Press

“For these pyrotechnic arias, the singer demonstrates impressive range and vocal  agility… Beautiful low notes, confidence in demanding vocal runs: it was a firework  display that delighted the audience.” — Le Dauphiné (Prima Donna, Concert de  l’Hostel Dieu, F-E Comte) 

“The entire first half of this extensive program was a model of balance and  homogeneity, performed by artists with strong stage and vocal presence. In particular,  Juliette Gauthier stood out, very expressive and committed in her interpretation of  Sesto’s aria from La Clemenza di Tito, full of expected nuances, as well as in Sartorio’s  aria, which she inhabited brilliantly.” — Classique News (ODB Opéra Gala 2024)

 “Juliette Gauthier delivers meticulous singing with a rich and complex timbre in the  middle register, becoming lighter and more fluid in the upper notes. She masters the art  of breath control, allowing long uninterrupted musical phrases.” — Olyrix (Voyage au  pays de Maurice Ravel, Orchestre de chambre de Paris, L. Langrée, Opéra Comique) 

“The exchange between Juliette Gauthier and Viorica Cortez about Carmen’s  ‘Séguedille’ is particularly delightful. We get to appreciate Viorica Cortez’s teaching  talents, as well as Juliette Gauthier’s singing talent—there is no doubt she will be an  excellent Carmen.” — ODB Opéra (During a masterclass with Viorica Cortez, Festival  Femmes artistes, femmes d’action) 

“Juliette Gauthier expresses herself with a sustained mezzo.” — Concertclassic  (L’amour à la française, Opéra Comique) 

“Juliette Gauthier is a delightful Cherubino.” — ODB Opéra (20th Anniversary Gala of  ODB) 

“The cast assembled for the occasion has no weak link. Alongside the three main  characters, the supporting roles are entrusted to chorus members whose performances  rise to the level of their soloist colleagues. […] Her two companions, Juliette Gauthier  and Jaia Nurit Niborski-Bolatti, are equally up to the task, with strong voices that blend  harmoniously.” — Forum Opéra (Dido & Aeneas, Théâtre des Champs-Élysées) 

“The audience was won over by the virtuosity of the musicians and the captivating  voice of Juliette Gauthier.” — Le Bien Public (Prima Donna, Concert de l’Hostel Dieu,  F-E Comte) 

“Youth, commitment, and certainly a beautiful promise for the youngest contestant, whose Vivaldi  performance was remarkably radiant and effortless.” — Forum Opéra (Froville International Singing  Competition)

“Her youth is reflected in her well-projected voice, with a rich timbre and full lower  range. […] Her singing is fully embodied.” — Olyrix (Génération Opéra Laureates’  Concert, Studio Bastille) 

“Mezzo Juliette Gauthier delivers a lovely performance of Viardot’s rare Madrid, and  with great intensity tackles Falla’s Siete canciones populares, also showing strong  enunciation through the language variations. […] All the performers joined in a vocal  duet of Saint-Saëns’ El desdichado for a lively finale. An enthusiastic audience for this  rare evening, both for the program and the revelation of artists in full command of their means across varied expressive pieces.” — Concertclassic (Nocturne, Opéra Comique)

“Stage ease and accomplished vocal technique are already part of the skillset of the six singers gathered on stage. One appreciates […] the poise of Juliette Gauthier (who knows how to bring out the comedy in La Pintade, where Ravel introduces an unmistakably mischievous trumpet).” — Web Théâtre, Christian Wasselin (Voyage au pays de Maurice Ravel, Orchestre de  chambre de Paris, L. Langrée, Opéra Comique)