Marie-Nicole Lemieux victime de sa somptuosité à Genève

By Thomas Muller, 29 October 2017

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“le timbre est d’or, les graves abyssaux, les aigus d’une insolente vigueur”

Reviewed at L'Opéra des Nations, Geneva on 28 October 2017

Works by Schumann

Works by Schubert

Works by Beethoven

Works by Wolf

Works by Chausson

Works by Fauré

Works by Charpentier

Works by Debussy

Works by Déodat de Séverac

Works by Mendelssohn

Marie-Nicole Lemieux, Contralto

Roger Vignoles, Piano

From the sublime to the surreal: Louise Alder returns to Wigmore Hall

Kevin W Ng, 9th October

Louise Alder and Roger Vignoles offer French charm in their return to Wigmore Hall.

****1

Nicky Spence and Roger Vignoles: a rapturous seasonal concert

Mark Valencia, 28th December

The tone was set for a shrewdly programmed hour of contrasts.

*****

Elizabeth Watts braves the flu in Amsterdam

Jenny Camilleri, 4th October

Soprano Elizabeth Watts brought tonal richness and energy to an evening of French song with texts by Théophile Gautier, but her expressive arsenal was diminished by a bout of flu.

***11

Alek Shrader - a mysterious Wigmore debut

Louise Flind, 26th September

Alek Shrader's Wigmore Hall debut was thrilling, touching, charming and mysterious.

***11

Repressed passions, Russian melancholy

Mark Pullinger, 11th December

Poise, control, stillness. Within two minutes of her Wigmore Hall debut, the qualities that make Elīna Garanča a consummate Lieder recitalist were evident.

****1

Dynamic and fun-packed Mamelles de Tirésias

Nicolas Nguyen, 25th November

Dutch National Opera performs Poulenc’s first opera, Les mamelles de Tirésias, as a project of the company’s talent development program... a fun occasion to witness the much lighter “voyou” side of the French composer.

***11

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Thomas Muller

Podologue spécialisé en Education Thérapeutique du Patient et Diabétologie, chanteur, administrateur de choeur, fondateur d'orchestre et ancien hautboïste amateur, Thomas est passionné de musique et particulièrement vocale. Toujours sensible aux timbres des orchestres et de la capacité des musiciens de développer un chant musical qui provoque chez l'auditeur une émotion vraie, en dehors de tout intellectualisme.