Performing the technically and dramatically demanding role of Elena from Glück’s Paride ed Elena with Odyssey Opera in Boston, Mireille garnered rave reviews from the press. Here are some highlights:

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“Asselin’s Elena was a politically astute princess whose armor fell away over the course of the evening, and her vocal instrument was clarion. Her first scene, in which she smoothly deflects Paride’s advances, ended with a high run that could have launched a hundred ships by itself.” The Boston Globe

“Almost all of Helen’s character gets revealed from Asselin’s facial mannerisms, perhaps an unintentional bit of stage-craft symbolism for the most beautiful of mortals. Slyly pointing out a handsome athlete to her cohort, struggling to maintain composure as Paris sings, eyes blazing in frustrated fury – Asselin’s face unmasked Helen’s personality. She acted and sang marvelously.” Classical Voice North America

“Mireille Asselin as Elena and Meghan Lindsay as Paride brought with them the kind of understanding of Gluck’s text and music that is required to give the work much of its dramatic pull. Their voices pulled and pushed at Gluck’s music and Calzabigi’s text, stretching and pulling and coloring every last note that made practically their entire run through the opera feel important. The amount of vocal control they both exercised was incredible to witness, and it was clear that the Huntington Avenue Theater was hosting a pair of stars.” Schmopera

“Mireille Asselin’s vocally and visually alluring Helen still must convey an array of conflicting emotions as she sheds her Spartan reserve and entertains the possibility of Paris. Gluck’s music subtly charts the transformation, but it still requires a skilled singer-actress like Asselin to exploit it to the fullest. Her portrayal reached its acme with a whirlwind performance of “Lo temei: non mi sento” closing Act 4.” Bachtrack