Revisões de produção anteriores
2To the song of this country, she is what the stars of the "French quality" cinema of the 1940s and 1950s were: an elongated beauty, an elegance, at the same time vocal, dramatic and physical, which one would be wrong to confine to the registers of the femme fatale, or marked by a fatal fate assumed with nobility. "Tragédiennes", the discographic trilogy of Lully in Saint-Saëns with Christophe Rousset, it is her, for eternity. Who will ever join her on Olympus where she hoisted the “Sad Preparations” of Castor and Pollux ? The versatility of the artist, however, is immense. Mozart from his beginnings, and on the biggest stages, to Vienna where his Countess of the Marriage of Figaroentered the legend of the Staatsoper - as in that of Aix, where she was to return this summer in Fiordiligi. And the melody, the French romantic opera, genres so long shunned, where the subtleties of its timbre, its musicality, its spirit work wonders. Intrepid decipherer of forgotten scores, she proudly brandishes the banner of that time rediscovered with “Nuits”, her new recital of melodies with string quartet and piano which appears by Alpha.
Para el final, y expresamente, hay que citar al más que interesante Masetto del barítono Josep-Ramon Olivé y a la soprano Leonor Bonilla como Zerlina, quien fue de menos a más para acabar deslumbrando con una voz de gran calidad, muy cuidada línea canora y perfecta adecuación al rol.
