singing only rivaling her enthralling onstage presence."
Ian Pomerantz, The Boston Musical Intelligencer
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Musicians of the Old Post road take listeners on a ‘Pilgramage’
"Mezzo-soprano Sophie Michaux’s “Eile, angeflammte Seele” was duskily intense."
Jonathan Blumhofer, Worcester Telegram
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"Mezzo-soprano Sophie Michaux’s “Eile, angeflammte Seele” was duskily intense."
Jonathan Blumhofer, Worcester Telegram
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Mozart's Mass in C minor
"Sophie Michaux ... delivered the “Laudamus te” with a brilliant and charismatic virtuosity"
Jim Lowe, Times Argus
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"Sophie Michaux ... delivered the “Laudamus te” with a brilliant and charismatic virtuosity"
Jim Lowe, Times Argus
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Joseph Summer's The Tempest
"Best of all is an extended trio scene for the spirits Iris, Juno and Ceres, showering blessings on the bride and groom...Iris is a coloratura soprano, with wild swoop up to highEs and Fs, brilliantly rendered by the dazzling Jessica Lennick, who also blends superbly with the warm and colorful Sophie Michaux and resplendent soprano Andrea Chenoweth in opulent three part harmony."
Joshua Rosenblum, Opera News 2017
Boston Opera Collaborative's To Hell and Back
"Mezzo-soprano Sophie Michaux’s voice is a study in color. As her tone shifted from a mother’s quiet encouragement to a simmering internal rage, Michaux’s expressive quality and variety is remarkable...The award for most impactful moment goes to what I call, “the garden destruction scene.” Following “Anne’s Lament” aria, Michaux wreaked havoc on the scene, slapping water out of the bird bath (there should have been “splash zone” signs in the first row), overturning a chair, knocking over and pouring the dirt out of a large flower pot leaving the newly-planted sprouts helpless on the ground. Not satisfied, an obsessed Anne grabs a wet clump of green leaves and violently squeezes it as if she had her own son’s heart in her hand. As a result, the strong, sweet scent of basil fills the air. The pleasing smell stands in stark contrast with the destruction and helps reveal the complexity of Anne’s conflict. I must compliment Stage Director Greg Smucker’s choice; this production truly utilized all senses."
Brian Calhoon, Arts Impulse
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"Mezzo-soprano Sophie Michaux’s voice is a study in color. As her tone shifted from a mother’s quiet encouragement to a simmering internal rage, Michaux’s expressive quality and variety is remarkable...The award for most impactful moment goes to what I call, “the garden destruction scene.” Following “Anne’s Lament” aria, Michaux wreaked havoc on the scene, slapping water out of the bird bath (there should have been “splash zone” signs in the first row), overturning a chair, knocking over and pouring the dirt out of a large flower pot leaving the newly-planted sprouts helpless on the ground. Not satisfied, an obsessed Anne grabs a wet clump of green leaves and violently squeezes it as if she had her own son’s heart in her hand. As a result, the strong, sweet scent of basil fills the air. The pleasing smell stands in stark contrast with the destruction and helps reveal the complexity of Anne’s conflict. I must compliment Stage Director Greg Smucker’s choice; this production truly utilized all senses."
Brian Calhoon, Arts Impulse
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Guerilla Opera's Troubled Water
"Mezzo-soprano Sophie Michaux’s Higuchi, sung with rich vocal focus, started out shyly stooped, straightening into confidence when silently stage-managing her stories."
Matthew Guerrieri, The Boston Globe
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"Sophie Michaux deftly captured Higuchi’s reclusive personality and penetrating intelligence, but didn’t shy away from expressing the writer’s anger when she discovers that Nakarai had betrayed her trust. After she finds success, Higuchi eventually strikes out on her own, and Michaux’s portrayal only grew more self-assured. Michaux sang the role with a silky soprano voice, her tone a flute-like blend with the instrumental ensemble."
Aaron Keebaugh , Boston Classical Review
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"Mezzo-soprano Sophie Michaux’s Higuchi, sung with rich vocal focus, started out shyly stooped, straightening into confidence when silently stage-managing her stories."
Matthew Guerrieri, The Boston Globe
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"Sophie Michaux deftly captured Higuchi’s reclusive personality and penetrating intelligence, but didn’t shy away from expressing the writer’s anger when she discovers that Nakarai had betrayed her trust. After she finds success, Higuchi eventually strikes out on her own, and Michaux’s portrayal only grew more self-assured. Michaux sang the role with a silky soprano voice, her tone a flute-like blend with the instrumental ensemble."
Aaron Keebaugh , Boston Classical Review
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Boston Opera Collaborative's Rinaldo
"Mezzo soprano Sophie Michaux, in the title role, was a clear highlight of the evening—originally conceived for an alto castrato, the role of Rinaldo is scored for a treacherously wide range. Michaux is as thrilling in her upper register as when she dips into a strange and wonderful baritone territory."
