“Julie Roset’s Woodbird is quite exceptional: her finely shaped line, lightly coloured by vibrato, combines impressive diction in the upper register with remarkable precision, accuracy and agility.”

“Julie Roset was an extraordinary Waldvogel, with a resonant soprano of indescribable beauty.”

“Julie Roset sang one of the most beautiful Waldvogels we could have dreamed of”

“Julie Roset shapes the laughter aria with exquisite taste, adorned with vocalises and dotted with sparkling high notes.”

“As Sophie, Julie Roset is impeccably fresh, natural and spontaneous, flying through her part like the laughing bird she sings about so skilfully in Act 3.”

“Roset’s high soprano is liquid-pure and endlessly expressive, relishing the colour and weight of texts in her native language.”

“One of the most exciting moments arrived in the second act, with the coloratura intrusions of Fiakermilli, sung by the soprano Julie Roset in her house debut. More than agile, her sound was acrobatic, confidently showing off vocal back flips with brightness and comedic charm.”

“In her Met debut, coloratura soprano Julie Roset as the Fiakermilli sparkled her way through the ballroom act with delicate, uncanny high notes.”

“Roset offered a sensitive, gripping interpretation of ​“Tu sai per chi m’accese,” she had the right combination of vocal agility and an aura of innocence to stand out in this performance.”

“Julie Roset’s Bellezza carries all the expected allure and freshness. We are dazzled by the purity of her tone, the delicacy of the phrasing, the assured technique, and the refinement of her ornamentation. Her warm, rich, and full vocal tone, exceptional breath control, lightness and projection, all inspire admiration. Without doubt, one of the greatest voices of our time.”

“Julie Roset can still easily shine with her crystal-clear soprano.”

“Julie Roset takes on the complex and rewarding role of Timna. She navigates the tricky turns of the arias and duets with great virtuosity, demonstrating musical maturity, excellent pronunciation, flexibility in the high notes, and remarkable tone quality.”

“From the very first notes of this aria, Julie Roset captivates the listener with a voice of crystalline purity and remarkable delicacy, both in the melodic line and the vocal embellishments. These few minutes of bliss alone would justify listening to the entire album.”

“countering the spiritual glow from a resplendent RNSO chorus and ethereal luminescence from soprano Julie Roset”

“Her high notes are brilliant, her vibrato under control, and her fluid vocal line adds an ethereal dimension to her interpretation.”

“Julie Roset (freshly crowned at the prestigious Operalia Competition) demonstrates a warm, flexible, brilliant, and richly nuanced voice in a singing style that effortlessly shapes the music.”

“Julie Roset is the jewel of the evening: her disconcertingly easy high notes reflect obvious grace and charisma. The portrayal of Amour is the most successful and the singer’s mischief delights the spectator. It is an understatement to say that this is a sensational debut at the Paris Opera.”

“Julie Roset always springs forth like a cathedral spire, embodying simplicity, but never omitting depth. Her magnificent projection responds to a breathtaking mastery of resonance with the orchestra. Her voice expresses the words beautifully and her musical interpretation is especially moving. It will take time to find an artificial intelligence capable of surpassing the pleasure of listening to this rising soprano!”

“Julie Roset’s silvery soprano deepened throughout the performance: another well-judged and well-executed trajectory.”

“In the role of Zémire, [Julie Roset] reaches great heights with her singing which is as natural as it is intelligent, light in the high register, strong in the middle register, with agility and luminous legato. Her technique paves the way for expression: the future is at her feet.”

“The queen of the performance is without question Julie Roset. […] Her high notes are rounded and full of tender harmonies, her vocalises have a liquid agility, the middle register is strong and she portrays Zémire with sincerity. All these qualities are present in the aria ​‘La Fauvette avec ses petits’ where her voice never seems forced, even in the highest register which flows with ease, the canto di sbalzo is splendid, […], and the trills have the precision of the beating wings of a colibri bird. All that is already remarkable, but what’s more is that she succeeds in tainting the first part of the aria with a hint of fear, while the second part shines with a melancholy delivered with stunning simplicity, and the reprise of the first part explodes with courage, as if she is already certain that Azor has been convinced to set her free.”

“Julie Roset is quite simply astounding! She has everything: beautiful tone, vocal flexibility, sensitivity, virtuosity… Her first appearance is splendid, the ​‘air de printemps’ is full of freshness and joyfulness, and bird-like in its agility.”

“Roset sings with crystalline beauty and heartfelt sincerity; the technical élan and exuberance of the ​‘Quonaim’ finale have irresistible conviviality.”

“The young French soprano Julie Roset is a Euridice to consider for the next decades, both musically and vocally, to which is added her versatility to dance alongside the virtuosos of the company Sasha Waltz.”

“Unquestionably, Julie Roset’s star shines with an increasingly assertive brilliance. The qualities are obvious: technical solidity, supple and precise agility, freshness of a delightful timbre. It dwells with touching simplicity in the relatively well-known motets of Händel.”

“To embody the charming Galatea, an almost idealized paragon of love, the young Julie Roset deploys the freshness and lightness of her voice, particularly in the subtle vocalizations “

“Julie Roset (Amour) has both superb timbre and supple agility.”

“Julie Roset ….. the sparkling and lively soprano brilliantly performs her victory duet with Prometheus.”