A notre avis, et à l’applaudimètre, Yannick-Muriel Noah a marqué la soirée ; elle a la carrure et la voix d’une « grande », qui peut tout se permettre : la délicatesse des aigus, la souplesse du vibrato, la puissance des notes tenues (que de nuances dans son interprétation d’Anna du Don Giovanni, « Or sai chi l’onore… » !)… et le sourire d’une artiste pour qui le chant est comme une seconde nature.

Golden sound, great intonation, rectitude in Mendelssohn’s Elijah, melting lyricism in Janacek’s Jenufa, forthright emotion in Puccini’s Vissi d’arte, deep psychology in Verdi’s Ritorna vincitor -- this gal left little to be desired.
—The Montreal Gazette

Highlights of the afternoon included [...] “Ritorna vincitor” from “Aida” sung with dramatic flair by Yannick-Muriel Noah, a soprano.
—The New York Times

She has a voice roughly the size of the Pacific Ocean, and an even bigger talent. Her instrument is dark, rich, and ultra-concentrated, and she delivered with all-or-nothing intensity.
—The Vancouver Sun

Yannick-Muriel Noah was radiant
—National Post

The evening ended with arias by Korngold, Verdi and Lehar sung by the golden-voiced soprano Yannick-Muriel Noah. Her rendition of Maria’s aria from Korngold’s Die Tote Stadt was lovely, but O patria mia from Verdi’s Aida was even better.
—Ottawa Citizen

…Richard Strauss’ Four Last Songs, one of the pinnacles of any singer’s art. Noah made Strauss’ marathon phrases and acrobatic leaps between registers seem like a stroll in a garden. She sang with a luxurious, ecstatic palette, and in the final two songs she achieved a kind of glassy, hushed effect, echoing the far-o birdsong in the instrumental accompaniment.
—Ottawa Citizen