Gounod : La Nonne sanglante

« The Agnès is the superb Vannina Santoni, whose voice can run the gamut from the smoothest silk to spine-chilling outpourings. Santoni debuted as Donna Anna in both Italy and at Versailles. Santoni’s voice soars over ensembles gloriously (the conclusion of the first act a case in point).

Over all of this there is a compulsive power that runs from first to last. To immerse oneself in this wold is to be completely gripped, and enraptured. Insula Orchestra’s contributions of the waltz at the opening of the third act are light, frothy and delicious. » – MUSIC WEB INTERNATIONAL

« Michael Spyres—the go-to French tenor du jour—is perfect casting as Rodolphe; his ability to slip from heroic chest into a head mix is miraculous. His aria beseeching the nun’s blessing, “Du Seigneur, pâle fiancée,” and the optimistic “Un jour plus pur” are sung with ardency and—more important—dramatic intelligence. Vannina Santoni is a radiant Agnès with an exciting top. As the titular nun, Marion Lebègue has fake eyeballs, and she’s not afraid to use them. Fortunately, she also has a warm mezzo and a winning stage presence. Jodie Devos almost steals the show as Rodolphe’s squire. This cheeky chappie seems to have wandered in from the Bouffes-Parisiens next door, but with her bright soprano and razor-sharp diction, Devos nails a pair of upbeat arias. André Heyboer and Jean Teitgen do sterling duty as Rodolphe’s father and the hermit, respectively. » – OPERA NEWS

« Every singer except Michael Spyres is French, and his pronunciation is quite good as well. Better yet, every single voice, down to the smallest comprimario roles, is a pleasure to hear: clear, steady, elegant, pleasant in timbre, in tune, and on the beat. To observe that Spyres and Santoni strain a bit on a couple of stratospheric high notes is the closest thing to a tiny nit that I have to pick. Spyres, a now well-established figure in Rossini bel canto, is likewise in his element here.

Laurence Equilbey is in full command from the podium of all her forces, leading with energy and grace, and the orchestra and chorus are in stellar form. » – FANFARE

« Jodie Devos makes a charming page, and Jérôme Boutillier, who learnt the part in 48 hours, is eloquent in Luddorf’s remorseful aria, ‘De mes fureurs deplorable victime’. The real weight of the action falls on the shoulders of Rodolphe. Michael Spyres is first-rate: assertive in ‘Du Seigneur, pale fiancée’, lyrical in ‘Un jour plus pur’, he sings throughout with generous, openthroated tone. And Laurence Equilbey conducts her choral and orchestral forces with passion. » – GRAMOPHONE