"His ability to navigate Handel’s daunting passagework with uncanny precision while sustaining his massive sound might be one of the seven wonders of the modern opera world."

-- San Diego Story

As Alwan, Mischa Bouvier is authoritative and grand, with a soothing, cavernous baritone that can soar to heights of lyric beauty - OPERA NEWS

Mischa Bouvier’s immensely sympathetic, soulful voice lent uncommon depth to the aria “Komm, süßes Kreuz, so will ich sagen” as well as to everything else he sang. It’s easy to see why this presumably young artist won awards in four competitions in 2009–2010; his rare vocal and interpretive gifts all but ensure many major solo turns in the years ahead. May he and Copeland return frequently, and not just in Baroque music - SAN FRANCISCO CLASSICAL VOICE

Bouvier, a baritone with a rich timbre and a fine sense of line, brought considerable character to songs by Brahms and Paul Bowles - NEW YORK TIMES

The vocal soloists also were outstanding… Mischa Bouvier was a delight to encounter for the first time. He possesses a powerful bass voice, its dark colors strongly projected throughout the entire range, which he uses with intelligence and commitment - PITTSBURGH TRIBUNE-REVIEW

a young American baritone with an extraordinary and varied background for his years - SAN FRANCISCO CLASSICAL VOICE

He certainly possesses the vocal prowess necessary for this demanding role [of Apollo], with grace and agility in high passages, and a rich, sonorous lower range… The soloist’s agility was on full display here, as he engaged in some athletic interchanges with traverso player Sandra Miller in “Laß, o Welt, mich aus Verachtung” (from BWV 123) and “Doch weichet, ihr tollen, vergeblichen Sorgen” (from BWV 8). Even faster and more furious was “Das Brausen von den rauhen Winden” (from BWV 92), with a romping bass line deftly handled by cellist William Skeen. In these pieces, all the musicians were clearly having a great time, and the performances showed Bouvier’s greatest assets: remarkable technical facility and precision. Had an instrumental movement been interspersed, or something contrasting and slow, both Bouvier and the audience might have had a chance to breathe. But I suppose that the feat of endurance the singer undertook was a statement in itself. Bouvier has chops - SAN FRANCISCO CLASSICAL VOICE

Bouvier brought off this difficult passage in brilliant form - BERKELEY DAILY PLANET

The Helicon Ensemble performance was graced with an excellent cast of singers... Baritone Mischa Bouvier has a warm and flexible voice that served him well in the lesser role of Lucifer. He performed the challenging chromatic aspects of his recitative “Qual insolita luce” with aplomb, effectively conveyed Lucifer’s violent arrogance in the aria “Caddi è ver,” and finely captured the pitiful surrender yet smoldering defiance in Act II’s “Per celare il nuovo scorno” - OPERA NEWS

The baritone Mischa Bouvier sang with dignified solidity, though Mr. Fairouz’s instrumental accompaniments in these songs are more intriguing and colorful than his rather staid vocal lines - NEW YORK TIMES

Bouvier was impressive as Pilate and in the bass arias - NEW YORK TIMES

The opening set included selections from Platt’s “Paul Muldoon Songs,” settings of poetry begun in 1992, with some completed in 2002. Mischa Bouvier, whom I last heard in Mohammed Fairouz’ “Sumeida’s Song,” had a very different row to hoe, as his beautiful tone illuminated diverse selections, such as “Cuba,” that included musical piano quotes that painted their own pictures under Thomas Sauer’s talented hands, even as Bouvier’s voice colored Muldoon’s words. Bouvier’s voice truly shone in the final selection, “The Avenue,” where the full impact of the end of a relationship is now able to be charted, as it has fallen apart - [Q]ONSTAGE

Bass soloist Mischa Bouvier negotiated some unusually florid vocal lines for bass with ease and composure… Bouvier's singing in the air, "The people that walked in darkness have seen a great light," was solemn and distinguished - CINCINNATI ENQUIRER

young, suave, and assured - TOWN TOPICS

That piece followed Mr. Fairouz’s warmly sympathetic 2010 setting of the Borges poem “The Poet Declares His Renown” for baritone (the excellent Mischa Bouvier) and string quartet, with Ms. Watstein and Mr. Katz joined by the violinist Michelle Ross and the violist Mary Sang-Hyun Yong - NEW YORK TIMES

Bass Mischa Bouvier, a Birmingham-area native whose career is climbing, gave powerful and measured performances in several airs, nailing each melisma with pinpoint accuracy while keeping a firm pace with Stubbs’ sometimes demanding tempos - BIRMINGHAM NEWS

Bass Mischa Bouvier brought gravitas to the part of Polyphemus, but also captured the exaggerated humor of the role. Sixteenth notes rumbled out effortlessly and his sustained tones had an appropriate force suggestive of a giant. - SAN DIEGO UNION TRIBUNE

Baritone Mischa Bouvier was vocally and dramatically larger than life as the bumbling giant and murderous monstrosity that Polyphemus is - SAN FRANCISCO CLASSICAL VOICE

I particularly admired bass Mischa Bouvier’s rich, solemn timbre and the ease with which he negotiated his lines - SANDIEGO.COM

