“Natasha Henry, with her seductive timbre and astonishing power at times” (Louis Bilodeau, Revue L'Opéra), is a young Quebec soprano. She is known for her warm timbre, sincere interpretations and vocal brilliance. She obtained her master's degree from the Conservatoire de musique de Montréal in 2025.
Natasha is the recipient of several awards, including the MusiquAvenir scholarship, a McAbbie Foundation Excellence Scholarship and a Fondation du Conservatoire de musique de Montréal Excellence Scholarship. She is also a recipient of the Opéra Bouffe du Québec bursary. Natasha won 1st prize at the Classival Competition. She also won the finals of the Sherbrooke and Pierre-de-Saurel Music Competitions. Her projects are supported by Jeunesses Musicales of Canada.
Natasha performs a diverse repertoire with ease. She brilliantly interprets the Baroque, art song, contemporary and operatic repertoires. She has performed the title roles in Die Zauberflöte (Pamina), Hänsel und Gretel (Gretel), La Veuve Joyeuse (Missia), Dido and Aeneas (Dido) and The Old Maid and the Thief (Laetitia). She has also performed Daughter (The Juniper Tree), Croûte-au-pot (Mesdames de la Halle) and Diane (Actéon). Natasha sang at the Salle Bourgie in autumn 2023 in the new series Mentorats et débuts : les étoiles montantes. She has worked with conductors Paul Nadler, Jacques Lacombe, Jean-Marie Zeitouni, Luc Beauséjour, Ivars Taurins and Véronique Lacroix. A guest soloist with orchestras and ensembles, she was recently heard singing Fauré's Requiem under conductor Marc Trautmann. She also appeared as soloist in Bach: les voix des anges with Ensemble Prisme, and sang as soloist in Schoenberg's Pierrot Lunaire under the direction of Véronique Lacroix. In opera, Natasha performed the role of the Statue in Rameau's Pygmalion with the Opéra du Royaume, where she sung as well as executed puppeteering. Finalist of L'Atelier Lyrique of L'Opéra de Montréal, she won the prize Étoile Stringray (audience choice) during the Gala Talent in Wilfrid-Pelletier Hall. She also received the Canadian Music Center Award Prize in Prix d'Europe Competition. Semi-finalist of the prestigious OSM Competition, Voice edition 2025, she won the Orford and Domaine Forget prize. We'll soon hear her at the prestigious Metropolitan Laffont Opera Competition.
During her career, she has worked with such masters as Hervé Niquet, Wolfgang Holzmair, Adrianne Pieczonka, Christine Schäfer, Richard Turp, Susan Platts, Nicole Car, Étienne Dupuis, Joan Dornemann, François Le Roux and Ann Monoyios.
" NATASHA HENRY DEMONSTRATED THE QUALITIES THAT QUICKLY MADE HER A NAME TO WATCH. HER ROUND TIMBRE WAS SUPPORTED BY A FLEXIBLE AND WELL-FOUNDED PROJECTION, ALLOWING HER VOICE TO STAND OUT FROM THE ORCHESTRA AT ALL TIMES. SHE MASTERED ALL HER ENTRANCES WITH EXPERTISE AND CONFIDENCE. HER DELICATELY SCULPTED FINAL AMEN PROVIDED THE PERFECT CONCLUDING TOUCH TO A PERFECTLY BALANCED FINALE. "
BÉATRICE CADRIN, LUDWIG VAN MONTRÉAL (NOVEMBER 2025)
" A NOTABLE TALENT TO WATCH : NATASHA HENRY "
CHRISTOPHE HUSS, LE DEVOIR (JULY 2025)
" WINNER OF THE AUDIENCE PRIZE, AND FOR GOOD REASON ! A SOLID TALENT WITH INTRIGUING HIGH NOTES "
ADRIAN RODRIGUEZ, LA SCENA MUSICALE (NOVEMBER 2024)
" A RISING STAR, WITHOUT A DOUBT. SHE HAS GREAT POTENTIAL IN ALL ASPECTS OF SINGING, CHARISMA AND ACTING "
JUSTIN BERNARD, LA SCENA MUSICALE (NOVEMBER 2024)
" IT WAS SOPRANO NATASHA HENRY (...) WHO WON ACCLAIM FOR HER TOUCHING INTERPRETATION OF (Allons, il le faut... Adieu, notre petite table from Massenet's Manon) "
BÉATRICE CADRIN, LUDWIG VAN MONTRÉAL (NOVEMBER 2024)
" SHE SANG MANON'S ARIA WITH GREAT MUSICALITY "
WAH KEUNG CHAN, LA SCENA MUSICALE (NOVEMBER 2024)
" IN THE ROLE OF LAETITIA, NATASHA HENRY IS AT EASE AS A FISH IN WATER, AND OFFERS A MOMENT OF SINCERE EMOTION WHEN SHE SINGS THE ARIA (What a Curse for a Woman is a Timid Man) "
ÉRIC CHAMPAGNE, REVUE L'OPÉRA (MARCH 2024)
" NATASHA HENRY'S RAVISHING GRETEL, WITH HER SEDUCTIVE TONE AND ASTONISHING POWER AT TIMES "