Soprano Nathalie Paulin debuted with Pacific Opera Victoria in 1998 as Oscar in A Masked Ball. She returned to play Najade in Ariadne auf Naxos (1999), Arowhena/Old Lady in Erewhon (2000), Ariel in The Tempest (2004), and the title role in Handel's Semele (2009). In November 2010 she makes her role debut in the title role in Handel's Rodelinda.
Nathalie Paulin has established herself in the United States, Canada, Europe and the Far East as an interpretive artist of the very first rank. Winner of a Dora Mavor Moore Award for Outstanding Opera Performance, she has collaborated with internationally renowned conductors including Jane Glover, Yannick Nézet-Séguin, Antony Walker, Sir Roger Norrington, Andrew Parrott, Jonathan Darlington, Hervé Niquet, David Agler, Richard Bradshaw, Bernard Labadie, Mario Bernardi, Graeme Jenkins, Andrew Litton and Yoav Talmi on both the concert platform and in opera.
Ms. Paulin debuted for L'Opéra de Montréal as Mélisande in Pelléas et Mélisande and for Chicago Opera Theater as Galatea in Acis and Galatea. She was re-engaged by Chicago Opera Theater for the title role in Semele and for Mary in La Resurrezione, both by Handel. She has also been heard as Constance in Dialogues des carmélites for Calgary Opera, Zerlina in Don Giovanni for L'Opéra de Québec, and Susanna in Le nozze di Figaro for Cincinnati Opera. The Dallas Opera featured her in Carmen and The Cunning Little Vixen.
In the summer of 2010, Ms. Paulin made her Rotterdam Philharmonic debut in L'enfant prodigue with Yannick Nézet Séguin, who was also her conductor for Mahler's Symphony No. 8 at the National Arts Centre in Ottawa and Place des Arts in Montreal. She was featured in the Elora Festival's Beethoven Mass in C with Noel Edison and began the fall season as Susanna in Le nozze di Figaro for Opera Hamilton, followed immediately by the title role in Rodelinda for Pacific Opera Victoria. Highlights of her concert schedule include Messiah in Portland and Trois Rivières, Bach's Wedding Cantata and Mozart's Exsultate Jubilate for the Victoria Symphony and a French programme for Toronto's Aldeburgh Connection.
Summer activities in 2009 included a number of events built around the Congrès Mondiale d'Acadien in Nova Scotia and New Brunswick. Further into the season, she sang the title role in Massenet's Manon for Calgary Opera and reprised the role for Opera Lyra Ottawa. She rounded out her fall with Messiah for the Brott-McGill Chamber Orchestra. The balance of the season was an exciting lineup including Haydn's Die Jahreszeiten for the Calgary Philharmonic (Taurins), performances for Opera Lafayette in Washington DC and New York (Les arts florissants and Armide), Messiah in Montreal, and works of Graupner for Les idées heureuses.
The 2008-2009 season was notable for her Atlanta Symphony debut in Mozart's Requiem, return engagements with Boston's Handel and Haydn Society conducted by Roger Norrington, and Washington Concert Opera concerts with Stephanie Blythe. Also on her schedule were Semele for Pacific Opera Victoria, Handel's Hercules with Chicago's Music of the Baroque, Mahler's Symphony # 4 with Somerville and the Hamilton Philharmonic as well as concerts with the Fredericton Chamber Music Festival, Ottawa Chamber Music Festival, Scotia Festival (Mahler # 2) and the CBC Vancouver Radio Orchestra.
Her 2007-2008 season began with Don Carlos (Thibault) for the Canadian Opera Company, followed by Die Lustige Witwe (Valencienne) for the Dallas Opera and Die Zauberflöte (Pamina) for Arizona Opera. Further engagements included debuts with the Phoenix Symphony, and return engagements with the Arion Ensemble of Montreal and the Laval Symphony.
In 2006-2007 Ms. Paulin's schedule included Handel's Orlando for Washington Concert Opera, Weihnachtsoratorium for the Toronto Bach Consort conducted by Jane Glover, Pamina in Die Zauberflöte for Vancouver Opera, Micaëla in Carmen for Calgary Opera, Poulenc's Gloria for L'Orchestre Métropolitain du Grand Montréal and Peer Gynt for L'Orchestre symphonique de Québec. For the Brooklyn Philharmonic, she was featured in Gorecki's Symphony No. 3 and Mozart's Exsultate jubilate and returned to Cincinnati for Despina in Così fan tutte.
