Press

"It’s hard to explain. But something of a miracle occurred on the stage of Roy Thomson Hall Thursday night. Canadian soprano Simone Osborne was just wrapping up the final movement of Mahler’s Fourth Symphony…on Thursday, Osborne didn’t just sing that song, it’s as though she became the song, that hers was the voice that had created the entire symphony. It felt as though the 80-odd musicians on stage were somehow emanations of her and her musical presence, so thoroughly did she inhabit the music she was singing. Even though Osborne is on stage for a mere fraction of the symphony’s duration, it was as though she had been there the entire evening, as though we had been hearing her somehow make the symphony’s music."

"Most convincing of all was Simone Osborne’s Gilda, much to the delight of her hometown audience. Gilda is ideal for Osborne’s soprano at this point, with her appealingly girlish timbre, easy coloratura, and ringing high E flat. More importantly, her lyric coloratura has grown in richness and depth and was able to effectively convey Gilda’s development from young girl to tragic heroine. Particularly notable was her second act duet with Rigoletto, devastating in its intensity and running the full vocal gamut from a rich lower register to a pinpoint accurate ‘Si vendetta’ capped with a sustained E flat."

"COC darling and favourite Simone Osborne sang the role of Micaëla beautifully. Her bright tone, and sparkle was delicious on this role. Her "Je dis" was breathtaking. Alone onstage, in a ruined temple, under a blanket of stars she brought Micaëla's longing to life."

"Yet the work’s flaws were almost forgotten after hearing Canadian lyric soprano Simone Osborne’s performance. Osborne has a rich, youthful voice and a keen sense of drama, especially in the almost operatic lament “On the Lagoons.” What is more, her French diction is impeccable — she would do well to incorporate more French roles into her repertoire as her burgeoning career unfurls."

"Simone Osborne was a sweet Micaela and was countered with her slightly dark soprano in the lower range."

"What takes this particular performance to an entirely different level is Osborne’s understanding of the role: a sheltered, perhaps foolish, unquestionably impulsive, and very young woman, fueled by awakening sexuality and grappling with ideas of honour and duty." (Rigoletto)

"Osborne’s return to the stage for the fourth movement was the highlight of the evening. Her approach to the child-like text was ingenuous and heartfelt, and her performance was clear, polished and secure. Under Sanderling, the orchestra’s intense outbursts were an effective contrast to Osborne’s lyricism." (Mahler's 4th Symohony)

"The audience gave the artists multiple ovations, and they were rewarded by an encore – Song to the Moon from Rusalka.  I had just heard Osborne sing this with the TSO, but I think she outdid herself this afternoon, beautifully rendered and capped with a marvelous final high B. It was a truly auspicious WMCT debut."

"Osborne’s voice floated like a feather, with a hint of playfulness in her delivery. The set of arias was a triumph for Osborne, and I could have listened to her all evening."

"Pianists Warren Jones, Speranza Scappucci, and Nino Sanikidze took turns providing accompaniment as Simone Osborne, Ben Bliss, Quinn Kelsey, and Isabel Leonard performed under the artistic direction of Matthew Epstein....Visibly moved, Horne proclaimed the recital one of the greatest she had ever heard, and praised the singers as among her favorites in a long and distinguished career as a mentor of young talent."

"She is ideally cast as the good girl in the opera versus Carmen’s bad girl, and Osborne makes Micaëla’s aria of fearfulness and her aria pleading with Don José to return home emotionally affecting."

"Simone Osborne, as the lovelorn daughter of the title character, performs the first part of her "Caro Nome" aria lying splayed on the floor because she's so overcome with her crush. Not that you'd notice from the way she sails through the notes with the joy of a bird at sunrise. Rather than play her fragile and naive to the Duke's smooth-talking, Osborne brings strength and youthful passion to her Gilda. It’s fun to watch the young soprano let loose with the vocal pyrotechnics, reaching the heights out of real emotion, and finding rich shades in the lower register."

"Simone Osborne as Rigoletto’s daughter Gilda, too, shines an enormous light every second she is onstage, making every high-drama movement and moment seem completely real. She even sings a whole aria (the word for a solo song in opera circles) lying on her back on the ground, an almost impossible-looking feat considering the vocal backflips she appears to be doing at the time. She is simply astonishing."

"In a voice charged with poignancy, spotlit on a darkened stage, the much in-demand singer actor soars in the exquisite Act III anthem, Je dis, que rien ne m’épouvante..."

Make no mistake, Simone is half athlete and half artist—which is what you need to be if you want to be an opera star. There’s no question about her big talent..

A sweet and clear sound, sensitive phrasing and gleaming sustained high notes

A selection of songs by Verdi and Rossini made the most of Simone Osborne’s keen dramatic instinct. Her soprano has a creamy, sweet top register and an arrestingly dark lower range

Osborne’s Mad Scene was the tour-de-force it needs to be, beautifully sung, convincingly and quite passionately acted, a woman who still has the touch of the girl as she loses her reason.

The best single reason for this particular revival is as a showcase for Canadian soprano Simone Osborne, making her Vancouver Opera Debut in the role of Juliette.

Pamina is her strongest work yet, and her voice has added a measure of maturity and complexity since her performance in last season's Romeo et Juliette.

Simone Osborne, with her clear, supple soprano, went directly to the heart of her American songs. This fine singer deserves to have an entire Ravinia song program all to herself

Simone Osborne, with her clear, supple soprano, went directly to the heart of her American songs. This fine singer deserves to have an entire Ravinia song program all to herself

Encouraged by his lovely daughter Lauretta (soprano Simone Osborne in a deliciously understated turn)… she slides into the over-the-top romanticism of ‘O mio babbino caro’ like it was a warm bath — a task she accomplishes nonetheless with impressive ease…

Simone Osborne had a field day as the willful Musetta, and her substantial, pointed singing was far more than the yipping dog of a caricature that one sometimes encounters. Her famous aria was dispatched with sassy intent to be sure, but it also had a sensual, languorous quality that we found (like Marcello) impossible to resist.

"Simone Osborne as Barbarina was an eye-opener. She sang with a dynamically rich sound that had plenty of body. Dramatically, she is to be commended for all that she was asked to do in the production. If the production’s concept was successful at all, it is to be owed to her."

She's going to be a big star.

Of the three principal roles, Simone Osborne's portrayal of the feisty Marenka was the most rounded and vocally engaging. …she demonstrated an ability to fill a room with a powerful, dramatic soprano, but caught attention with a flare for acting, especially with her bright, expressive eyes.

…struck by the beauty of her voice, her innate musicality, and particularly the maturity and poise that belied her age

COC favourite Simone Osborne sang with flinty brilliance and proved an exuberant actress.

If I had to bet on anybody, I'd bet on Simone.

Metropolitan Opera National Council Auditions winner Simone Osborne was outstanding, her Gretel cute, provocative, childlike and sung with every note a jewel. Osborne can soar over chorus and orchestra when needed…

Fresh from her Metropolitan Opera National Grand Finals win, Simone Osborne shone as Emma Jung, her bright, lovely voice and assured stage presence a testimony to her own burgeoning talent — and this 21-year-old has star written all over her.