David et Jonathas‚ Les Arts Florissants, Brooklyn Academy of Arts
San Francisco Chronicle (April 2013) 'High tenor Pascal Charbonneau‚ a growth of stubble on his face‚ was indefatigable as David‚ his voice sounding as fresh 2 1/2 hours in as it did at the beginning'
David et Jonathas‚ Les Arts Florissants, Opéra Comique
Classique News.com (January 2013) 'Pascal Charbonneau incarne délicieusement le rôle de David. Il sait nuancer à merveille sa voix de ténor léger. Sa prestation est toujours pleine de cœur. L’expression de son conflit et de sa douleur est pénétrante et son physique s’accorde parfaitement à son personnage de jeune berger /// Pascal Charbonneau deliciously portrays the role of David. He has the ability to shade his light tenor voice to marvelous effect. The expression of his conflict and of his pain is penetrating and his physique is in perfect agreement with the character of the young shepherd'
Forum Opera.com (January 2013) 'Pascal Charbonneau excelle en revanche dans ce rôle de haute-contre à la française /// Pascal Charbonneau excels in this French haute-contre role'
Toute La Culture.com (January 2013) 'David (Pascal Charbonneau) charme‚ touche‚ sa voix dépasse le décor et son émotion vibre loin /// David (Pascal Charbonneau) charms‚ touches; his voice goes beyond the sets and his emotion carries far'
L’Enfance du Christ‚ Orchestre symphonique de Montréal
Bach Track.com (December 2012) 'The singing was glorious. Special mention goes to tenor Pascal Charbonneau‚ in his role as the narrator...Charbonneau’s final solo was one of the most beautiful moments of singing I have heard in a long while: the tone‚ the control‚ the dynamics‚ the expression‚ it was all there. Along with the final‚ stunningly gorgeous chorus‚ Charbonneau left the audience in a trance‚ transported away from the hustle and bustle of shopping malls and muzak‚ to the heart of the Christmas spirit'
La Presse.ca (December 2012) '...the most touching is the young tenor Pascal Charbonneau‚ who possesses a superb voice. His interpretation of the Narrator was sensitive and sincere /// ...le plus touchant étant le jeune ténor Pascal Charbonneau‚ doté d’une voix superbe. Son interprétation du Récitant était sensible et sincère'
Montreal Gazette (December 2012) 'Pascal Charbonneau’s tenor was the first voice we heard and it mixed easily‚ like syrup on a stack of cakes...Mary‚ mezzo Michèle Lozier‚ soothed our aching ears with her whole milk tone and shapely phrasing. She and Charbonneau were outstandingly and unforcedly dramatic'
David et Jonathas‚ Les Arts Florissants, The Edinburgh Festival
Opera Britannia (August 2012) 'The singing was simply gorgeous. In a strong cast‚ the two singers playing the title roles were outstanding. Pascal Charbonneau’s David was gentle on the eye and intense in his singing'
Opera Critic.com (August 2012) 'In the orchestra‚ the recorders blend so well with the voice of high tenor Paul Charbonneau (David) that‚ at times‚ his words seem to emerge from the composite sound. Here is passion and sincerity and he manages to convey a fastidious integrity. The love between him and Jonathas (Ana Quintans) is all the more intense because barely expressed'
Stage (August 2012) '...Pascal Charbonneau and Ana Quintans bring enthralling sensitivity to the David and Jonathas roles'
Telegraph (August 2012) '...Pascal Charbonneau (David)‚ Neal Davies (Saul) and Frédéric Caton (the Philistine king‚ Achis) all excellent'
Times (August 2012) 'The notorious haut-contre part of the ambitious shepherd-boy David (needing more punch than a countertenor can give‚ but precariously high for a tenor) is gamely tackled by the Canadian tenor Pascal Charbonneau'
David et Jonathas‚ Les Arts Florissants, Festival d’Aix-en-Provence
Opera (September 2012) 'Pascal Charbonneau used his high‚ limpid tenor to lyrical and sometimes passionate effect as David'
Avant-Scène Opéra (July 2012) '...le David de Pascal Charbonneau est juste‚ stylé et émouvant /// Pascal Charbonneau’s David is right‚ stylish and exciting'
ConcertoNet.com (July 2012) 'Pascal Charbonneau compose un David sincèrement engagé‚ à la couleur idiomatique pour le rôle /// Pascal Charbonneau composed a genuinely committed David idiomatic colour for the role'
