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Profile reviews (4)

20 November 2016NDREW CLARK, FINANCIAL TIMES, 22 JULY 2012
"The other seriously impressive contribution came from Madeleine Pierard: whether singing or not, she communicated temperament, style and personality, and her ample, flexible soprano has a spark." (Il Viaggio a Reims - The Royal Opera)
20 November 2016RIchard Morrison, The Times, 7 November 2016
Pierard’s performance was mesmerising: on top of Schoenberg’s fiendish vocal challenges, and with every facial and body movement signalling a different micro-facet of inner turmoil.
20 November 2016Rupert Christiansen, The Telegraph 17 July 2015
"In the title role Madeleine Pierard sang with a lovely sheen and brought allure to the one showpiece aria, 'Depuis le jour'" (Louise, Buxton Festival/Stephen Barlow, July 2015
14 July 2016theoperacritic.comMichael Hooper
"Violetta herself is wonderfully cast and superbly executed. Madeleine Pierard brings not only coloratura but dramatic soprano skills, running, lighting and shading with ease, adding an earthy, chocolatey texture.. Pierard glides effortlessly through the notes, displaying spectacular breath control."

Production reviews (1)

13 Sep - 11 Oct 2016
Royal Opera House10 Performances
The Royal Opera House hosts an utterly triumphant revival of Moshe Leiser and Patrice Caurier’s production of Gioachino Rossini and Cesare Sterbini’s classic opera Il barbiere di Siviglia (the barber of Seville to us mere mortals). It is an animatedly dynamic production full of fun, smiles and laughter.With a good choice of eccentric characters, a love match, in which we are invested, all amplified in the excitement of the huge time pressures of the piece, it is little wonder that the entire first half ends up culminating into a monumentally spectacular climax, helped hugely by the most incredible set flourishes from Christian Fenouillat.Vito Priante is glorious as the title role of the barber, Figaro. Both his tone and visual projection are magnificent and his humour and cheek is superb. Javier Camarena makes a glorious debut at the Royal Opera House as the Count, reviving the role he previously sung for the Metropolitan Opera in New York. His voice is almost unearthly, and with a residual power that resonates around the whole hall – it was stunning, stunning work. Daniela Mack again makes her debut at the Royal Opera House and is charming, cheeky and astute in her role of Rosina. It is another transfixing and powerful vocal delivery, made seamlessly and effortlessly by this exceptionally talented young woman.It was a delightful evening of joy, laughter, surprises and so importantly spectacular music and drama. The atmosphere was electric and the orchestra, incredibly conducted by Henrik Nánási was simply perfection. Whether you are a first time opera viewer or a seasoned professional this is not a production to miss. It is a classic done wonderfully and I would question anyone who might say, with sincerity, that they did not enjoy it.