"Michèle Losier has a voice that's both mellow and brazen. The mezzo brings an unusual degree of power, even gutsiness, to her mostly light repertoire; listening to her, you might find yourself surprised that she's only thirty-one. Even after a string of debuts, at Opera Australia (Charlotte in Werther), Seattle Opera (Wellgunde and Grimgerde in the Ring) and La Scala (Frasquita in Carmen) this season — and with further debuts slated at Covent Garden and Opéra Comique, among others — she is less forthcoming about her own success than she is in her praise for her mentors and colleagues."

« Ahora Ilega este CD de Fuga Libera con la voz clara, esmaltada, carnal y vibrante de la mezzo Michèle Losier, que sabe moverse en el centro y el agudo con agilidad y conmoción, pero que es capaz de Ilegar muy abajo, como demuestra, por ejemplo, en vario momentos de La vague et la cloche. Es una integral delicada y al mismo tiempo enérgica, y Losier desarrolla un fraseo bello y una declamación que se impone claro está, como línea melódica, pero que es capaz de convertirse en algo parecido al recitativo si es necesario para el relato, para el drama. Podríamos detenemos en las virtudes de cada uno de estos dieciséis enfoques por parte de Losier, pero bastará con señalar el equilibrio entre lirismo y exaltación de un recital exquisito, sugerente, rico. Una voz bella hasta lo penetrante. Y un acompañamiento pianístico respetuoso, magistral incluso, de Daniel Blumenthal. Un disco sin desperdicio, un bellísimo repertorio y unas lecturas que son auténticas obras de arte. »

« Now comes this CD from Fuga Libera with mezzo Michèle Losier's clear, polished, generous and vibrant voice, comfortable in the middle and upper registers, as well as in the low one, where she plunges a few times in La vache et la cloche. With an approach combining energy and delicacy, Losier displays an elegant diction, and her declamation emphasizes the melodic line as much as the more dramatic recitatives episodes. We could dwell on the qualities of each of these 16 interpretations, but let's just admire the balance between lyricism and exaltation in this exquisite recital. With a magnificent and memorable voice, and a magistral accompaniment from Daniel Blumenthal, this recording where no space is wasted, and presenting a superb repertoire, is an authentic work of art. »

« Les liens entre Losier et la Belgique se sont tissés lors du Concours reine Élisabeth de [Belgique]. Fuga Libera lui a confié une intégrale des mélodies de Duparc et la surprise est grande. La voix de Michèle Losier a acquis une patine cuivrée très intéressante. Son approche de Duparc est très hiératique, mais pas désincarnée. Ce que Losier réussit remarquablement, c'est l'intégration de la ligne de chant et des paroles. Elle ne prononce jamais abusivement et ne met jamais la ligne en péril. [Là où d'autres chanteurs entourent la musique et la couvent]; Losier l'exalte. Nul doute qu'elle va se faire remarquer avec ce récital. »

"The bonds between Losier and Belgium were formed during the Queen Elisabeth Competition. Fuga Libera has entrusted her with a recording of the complete Mélodies of Duparc and the surprise is great. Michèle Losier's voice has acquired a very interesting brassy sheen. Her approach of Duparc is quite solemn and majestic, but always full of life. Losier succeeds exceedingly well in the merging of words and the singing line. The pronunciation is never too much emphasized and never threatens the melodic line. [Where other singers cautiously caress the music]; Losier exalts it. There is no doubt that Losier will attract a lot of attention with this recital."

"Musically, the evening belonged to Canadian mezzosoprano Michele Losier as Charlotte. She made her character's inner battle between love and duty, ecstasy and restraint completely believable. Supple and strong across her range, she displayed splendid clarity of articulation, a rich array of tone colour, and subtle dynamic control. It was a magnificent performance: emotionally mature and vocally virtuosic."

"Michèle Losier creates a wonderful Charlotte with involving musical and dramatic range and a touching purity of voice and heart. In the first half she strikes a true and unclouded tone (when Werther states anyone would love her, most would agree). In the second, her transition to passionate depth has power and presence."

"Michèle Losier is a dignified Charlotte, her dark, full-bodied mezzo especially powerful in Charlotte's third act monologue and aria (Qui m'aurait dit la place... Va! Laisse couler mes larmes)."

"Franco-Canadian soprano Michele Losier is perfectly suited to the role of the duty-bound, gentle-hearted, female lead, with a rich yet supple voice and dramatic prowess, pacing her growing emotional attachment to Werther for maximum impact. By Act Three, she has become a mature, statuesque woman but is clearly on the verge of crumpling internally with the weight of her restrained ardour. She is most moving during the Aria of Tears, accompanied by plaintive saxophone and, for the final act, channels Callas in dress and in theatrical potency."

"Michèle Losier impressed with her consistently warm and lustrous tone as La Muse and Nicklausse."

«Inutile de s'en cacher: la mezzo-soprano canadienne est l'une de nos favorites! La voix est magnifique, superbement colorée dans tous les registres. Elle est une artiste authentique, d'une musicalité aussi subtile que diversifiée, doublée d'une présence scénique absolument époustouflante.»

"We can't deny it: the Canadian mezzo-soprano is one of our favorites! The voice is magnificent, superbly colored in all the registers. She is an authentic artist, gifted with a subtle and rich musicality and a stupendous stage presence."

«La palme [...] de ce deuxième tour va à la mezzo-soprano canadienne Michèle LOSIER. Technique maîtrisée et musicienne accomplie, certes, mais aussi véritable actrice, qui fait de la Canzone de Henderickx [...] une petite scène d'opéra, et qui chante autant avec son corps qu'avec sa voix.  Pantalon, tunique bustier et épaules dénudées, elle mime la berceuse de Montsalvage autant que l'épée du Roméo de Bellini, elle déroule ses longs bras (en fait, pas si longs!) avec une sensualité envoûtante et pourtant, jamais, on n'a le sentiment qu'elle en fait trop.»

"The winner of this second round is undoubtedly Canadian mezzo-soprano Michèle Losier.  An accomplished musician possessing a solid technique, she is also a true actress, transforming the Henderickx’s Canzone into a small opera scene, singing as much with her body as with her voice.  Dressed in pants and a bustier leaving her shoulders bare, she mimes Montsalvage’s lullaby as much as the sword of Bellini’s Romeo, she extends her long arms (in fact, not so long!) with bewitching sensuality and yet, we never feel like she is doing too much."

"The Suzuki of the young Québécoise Michèle Losier was nothing less than a revelation: focused singing, effective acting, a winning stage presence are the harbingers of, I'd bet, a young star in the making."

"Twenty-two-year old mezzo soprano Michèle Losier was named the winner of the Prix Lyrique Français des Journées de la Musique Française [...] the McGill student won over the jury with her natural well-projected rich timbre and her earnest musicianship."