Financial Times (July 2012) 'Pascal Charbonneau’s David is beautifully judged‚ with both refinement and passion that grows as the evening evolves'
France Today (July 2012) 'Charpentier’s music is marvelous‚ and there is no faulting Baroque music’s champion William Christie conducting Les Arts Florissants. Canadian tenor Pascal Charbonneau has nearly a countertenor range‚ and his David is impassioned and beautifully sung'
Le Figaro (July 2012) '...le merveilleux David du Canadien Pascal Charbonneau‚ idéal de haute-contre à la française...voilà le niveau exceptionnel que l’on attend d’un grand festival international /// ...the wonderful David of Canadian Pascal Charbonneau‚ true model of a French haute-contre ...this is the exceptional level that is expected of a major international festival'
Online Musik Magazin.de (July 2012) 'Aus dem Ensemble ragt der junge Tenor Pascal Charbonneau als David heraus... /// Of the soloists‚ young tenor Pascal Charbonneau’s David stands out'
Sunday Times (July 2012) 'The power of David et Jonathas (1688)‚ like that of most opera‚ originates in the plangent intensity of its vocal phrases: they approached the heartbreaking as enunciated by the high tenor (haute-contre) Pascal Charbonneau and the soprano Ana Quintans in the title roles'
Telegraph Seven Magazine (July 2012) 'Pascal Charbonneau uses his high‚ limpid tenor to lyrical effect as David'
Telerama.fr (July 2012) 'L’ensemble de la distribution vocale porte d’ailleurs la griffe William Christie‚ gage d’excellence‚ comme le David du ténor canadien Pascal Charbonneau‚ futur Goliath des planches lyriques. // The entire cast bears William Christie’s trademark of excellent quality‚ like the David of the Canadian tenor Pascal Charbonneau‚ future Goliath of the lyrical scene'
Times (July 2012) 'The power of David et Jonathas (1688)‚ like that of most opera‚ originates in the plangent intensity of its vocal phrases: they approached the heartbreaking as enunciated by the high tenor (haute-contre) Pascal Charbonneau and the soprano Ana Quintans in the title roles'
Orlando Paladino‚ Théâtre du Châtelet
Concert Classic.com (March 2012) '...un merveilleux couple avec le très touchant Medoro de Pascal Charbonneau'
ConcertoNet.com (March 2012) 'Pascal Charbonneau rayonne de clarté...' /// 'Pascal Charbonneau shines brightly...'
Webthea.com (March 2012) 'Ekaterina Bakanova‚ soprano russe en Angelica et le canadien Pascal Charbonneau ténor juvénile pour Medoro forment un couple tout mignon' /// 'Russian soprano Ekaterina Bakanova as Angelica, and the young tenor Canadian Pascal Charbonneau as Medoro form together an adorable couple'
Acis and Galatea‚ Teatro La Fenice
OperaClick.com (October 2011) 'Ci ha commossi l’Acis a tratti infantilmente smarrito di Pascal Charbonneau‚ dalla bella voce di haute-contre‚ sempre alla ricerca del giusto accento e costantemente attento ad esprimere col giusto colore la frase musicale' /// 'We were moved by the youthful and scattered Acis of Pascal Charbonneau, his beautiful haute-contre voice always searching for the right accent and constantly careful to express the musical phrases using the right colour'
Teatro.org (November 2011) 'Pascal Charbonneau‚ un Acis soave e al tempo stesso di notevole forza espressiva‚ dalla voce tenorile piena e consistente' /// 'Pascal Charbonneau, a suave Acis and at the same time of remarkable expressive power, the tenor voice full and consistent
Acis and Galatea‚ Festival d’Aix-en-Provence
Classique Info.com (August 2011) 'Le ténor canadien Pascal Charbonneau‚ dans le rôle d’Acis‚ lui offre une réplique idéale tant le couple dégage jeunesse et fraîcheur. Outre son physique avenant‚ il possède un timbre suave et expressif qui convainc autant dans les moments d’éclats - tel l’air « Love sounds the alarm » - que dans ceux plus expressément tendres et langoureux' /// 'The Canadian tenor Pascal Charbonneau, in the role of Acis, is the ideal stage partner, their couple radiating youth and freshness. In addition to his good looks, he posesses a suave and expressive timbre that convinces both in moments of fireworks - as in the air "Love Sounds the Alarm" - and in moments of tender and languishing expression.'