Her 2005-2006 season included Constance in Dialogues des carmélites and Zerlina in Don Giovanni (Vancouver Opera), Micaëla in Carmen (L'Opéra de Québec), the title role in Semele for Arizona Opera and Laoula in L'étoile and Antonia in Les contes d'Hoffmann (Cincinnati Opera). These were balanced by Messiah for the Toronto Symphony, Orchestra London and the Elora Festival Singers as well as Mozart's Requiem for the Calgary Philharmonic and Bach's Mass in b minor for the Thunder Bay Symphony.
Notable debuts for 2004–2005 included her first appearance in New York City when she was featured in a Handel programme for the New York Collegium. Ms. Paulin's Dora Award was for her portrayal of Belinda in Opera Atelier's production of Dido and Aeneas. Also on her schedule were Leila in Les pêcheurs de perles for Festival Vancouver, Antigone in Sacchini's Oedipe à Colone for Washington D.C.'s Opera Lafayette and Norina in Don Pasquale for L'Opéra de Montréal. On the concert stage, her schedule called for Mendelssohn's Lobgesang with L'Orchestre symphonique de Québec, Poulenc's Gloria with the Spokane Symphony and the works of Bach, Pergolesi and Vivaldi with the Calgary and Edmonton symphonies. On the festival circuit for 2005, Ms. Paulin was heard in Berlin, Montreal and Vancouver in Caldara's La Conversione di Clodoveo, Rè di Francia, in Scarlatti's Stabat Mater for the Elora Festival and at Lamèque for Handel's Laudate Pueri and Ode to Saint Cecilia.
She began her 2003-2004 season with Festival Vancouver as Mélisande in Pelléas et Mélisande co-produced with Vancouver Opera. Of her role debut as Massenet's Manon for l'Opéra de Québec, critics noted: Mlle. Paulin brought great refinement to her creation of the title role and one senses she has prepared in great depth. She brings a beautiful, flowing line to the part and plays Manon with taste and a measure of intelligence, making the character utterly believable. The fascinating transformation from the shy, youthful exuberance of the first act to the agonizingly devastated woman in the final act is a terrible – and gripping! – sight. (Richard Boisvert, Le Soleil, Québec City). Hoiby's The Tempest for Pacific Opera Victoria and a French production of The Merry Widow were also on her busy schedule. She was in Chicago for Bach's Mass in b minor with Music of the Baroque and at the National Arts Centre in Ottawa for Messiah. Other roles include Adina in L'elisir d'amore, Despina in Così fan tutte, Oscar in Un ballo in maschera, Andromède in Lully's Persée and Héro in Béatrice et Bénédict.
Further credits include the Montreal Symphony, the St. Lawrence Choir, Les Idées Heureuses, the Aldeburgh Connection, Ottawa Choral Society, and she has toured Europe as a recitalist. Frequently heard on both the French and English CBC networks, she is a past winner of the Montréal Symphony Competition and holds a Master's Degree from the University of Montréal. She won the Dvorak prize and has also received awards and prizes from the George London Foundation in New York, the Young Mozart Singers' Competition in Toronto and the Canadian Music Competition.
Paulin, constantly flitting about the periphery of the action, was a theatrical and vocal tour de force, her quicksilver stage movements paralleled by her light, agile soprano voice. She certainly stole the show.
Robert Jordan, Opera Canada, review of Pacific Opera Victoria's The Tempest
Nathalie Paulin ... sang ... with sensuality and spirit, sailing through pages of ornate coloratura accurately and musically.
John von Rhein, Chicago Tribune
Paulin's lyric soprano is high, pure and strong. She appears supremely comfortable in the upper register but the voice is also secure and velvety in mid-range. Best of all, however, she sings with heart and commitment, whatever the material.
Robert Crew, Toronto Star
Nathalie Paulin and Stephen Costello perform in the 2007 Dallas Opera production of The Merry Widow.