“Lucia Cesaroni’s wonderfully flexible soprano and Mia Lennox-Williams’ burnished mezzo commanded our sympathies completely as Anne Trulove and Baba respectively, two women wronged by Tom in different ways.”
Ian Cochrane, Monday Magazine (The Rake's Progress)
“..her delivery of spoken lines was delectable, revealing a mix of both hauteur and vulnerability.”
Concerto.net, Michael Johnson (Earnest: The Importance of Being)
“Hamilton mezzo-soprano Mia Lennox-Williams communicated her texts with intelligence.”
Hamilton Spectator, Leonard Turnevicius (Messiah)
“I was much taken with Mia Lennox-Williams’ dark, velvety alto. She did not spit out He Was Despised in anger but floated on what seemed an infinite sea of gentle, profound sorrow which she communicated brilliantly.”
Hugh Fraser, Hamilton (Messiah)
“Lennox-Williams’ sonorous, agile mezzo negotiated Mozart’s florid melodic lines with apparent effortlessness.”
Robert Jordan, Opera Canada (Idomeneo)
“Mezzo-soprano Mia Lennox-Williams as his son Idamante delivered a winning performance vocally and dramatically. Trouser roles are always hard to pull off, but Ms. Lennox-Williams did so with reserves to spare.”
JH Stape, Review Vancouver (Idomeneo)
“Mia Lennox-Williams, in the trouser role of Idamante is physically ideal in the part…her fine mezzo soprano is rich and pleasing. Clearly this singer has a wonderful career ahead of her.”
Grania Litwin, Victoria Time Colonist (Idomeneo)
“The comic roles of the father and the two stepsisters (Cheryl Hickman and Mia Lennox-Williams) were also well sung and acted. The antics of the sisters made for very good comedy indeed, and the singing of both parts was pert and attractive.”
Kenneth DeLong, Calgary Herald (La Cenerentola )
“…the dark mezzo-soprano of Mia Lennox-Williams was an apt vocal match for the venerable nurse Bianca…”
Robert Jordan, Opera Canada (Rape of Lucretia)
“… and Mia Lennox-Williams’s dark mezzo was a nice fit for the nurse, Bianca, though she looked far too young and gamine-jointed to be referring to her mistress as “my child.””
Elissa Poole, Globe and Mail (Rape of Lucretia)
“If too young for the part of an old woman, Mia Lennox-Williams makes the most of Bianca, Lucretia’s caring serving maid.”
JH Stape, Review Vancouver (Rape of Lucretia)
“Dramatically, Mia Lennox steals the show in the role of Mistress Quickly. She has great stage presence, and her physical comedy is nothing short of hilarious.”
Jerry West, Daily News (Falstaff)
“Et j’affirme ici sans crainte que la mezzo Mia Lennox campe une sorcière tout à fait idéale, tant par un magnifique timbre vocal et une grande versatilité, que par un jeu scénique des plus convaincant, souvent empreint de touches tragi-comiques.”
Roger Cormier, L’Acadie Nouvelle (Hansel und Gretel, with the Atelier Lyrique de L’Opéra de Montréal)
“Very good:…the mother, played by Canadian Mia Lennox, with great dramatic expression.”
Frank Piontek, Bayreuth Zietung (Hansel und Gretel with Deutsche-Franzosichen Forum Junger Kunst)
“Fortunately, mezzo Mia Lennox brought powerfully impressive pipes to the four songs, with flashy flamboyance and beguiling tone indicating huge potential for the future…”
Geoff Chapman, Toronto Star (with Talisker Players, world premiere of Alexander Rapoport’s Northscapes)
“(Betsy Jola’s “Caprice à Deux Voix) was delightfully sung (and played) by Amelia Watkins and Mia Lennox.”
Richard Dyer, Boston Globe (Tanglewood Music Center, Contemporary Music Week)
“As Oberon…Mia Lennox was vocally and dramatically more convincing as an androgynous, imperious King of Faries.”
Paul Baker, Opera Canada (A Midsummer Night’s Dream)