Given a world premiere, Charles Fussell’s ‘Venture’ (2000) is a setting of four poems by Toni Mergentine Levi for baritone and piano. Luminously sung by Mischa Bouvier, the songs ventured compellingly into mystery even when being whimsical - BERKSHIRE EAGLE

La Resurrezione pivots on two points of dramatic tension: a heated debate between the angel narrator, Angelo, and Satan, called Lucifero, and the anxiety of the women going to the tomb of Jesus on Easter morning. As Lucifero, Mischa Bouvier used his vigorous, penetrating bass to give his character’s strident declamation and virulent fioritura a deliciously fearsome edge - SAN DIEGO STORY

Bouvier’s rich timbres were a treat throughout “The trumpet shall sound” - SAN JOSE MERCURY NEWS

Tout d’abord sur la douce musique de Rangström, la mélodie Sorg och glädje est impeccablement interprétée par le baryton Mischa Bouvier avec Bernt Wilhelmsson au piano - MUSIC & OPERA

Paul Bowles’ Blue Mountain Ballads are some of the most moving American songs around. Program annotator, Sandra Hyslop, zeroed in on the fact that the Bowles’ songs “suggest the atmosphere and culture of the playwright’s rural south.” In Mischa Bouvier’s rich baritone voice, the words of Tennessee Williams found that South, albeit in a somewhat cosmopolitan cloak. Four Charles Ives songs also were absolutely welcome fare on this program. “The Circus Band,” “Tom Sails Away,” and “Memories” are the less often heard, “The Cage” being more familiar. Again, Bouvier adapted his refined artistry—this time to back home Americana yielding a musical fusion of sorts. Between the Americans came “In the Silence of the Secret Night” of Sergei Rachmaninoff. Its Russian atmosphere, its culture and Bouvier were an even better match. Accompanist Yegor Shevtsov played more than a supporting role recognizing music’s outbreaks of loveliness as well as tension. He also sees in detail - BOSTON MUSICAL INTELLIGENCER

the three excellent soloists were Jennifer Zetlan, John Matthew Myers and Mischa Bouvier - OPERA NEWS

Her cheerful and dexterous vocals came through as a defiant counterpoint to Lucifer, as played by the baritone Mischa Bouvier. The two shared a booming duet (Woe is me! Have I heard aright?) in the second act that was especially forceful and memorable. It’s funny that Handel would include Lucifer in the final celebratory chorus (Let Praise be given in Heaven and Earth) but Bouvier’s fiery baritone was certainly welcome - CHICAGO CLASSICAL REVIEW

Mischa Bouvier, as the cyclops Polyphemus, was convincingly powerful and terrifying. His voice reached unbelievably deep notes with ease - THE DAILY CALIFORNIAN

Vocal works by Schütz, Buxtehude and Franz Tunder provided general atmosphere rather than specific comparisons, and a lively instrumental piece by Samuel Scheidt filled out the lovely program. Most notable among the vocalists were the two sopranos — Jolle Greenleaf, Tenet’s artistic director, and Molly Quinn — and the bass, Mischa Bouvier - NEW YORK TIMES

Bouvier had great presence and drama - ARTS FUSE

When Mischa Bouvier thundered Jehovah’s threat to “shake the heavens and the earth” with his opulent, virile baritone, I suspected even atheists in the audience began to worry. His ability to navigate Handel’s daunting passagework with uncanny precision while sustaining his massive sound might be one of the seven wonders of the modern opera world - SAN DIEGO STORY

La actuación del tenor Aaron Sheehan como el Evangelista, quien en sus recitativos como narrador forma el armazón de la obra, junto la del barítono Mischa Bouvier en la voz de Jesús, fueron sobresalientes. Sin espacio para relatar todos los momentos de esta mágica interpretación - EL NUEVO DIA

Bouvier’s burnished, virile basso as Pilate gave this character great depth - SANDIEGO.COM

The soloists, who were in excellent form, were bright-voiced soprano Mary Wilson and the bass Mischa Bouvier... Bouvier's voice has a very appealing timbre, warm and robust, and so hearing the Bach cantata arias was a real pleasure - EXOTIC AND IRRATIONAL ENTERTAINMENT

Baritone Mischa Bouvier leant the part a rich, commanding voiceOPERA WEST

Could anyone ask for more from Mischa Bouvier as Polyphemus? His robust, muscular, yet remarkably defined baritone could shift from fervent wooing to fearsome threat in a nanosecond. And he conveyed an apt menacing undertone to his virtuoso aria “O ruddier than the cherry,” an aspect rarely encountered when this solo is excerpted for a vocal recital. - SAN DIEGO STORY

All three singers — Vira Slywotzky, soprano; Scott Murphree, tenor and Mischa Bouvier, baritone — brought healthy voices and unquestionable commitment to the material - OPERA NEWS

Adam Sattley as Jacob Schmidt, Alex Richardson as Fatty the Bookkeeper, Evan M. Boyer as Alaska Wolf Joe and Mischa Bouvier as Moneybags Billy all did solid work - NEW YORK TIMES

We enjoyed Mr. Bouvier's performance of "Nun wandre, Maria" in which Hugo Wolf's gorgeous writing for piano was given an excellent performance by Mr. Wenaus... Heinrich Heine's text was translated into Norwegian and set by Edvard Grieg with haunting intervals of fifths-- beautifully sung by Mr. Bouvier... - VOCE DI MECHE