“Julie Roset’s crystalline soprano is perfectly suited to the delicate, ethereal character of these songs. Her vocal line is flexible and light, effortlessly secure in the upper register and brings subtle colour to the texts. In the long phrases, the voice becomes almost instrumental, carrying the listener to enchanting heights. The songs by Isabelle Aboulker reveal another side of the artist: a natural performer, witty and brimming with infectious energy.”

“Julie Roset proved perhaps the purest-voiced Woodbird I have ever heard.”

“Julie Roset enters with her startling declamation: ​‘J’ai seul la clef de cette parade sauvage’. She galvanises the players into a different dimension altogether and the rest of the performance is simply magical. Her tone is radiant and perfectly focused – intonation is immaculate and the vocal colouring ideal and imaginative throughout. This is one of the finest performances of its kind I’ve ever heard”

“one of the finest performances of its kind”

“Julie Roset is an immediately convincing Sophie, both vocally and in her stage presence — always truthful and never overstated. Her timbre is like clear, luminous water, and the pleasure becomes contagious when she ventures with ease into the high notes. Clever and independent, she distances herself from more stereotypical portrayals of the character.”

“Julie Roset’s debut recital album is a delight. To hear a dazzlingly bold voice of such character and flexibility, and such intelligent singing is a constant pleasure.”

“Julie Roset’s light, high‑lying voice, with its luminous tone and clear diction, immediately establishes her as a well‑seasoned melodist.”

“Julie Roset shone as Fiakermilli, with crystalline precision and unaffected charm. In a role often treated as decorative, she projected personality and ease, her gleaming high notes and easy vivacity enlivening ​‘Die Wiener Herrn verstehen sich’.”

“In the role of the Fiakermili, Julie Roset made her house debut and showed great promise. The moment the French coloratura soprano entered the stage, she was hard to look away from. Her charisma was intoxicating. Vocally, she was superb in ​“Die Wiener Herrn verstehen sich,” singing the yodeling coloratura with precision and sparkling high notes that rang in the house.”

“Julie Roset has a fresh voice, impeccable technique, and interprets the role of the princess Ismène with exquisite distinction.”

“Julie Roset has an extremely pure, fresh, and youthful voice, ideal for Phani, a role in which she gave a lesson in delicacy and expressiveness”

“Julie Roset (Timna) excels in the more serene passages, showcasing beautiful phrasing and a delightful tone.”

“The excellent Julie Roset as Timna dazzles with her magnificent tone and flawless agility.”

“Julie Roset’s celestial soprano was clean and focused throughout”

“Julie Roset portrays Amour as both mischievous and reassuring, playing the role immensely despite the concert’s ​‘recital’ version, getting involved at every turn, with meticulous diction, ease throughout the upper tessitura and, above all, an appreciable focus and breadth of timbre that give her arias a particular brassy flavour and generosity.”

“Julie Roset is impressive in her confidence and ease. Her ability to vary her interpretation sometimes as a voluptuous languor, sometimes as an otherworldly beauty of suspended high notes and sometimes as an assertive projection, the roundness of the timbre remaining immutable.”

“Julie Roset is an Amour with a clear, shiny and warm voice, playing with the score by offering effects that are as brilliant as they are agile”

“Julie Roset won over the audience with the freshness of her tone, the sovereign beauty of her phrasing and the delicacy of her musicality. Perfectly equal in all registers, ideally projected, her voice with its silver tone is reminiscent of the greatest singers who have ventured into this score.”

“[Julie Roset] immediately exults in the aria “ Tornami a vagheggiar ” from Alcina , her voice bursting forth with dizzying ease. The ease also derives from her ornamentation of the Da Capo, giving priority to the high notes in spectacular flights. The careful delivery preserves all the delicacy of the timbre and evokes the languor of amorous waiting by stretching out the sounds adorned with a warm vibration.”

“In the role of Love, Julie Roset stands out for the lightness of her range, the brilliance of her tone as well as her deeply baroque attacks.”

“Julie Roset (Zémire), fresh as a rose, a coloratura with strength in her tone, plays with vocal pyrotechnics and astounding ambition in the ​‘air de la fauvette.”

“Having already performing in various projects with Leonardo García Alarcón, Julie Roset (Ange, Gabriel et Eve), makes herself known through the beauty of her voice and her incredible ease in the top register[…] the young soprano demonstrates art at the highest level, musically and poetically — every note counts. A revelation for lots of listeners and an artist worth following very closely.”

“The French soprano Julie Roset was the gentle Euridice and La Musica, performing with vocal and physical suppleness.”

“Vocally, we must highlight the magnificent work of Julie Roset, one of the countless emerging talents of the French Baroque”

“This voice, so moving in its simplicity, brings to these pieces a real aura of sincerity: a little gem”

“We can only salute the judicious choice of Leonardo Garcia Alarcon to assign the soprano Julie Roset the role of Galatea. Her voice works wonders in this complex role requiring perfect vocal mastery.”

“The angelic sweetness of Julie Roset’s soprano suited the gentle Euridice of the first two acts, and in Act III, when she visited the suicidal Aristeo as an avenging wraith, she summoned an unexpected vehemence of declaration.”

“Julie Roset’s sharp and mischievous Amour demonstrates beautiful high notes and a very pure line.”

“In the role of the Philistine, the young Julie Roset is quite simply flawless. Gentle without being naive, she imbues each of her passages with solid vocals and psychological insight.”