Forum Opéra.com (July 2011) 'Le timbre de Pascal Charbonneau est suffisamment marqué pour ne pas faire d’Acis un portrait palichon mais au contraire dessiner un berger athlétique à la vocalise déliée' // 'Le timbre de Pascal Charbonneau est suffisamment marqué pour ne pas faire d’Acis un portrait palichon mais au contraire dessiner un berger athlétique à la vocalise déliée'
Sweeney Todd‚ Théâtre du Châtelet Paris
Opera (July 2011) 'His beautifully sustained high tenor in their heartfelt duet ’Not While I’m Around’ was the evening’s vocal highlight'
New York Times (May 2011) 'Pascal Charbonneau’s sweet tenor makes Tobias’s “Not While I’m Around” a high point'
Wall Street Journal (April 2011) '...tenor Pascal Charbonneau is poignant as the young simpleton Toby'
A Midsummer Night’s Dream‚ Garsington
Opera (July 2010) 'Flute/Thisbe was marvellously portrayed by Pascal Charbonneau. Whether intentionally or not‚ he gave an uncanny impersonation of the role’s creator‚ Peter Pears'
Opera Today (July 2010) 'Pascal Charbonneau turned the unrewarding part of Flute into a tour de force. This Flute “is” sexually ambiguous‚ frustrated‚ resentful and yet a diva-in-the-making'
Financial Times (June 2010) '...there are some vivid cameos‚ including Pascal Charbonneau’s wide-eyed Flute'
Independent (June 2010) 'The scenes with the mechanicals – Neal Davies a winningly comic Bottom‚ Pascal Charbonneau irresistible as Flute – had charming spontaneity'
Telegraph (June 2010) 'Among the Mechanicals‚ Pascal Charbonneau’s Flute gave particular pleasure'
The Arts Desk.com (June 2010) 'The mechanicals‚ as ever‚ test the director’s inventive powers. I like very much Jonathan Best’s studious‚ besuited Quince‚ the petite Pascal Charbonneau as Flute (and a worryingly attractive Thisby)'
Whats On Stage.com (June 2010) 'Of the others‚ all excellent‚ Pascal Charbonneau stands out as an oddly fetching Flute'
Knight Crew‚ Glyndebourne
Gramophone blog (March 2010) 'All the principals throw themselves into their roles. Pascal Charbonneau’s Art is a fascinatingly unstable hero‚ his epiphany constantly under threat from his own temper – his plangent operatic tenor in marked contrast to Nadim Naaman’s musical theatre-style singing as the beatific Lance (as in Lancelot‚ get it?). Charbonneau sounds tortured'
Guardian (March 2010) '...part of the magic of the music and of John Fulljames’s direction is that it allows influence to flow from innocence to experience as well as vice versa‚ adding a quality to the solo performances‚ notably of Yvonne Howard (Myrtle) and Pascal Charbonneau (Art)'
Independent (March 2010) '...this is an extraordinarily accomplished piece of work...Soprano Claire Wild and tenor Pascal Charbonneau are wonderfully convincing as the chief protagonists‚ with mezzo Yvonne Howard doubling brilliantly as the bag-lady and Arthur’s despairing mother...it’s certainly a major achievement'
Musical America (March 2010) 'Pascal Charboneau was a creditable Art‚ skillfully portraying the character’s central dilemma'
Times (March 2010) '...there is lyrical power from Pascal Charbonneau as Art‚ Claire Wild as Quin‚ and Yvonne Howard as a mystic bag-lady called Myrtle (presumably Merlin in a skirt)'
I Pagliacci‚ Opéra de Montréal
lapresse.ca (September 2009) '...charmant numéro de ténor léger chez Pascal Charbonneau' /// '...charming light-tenor number from Pascal Charbonneau'
Gazette (September 2009) 'Silvio and Beppe‚ the former rather slickly dressed for a villager‚ were smartly projected by Étienne Dupuis and Pascal Charbonneau'
Fidelio‚ Garsington Festival
Opera (August 2009) 'The excellent Marzelline and Jaquino were Claire Ormshaw and Pascal Charbonneau'
Independent on Sunday (June 2009) 'With Pascal Charbonneau and Claire Ormshaw as Jaquino and Marzelline‚ this is a strong ensemble'
Telegraph (June 2009) 'Clare Ormshaw and Pascal Charbonneau made a charming Marzelline and Jaquino'
Le Jardin des Voix, Les Arts Florissants
New York Times (April 2007) '...of the tenors Pascal Chabonneau had the most opulent‚ fully projected tone'