From the House of the Dead‚ Royal Opera House

Critics Circle (March 2018) 'Pascal Charbonneau was outstanding as Aljeja...'
The Guardian (March 2018) 'Playing and choral singing are outstanding‚ and none of the cast‚ one of the finest Covent Garden has assembled in recent years‚ puts a foot wrong... The deepening relationship between Willard White’s Gorjancikov and Pascal Charbonneau’s Aljeja is beautifully done.'
The Times (March 2018) 'Yet with an excellent cast — led magnificently by Johan Reuter‚ Willard White‚ Stefan Margita‚ Ladislav Elgr and Pascal Charbonneau...'
What’s on Stage (March 2018) '...Pascal Charbonneau impresses as the illiterate young Aljeja.'

Sweeney Todd‚ Vancouver Opera (April 2015) 'The other standout was tenor Pascal Charbonneau as Tobias Ragg‚ who sang with astounding clarity and nuance. He also proved an energetic and sympathetic stage presence‚ and his duet with Mrs. Lovett in Act II was the most touching moment of the evening'
The Georgia (April 2015) 'Pascal Charbonneau finds the vulnerable‚ childlike heart of Tobias' (April 2015) 'There were two performances that saved the day for me. Luretta Bybee’s Mrs. Lovett was nothing short of perfect in an imperfect situation – she was in great voice‚ and was funny and expressive. She injected life and laughter all the time she was on stage. And poor terrified Toby‚ played believably by Pascal Charbonneau‚ was terrific. Bravo to them both'
Vancouver Sun (April 2015) 'Rounding out the production’s stars was tenor Pascal Charbonneau as Tobias Ragg‚ perhaps the show’s most sympathetic character. With a clear and attractive voice and superior acting skills‚ Charbonneau lit up the stage with each appearance‚ giving the audience shining moments of humanity in a tale of monsters'

Messiah‚ Orchestre Symphonique de Montréal (December 2014) 'Mcgill was most fortunate in having a quartet of soloists who could underline and emphasise the dramatic drive of the Messiah’s narrative...Both tenor‚ Pascal Charbonneau and baritone‚ Philippe Sly offered performances that contained an operatic dimension in terms of dramatic characterisation. Charbonneau opened with a poised‚ floated “Comfort ye” and followed with a flamboyantly virtuoso and liberally ornamented‚ “Ev’ry valley”. Yet his most impressive contribution was a powerful and impassioned “Thou shall break them”. Charbonneau’s voice has matured and deepened in colour and inflection and his lyric diction and musicianship were of the highest order'

Castor et Pollux‚ Opéra de Dijon (September 2014) 'L’engagement des chanteurs se situe à la hauteur de l’enjeu : leur attention au texte et à la déclamation mérite tous les éloges // The committed singers are up to the challenge: their attention to the text deserves praise' (September 2014)
'Castor au timbre très clair...devient un partenaire sensible et nous émeut dans son air mélancoliquement voluptueux ‘Séjour de l’éternelle paix’ // Castor has a very clear tone...becoming a sensitive partner and moving us with his voluptuous melancholy air ‘Séjour de l’éternelle paix’'

David et Jonathas‚ DVD (Les Arts Florissants)

Opera (April 2014) 'David is intensely played and sung by the Canadian tenor Pascal Charbonneau. His occasional strain is in keeping with the role‚ and his lament for Jonathas is quite the tear-jerker'

Into The Woods‚ Théâtre du Châtelet (April 2014) 'Comme d’habitude‚ Jean-Luc Choplin ‚ directeur du Châtelet‚ a réuni une distribution anglophone de haut vol‚ dont Blakeley a fait une équipe épatante. Citons en quelques-uns : la Sorcière de Beverley Klein ‚ le Chaperon Rouge de Francesca Jackson ‚ le Boulanger de Nicholas Garrett ‚ la Cendrillon de Kimy McLaren ‚ le Jack de Pascal Charbonneau : de vraies voix‚ et des comédiens prodigieux dans des rôles de composition /// As usual‚ Jean-Luc Choplin ‚ director of the Châtelet‚ gathered a top-flight anglophone cast‚ which Lee Blakeley has transformed into an amazing team. A few are worth a mention: the Witch of Beverley Klein‚ Francesca Jackson’s Little Red Riding Hood‚ the Baker of Nicholas Garrett‚ Kimy McLaren’s Cinderella and Pascal Charbonneau’s Jack: real voices and prodigious actors in supporting roles'
Le Figaro (April 2014)
'Le ténor Pascal Charbonneau passe du baroque français à l’univers de Broadway avec une aisance stupéfiante /// Tenor Pascal Charbonneau moves from French baroque repertoire to the universe of Broadway with astonishing ease' (April 2014)
'Pascal Charbonneau‚ en Jack‚ et Kimy McLaren‚ en Cendrillon‚ dominent leur rôle avec virtuosité‚ et réussissent vraiment à donner une épaisseur à leur personnage /// Pascal Charbonneau‚ as Jack‚ and Kimy McLaren‚ as Cinderella‚ display virtuosic mastery‚ and succeed in giving real depth to their characters'

From The House of the Dead‚ OpÉra National dU Rhin

Classique (October 2013) 'Pascal Charbonneau (émouvant David dans David et Jonathas de Charpentier)‚ est touchant dans le rôle du jeune tatar Aljeja‚ non seulement par son sens aigu du drame mais aussi par la beauté de son timbre et la couleur et la chaleur de sa voix de ténor /// Pascal Charbonneau (moving as David in Charpentier’s David et Jonathas)‚ is touching in the role of the young Tartar Alyeya‚ not only because of his sharp sense of theatre‚ but also because of the beauty‚ colour and warmth of his tenor voice'
Concert (October 2013)
'...le rôle d’Aljeja généralement dévolu à une voix de femme‚ interprété avec une émouvante simplicité par Pascal Charbonneau /// ...the role of Aljeja is generally performed by a female voice‚ here interpreted with touching simplicity by Pascal Charbonneau'
Forum (October 2013)
'...l’Aljeja de Pascal Charbonneau‚ ténor au timbre clair et pur‚ incarne un adolescent attendrissant de jeunesse et de naïveté... /// ...the Aljeja of Pascal Charbonneau‚ a tenor with clear and pure tone‚ touches with his youthfulness and naivety'
GB (October 2013)
'Di insolita potenza tenorile per il ruolo‚ si è mostrato l’Aljeja di Pascal Charbonneau ‚ che alla figura scenica del ragazzo del Daghestan ha regalato una efficace rappresentazione /// Of unusual vocal power for the role‚ tenor Pascal Charbonneau gives an effective portrayal of the boy from Daghestan'

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 (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 (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 (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 (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 (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 (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' (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 (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' (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 (March 2012)  '...un merveilleux couple avec le très touchant Medoro de Pascal Charbonneau' (March 2012)  'Pascal Charbonneau rayonne de clarté...' /// 'Pascal Charbonneau shines brightly...' (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 (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' (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 (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 Opé (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 (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 (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’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 (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'