Sudeep Agarwala, Boston Musical Intelligencer
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"Sophie Michaux as Rinaldo had probably the cleanest and most stylistically cogent singing of the evening. Hers is not the most ample mezzo, but its fluency was astonishing, particularly in “Venti, turbini, prestate le vostri ali,” delivered at a breakneck speed."
Angelo Mao, Boston Classical Review
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"Michaux elevated her performance through abundant charm and emotional vitality, moving effortlessly between the levity of a mischievous, infatuated boy and the gravity of a remorseful warrior forced to question the morality of his deeds.(...) Michaux’s rendition of “Cara sposa, amante cara” in this scene was achingly poignant. Shoulders rounded in pain, Michaux slowly set aside her armor and weapons, laying herself bare both physically and emotionally."
Lien E. Le, The Harvard Crimson
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"Mezzo soprano Sophie Michaux, in the title role, was a clear highlight of the evening—originally conceived for an alto castrato, the role of Rinaldo is scored for a treacherously wide range. Michaux is as thrilling in her upper register as when she dips into a strange and wonderful baritone territory."
Sudeep Agarwala, Boston Musical Intelligencer
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"Sophie Michaux as Rinaldo had probably the cleanest and most stylistically cogent singing of the evening. Hers is not the most ample mezzo, but its fluency was astonishing, particularly in “Venti, turbini, prestate le vostri ali,” delivered at a breakneck speed."
Angelo Mao, Boston Classical Review
To view the whole article: click here
"Michaux elevated her performance through abundant charm and emotional vitality, moving effortlessly between the levity of a mischievous, infatuated boy and the gravity of a remorseful warrior forced to question the morality of his deeds.(...) Michaux’s rendition of “Cara sposa, amante cara” in this scene was achingly poignant. Shoulders rounded in pain, Michaux slowly set aside her armor and weapons, laying herself bare both physically and emotionally."
Lien E. Le, The Harvard Crimson
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Boston Opera Collaborative's Our Town
"Perhaps the most stylish singing of the night came from mezzo-soprano Sophie Michaux and Steven Myles... Michaux's Mrs. Soames is as vivacious in life as she is enervated in death, and the transformation in Michaux's performance was chilling."
Angelo Mao, Boston Classical Review
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"The scene-stealing Mrs. Soames (Sophie Michaux) is an all together different onstage animal than the rest of the female cast."
Basil Considine, Boston Musical intelligencer
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"Perhaps the most stylish singing of the night came from mezzo-soprano Sophie Michaux and Steven Myles... Michaux's Mrs. Soames is as vivacious in life as she is enervated in death, and the transformation in Michaux's performance was chilling."
Angelo Mao, Boston Classical Review
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"The scene-stealing Mrs. Soames (Sophie Michaux) is an all together different onstage animal than the rest of the female cast."
Basil Considine, Boston Musical intelligencer
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Opera Brittenica's production of The Rape of Lucretia
"The singing was especially luminous. Mezzo soprano Sophie Michaux’s velvety soprano captured the full emotional range of the opera’s title character. Her singing gave the character angelic presence in the first Act (Her costume of white dress and golden wings solidified the image). With anguished tones, she captured Lucretia’s madness and shame in the gut-wrenching aftermath of her rape. She crawled about the stage whimpering and quivering, her singing never losing focus and power. "
Aaron Keebaugh, Boston Classical Review
See more at: http://bostonclassicalreview.com/2013/10/opera-brittenica-debuts-with-a-riveting-rape-of-lucretia/#sthash.k0G0uNaU.dpuf
"Michaux’s Lucretia... sang with the dark plush voice of a mezzo. She carried herself with a commanding elegance appropriate to Rome’s most chaste citizen."
Joshep E. Morgan, Boston Musical Intelligencer
See more at: http://www.classical-scene.com/2013/10/20/lucretia-improved/#comment-22658
Lorelei Ensemble's Masked
"Lorelei’s Sophie Michaux and Sonja Tengblad were excellent soloists"
David Weininger, Boston Globe
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"Lorelei’s Sophie Michaux and Sonja Tengblad were excellent soloists"
David Weininger, Boston Globe
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Lorelei Ensemble's Part and Parcel
"Another highlight of this unusual concert arrived when Michaux accompanied herself on the accordion in a deeply affecting interpretation of a Yiddish song, “Oy, Avram!”"
Susan Miron, Boston Musical Intelligencer
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"Another highlight of this unusual concert arrived when Michaux accompanied herself on the accordion in a deeply affecting interpretation of a Yiddish song, “Oy, Avram!”"
Susan Miron, Boston Musical Intelligencer
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