Since her debut on Avenue Montaigne in La Périchole in 2022, the mezzo has been a faithful member of the audience… Who has entrusted her with two major roles this season.
LE FIGARO. – What does the Théâtre des Champs-Élysées represent in your career as a singer?
How do you approach these two roles?
Charlotte has been a dream for a very long time. I remember singing the “air des lettres” during one of my very last master’s recitals, when I was still a student. At the end, Malcolm Walker, a professor at the CNSM in Paris, offered me Werther’s score and said: “One day, you will sing this opera, and then I will be in the audience.” I just wrote to him to tell him that this day had come! I am delighted that this is happening in such ideal conditions, in such a welcoming room and with a singer who for me is one of the best Werthers of the moment: Benjamin Bernheim. As for Octavian, it’s also a dream for any self-respecting mezzo. Even if I know this role is much further from my world than that of Charlotte, who remains close to Carmen. It will be a lot of work, but that doesn’t scare me!
Carmen, you sang it for the first time in concert at the Théâtre des Champs-Élysées, in fact. What does this character remind you of?
It’s the richest role I’ve sung. I’m still in the thick of it, as I’m making my debut in the role, this time on stage, in a few days in Zurich, and I already know that I’ll be singing it at least once a year from now on and for a long time. bunch of years. Vocally, it’s great! But physically, emotionally, it’s also a perfect role for me, and the more I approach it, the more new things I rediscover.
