Critiques

” The most impressive figure of the play was Marie-Josée Lord. Her play is all about subtleties. Furthermore, she uses her voice with many shades: from the most mild to the most intense. Al along the night, she will touch you. On the first part, her “Complainte de la serveuse automate” is stirring. There will also be “Les uns contre les autres”. At the end, on “Le monde est stone”, the exited public made her a triumph. We were overthrown by her astonishing authenticity. ”

Starmania, cultural Webzine 2016

“If people who say they don’t like operatic singing had attended the last of this season’s Gregorian Music concerts, there is a very good chance would have had that opinion shaken up a little […] Cloutiers’s illustrative and virtuosic playing and Lord’s expressive voice and manner took the audience through a cycle of experience that went from passionate to light-hearted, from whimsical to intense, from subdued to humorous, from loneliness to outrage. “

Sandra Ruttan, The Barrie Examiner

“ The Palme d’or goes to the Liù of Marie-Josée Lord, which vocal maturity lends itself to the interpretation of this difficult role. This singer never ceases to amaze. What a progress since Mimi’s last season of the OdM ! Her well-colored and well-projected tone of voice has glamorized and her sincere and passionate play has acquired an extraordinary expressive voice. We stay speechless in front of this voice that gives an angelical pianissimo to the end of her beautiful response to Calaf “Perchè un di, nella Reggia, mi hai sorriso”. Her voice lends herself magnificently to Pucinni’s writing and it’s not excluded she could, when the time has come, aboard some of his darker color heroines. In any case, she has the style and the means. ”

Réal Boucher, Forum-Opéra