"Yesterday’s recital began with three of Haydn’s English canzonettas and proceeded on to a set of old American songs arranged by Aaron Copland. She mixed the sentimental with the humourous and displayed her powerfully dramatic voice with all its shades of colour and vocal agility." 

David Richards, Toronto Concert Reviews
Mendelssohn Symphonies Nos 1-5 directed by Yannick Nézet-Séguin

"The large-scale choral Symphony No 2 ‘Hymn of Praise’ (Lobgesang), actually the last Symphony Mendelssohn wrote but later numbered as his second, includes a dream team of the RIAS Chamber Choir and soloists. In sum, this performance is a thrilling achievement. French-Canadian soprano Karina Gauvin has developed a warm and burnished quality in recent years...The movement Nun danket alle Gott is as good as it gets."

DAVID BARMBY, Performing ArtsHub

"Contrasting vocal timbre identified the two sopranos as characters from the Commedia dell’arte: Gauvin’s rich and round-toned, befitting the role of the wronged woman, Forsythe’s light and agile, suited to that of the naive ingenue."


Virginia Newes, Boston Musical Intelligencer
Pro Musica, Early Music Voices, Karina Gauvin and Les Boreades de Montreal a captivating confection

"But the star of the evening was, of course, Gauvin herself, one of Canada’s best-known early music sopranos. Comfortably in her element, Gauvin was quicksilver or lamenting, depending upon the mood of the individual song, beautifully capturing the inner spirit of the different vocal numbers."

Kenneth Delong, Calgary Herald

"The obvious thrill is Toronto-raised, Montreal-based soprano Karina Gauvin, who showed off her ever-deepening artistry, tremendous vocal range and technique, and considerable dramatic chops in opera arias by George Frideric Handel and a sacred work by Antonio Vivaldi."

John Terauds, Musical Toronto

"Karina Gauvin is a divine Elvira, making every word and note count–she’s a singer who has not yet made a poor recording."

Robert Levine, Classics Today

Soprano Karina Gauvin brought forthright eloquence to her assignment, and Ragnar Bohlin’s Symphony Chorus made an excellent contribution — hushed and shapely in their opening moments, then growing to seraphic splendor at the climax.

Joshua Kosman, SFGate

"The main rival to this new set from Riccardo Minasi and hot young Italian period-instrument band Il Pomo d’Oro is Christian Curnyn’s 2004 Chandos version – which, good as it is, is decisively trumped by Minasi and his superb cast lead by Karina Gauvin’s magnificent Partenope, the queen who has to chose between many suitors."

Graham Rogers, Sinfini Music
Nézet-Séguin's 'Messiah' like no other

"... Gauvin has such command of Handelian style that she finds room to project a viewpoint even in the most intricate passagework."

David Patrick Stearns, Philadelphia Inquirer
The Best Classical Music Recordings of 2015: Handel - 'Partenope'

"The superb cast includes the bright-voiced soprano Karina Gauvin in the title role ..."

Vivien Schweitzer, New York Times
Review: "Opera and Concert Arias"

“This recording demonstrates that Karina Gauvin shares a trait with Mozart: the ease and grace with which it falls on the ear of the listener belies the true complexity and supreme artistry inherent in the crafting of a truly exquisite performance.”

Dianne Wells, WholeNote
Death has never sounded sweeter
“The Performance by the Los Angeles Philharmonic, conducted by Bernard Labadie and with two emotionally pertinent vocal soloists, was stirring in its immediacy.... Their vocal lines seductively intertwining, the brilliantly dynamic soprano Karina Gauvin and the deeply expressive alto Ann Hallenberg might have been singing of the richest amusements.”
Mark Swed, Los Angeles Times
Orchestra, singers fill in for angels in Mozart Mass
"Gauvin sang with full, smooth and surging tone in the Christ-centered devotions of 'Christe eleison' and 'Et incarnatus.'"
Steven Brown, Charlotte Observer
"By now Canadian soprano Karina Gauvin has appeared on a couple of dozen recordings and she always impresses.... This is a stunner." Read More...
Robert Levine, ClassicsToday
"Ms. Gauvin performed...with impeccable intonation and disparate characterizations that continued the fluency of French song by using her operatic power deftly." Read More...
Terry McNeill, Classical Sonoma
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