Gilda, performed by soprano Myriam Leblanc, is arguably one of the most beautiful voices in the work. She plays her role in a perfect way, where, ingenuous and naive, she discovers love and necessarily believes it to be pure. “

Sophie Jama, HuffPost, 2018 (Gilda, Rigoletto, Opéra de Montréal)

“We will highlight in particular the performance of Myriam Leblanc (Gilda), as convincing as ever in the different roles she plays (we had already noticed her in Aida and Svadba). Both touching in her innocence as a betrayed lover and sensitive in her devotion to her father, she illuminates a quality cast. “

Jeanne Hourez, Sors-tu, 2018 (Gilda, Rigoletto, Opéra de Montréal)

“From the second scene, the charismatic soprano Myriam Leblanc imposes herself in Gilda with a voice of wonderful purity that will remain magnificent and controlled until the very end. If her performance in Rigoletto is a guarantee of her professional future, we can say that the young soprano, whom we had already noticed in Aida, in 2016, will have a great career. She also proved fantastic as the bride-to-be in Ana Sokolovic’s Svadba in February, and wowed us with her appearances in the musical Edgar and his Ghosts 2 last year. It is certain that for the young singer, this last year was an opportunity to reveal herself to the public and to establish herself as one of the new Quebec sopranos who matter. “

Caroline Rodgers, Ludwig van Montréal, 2018 (Gilda, Rigoletto, Opéra de Montréal)

“The young Quebec soprano Myriam Leblanc made a great impression. Her diaphanous and clear tone perfectly matches the character of Gilda, a fragile and pure young woman who ingenuously falls into the trap of a one-sided first love. Her playing is sincere, without adornment, she confesses her love in a refined and delicate “Tutte le feste al tempio”, with a beautiful ease in the highs. She plays a touching and convincing Gilda despite her young operatic experience, which bodes well for the future. “

Benjamin Goron, La Scena Musicale, 2018 (Gilda, Rigoletto, Opéra de Montréal)

“Lazaroise, Myriam Leblanc plays the future bride Milica. She has a powerful and agile voice. His presence on stage ensures the “lead” of the group in a remarkable way. The final where Myriam is alone on the boards highlights her talent.“

Micheline Rouette, ARP Media  (Milica, Svadba, Opéra de Montréal)

That said, everything is admirable in this production, starting with the wonderful Milica by Myriam Leblanc, a soprano with great vocal flexibility, superb timbre and playing perfectly in situation. “

Louis Bilodeau, Avant-scène Opéra (Milica, Svadba, Opéra de Montréal)

“Myriam Leblanc shines as a bride and her final solo augurs, as we wrote previously, of a happy tomorrow. Here we have a real alter ego of Marianne Fiset. “

Christophe Huss, Le Devoir, 2018 (Milica, Svadba, Opéra de Montréal)

“Myriam Leblanc wears a Milica of various emotions with a lot of breadth and we will long remember her last solo of aerial finesse. “

Jeanne Hourez, Sors-tu?, 2018 (Milica, Svadba, Opéra de Montréal)

“Myriam Leblanc, resplendent with vocal purity in Beauty (sublime aria“ Ever flowing tides of pleasure… “)”

Christophe Huss, Le Devoir, 2018 (The Triumph of time and truth de Handel, Caprice)

“Soprano Myriam Leblanc, who makes her Opéra de Québec debut, is spectacular, coming back from intermission, as Micaëla, in love with Don José. “

Yves Leclerc, Journal de Québec, 2018 (Micaëla, Carmen, Opéra de Québec)

“The great revelation of the show is, in the short role of the priestess, Myriam Leblanc, intern at the Atelier lyrique. Since the days of Etienne Dupuis and Mireille Lebel (and Michèle Losier, Phillip Addis, Frédéric Antoun) we have not heard a more promising start on this stage. If he’s riding Carmen, the OdM doesn’t have to look far for his ideal Micaëla! “

Christophe Huss, Le Devoir, 2016 (The High Priestess, Aïda, Opéra de Montréal)

“Myriam Leblanc is magnificent, both for her warm voice, her strong stage presence and her incredible charisma.”

Caroline Rodgers, Ludwig van Montréal, 2017 (Edgar et ses fantômes 2)

« The private session ended with Myriam Leblanc, singing also Juliette’s Waltz, and very beautifully, with lovely high notes, exemplary runs, altogether a winning performance. […] Once again, the last singer was Myriam Leblanc who offered a sparkling rendition of Lucia’s aria, beautifully sung, with excellent coloratura and accurate pitch. She received arguably the biggest ovation of the evening.»

Joseph So, Ludwig van Toronto, 2016 (COC Competition)

”In addition to Petrova, the other nice surprise of the evening, it is the soprano Myriam Leblanc, trainee of the Atelier lyrique who made a remarkable debut for the company by giving a voice of rare beauty, in the role of the High Priestess. This scene of the prayer to the god Ptah, with choirs, is undoubtedly the most successful of the evening. ”

Caroline Rodgers, La Presse, 2016 (The High Priestess, Aïda, Opéra de Montréal)

“Myriam Leblanc: my personal crush. And what a crush! Everything is there: the presence, the charisma, a wise recklessness (for having brilliantly chosen this disheveled coloratura Vivaldi (!), Of which she crossed all the traps as if it were pie), the vocal suppleness and roundness , the prodigious cutting and razor sharp of the many ornaments. […] I always keep myself, as well as the judges, a favorable prejudice towards the soprano Leblanc, slightly superior to the two others when it comes to her almost perfect technical prowess as well as her generosity releasing an apparent and sincere human warmth. “

Martin Roy, Acadie Nouvelle, 2017 (Lamèque International Baroque Competition)