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Andreea Soare

Biographie

La saison 2021-2022 de la soprano franco-roumaine Andreea Soare la voit incarner à nouveau les rôles de Fiordiligi (Cosi fan Tutte) à l’Opéra de Dijon et de la Première Dame (Die Zauberflöte) au Théâtre du Capitole de Toulouse, aborder Berta (Il Barbiere di Siviglia) dans ce même théâtre puis aux Soirées lyriques de Sanxay, ou encore chanter le Stabat Mater de Dvorak avec l'Orchestre de Pau.

Passée par le CNSMD de Paris puis l’Atelier Lyrique de l’Opéra national de Paris, diplômée en musicologie à l’Université de Strasbourg, elle a obtenu de nombreuses récompenses (Prix HSBC à l’Académie Européenne de Musique Mozart/Haendel, Prix Lyriques du Cercle Carpeaux et de l’AROP, lauréate du Concours international de chant de Clermont-Ferrand, prix des « Amis du Festival d’Aix-en-Provence »).
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Soare’s Dominating Performance Nor can the fault for the work’s inability to create a positive impression be attributed to the singers, who all produced strong performances. The opera is dominated by the role of Olga, who is rarely off the stage and is at the centre of almost all of the major dramatic incidents. It is both an emotionally and technically demanding role, for which soprano Andreea Soare proved herself more than up to the task. By turn, she was loving, feisty, assertive and desperate; the emotions poured out to produce a breathtaking, compelling performance. Her voice is wonderfully secure, able to move with an impressive degree of flexibility across the range, seamlessly incorporating leaps and intricate chromatic passages into the line, and able to push forcefully into her upper register without any sense of vocal anxiety. It is also a lyrically appealing voice that allows her to spin out long lines of intense beauty. Time and time again, it was the expressivity of her singing, in which she delved deeply into Olga’s strongly felt emotions that caught the attention. Her confrontation with de Ruys was so intensely expressed that one assumed she was about to become physically violent. When begging Serge not to assassinate the Grand Duc, her pain and fears were seared into her voice. And on realizing that Serge is dead, in the final scene, she suffers an emotional overload and descends into madness, for which she enveloped her voice with her suffering, despair and anxieties. It would be no exaggeration to say that she single-handedly raised the performance of “L’Aube Rouge” to a higher level.

Alan Neilson - OperaWire


Contact

Andreea Soare est représentée par l'agence RSB Artists .

General Management - Agence artistique
RSB Artists
8 Grande rue, 69340 Francheville, France
Téléphone: +33 6 747 617 97
Email: rsbweb[at]rsbartists.com

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