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Resounding success for Carmen Solís in Manon Lescaut and La vida breve
February 28th, 2024 |
After the first performances of Manon Lescaut, on 21, 23 and 25 February in Sabadell, the press has echoed the great work of soprano Carmen Solís. Thus, in media such as Scherzo it can be read that:
"...from the first phrases of the more conversational singing of the first act it was clear that she is a soprano of breed, full spinto, capable of modulating her large instrument from a well-controlled volume to some exquisitely crafted pianissimos. [...] A voice with a morbid centre, sensual bass and firm treble, she dominated the character with phrasing that reached its climax in her moving final phrase "Le mie colpe travolgerà l'oblio ma l'amor mio... non muor".
Likewise, La Vanguardia has also reported in its pages on Carmen Solís's solvency and good work:
"The soprano from Extremadura, Carmen Solís, made her debut in the title role, singing with great skill, elegance in her phrasing, fine emission and an ever-present projection of pearly timbre sonorities. [...], the Extremadura-born singer demonstrated vocal maturity and stylistic suitability for a role that will grow performance after performance".
On the other hand, and on the occasion of the concert in which the soprano from Extremadura performed Salud from La Vida Breve at the Teatro Monumental, various media have highlighted her excellent work.
Thus, Codalario reports on Carmen's excellent work on stage:
"Carmen Solís is a singer who specialises in suffering roles - Butterfly, Tosca, Nedda, la Dolores, Reyes (protagonist of Entre Sevilla y Triana), etc. - so it is not surprising that the character of Salud, who is madly in love and dies for the well-to-do Paco, shone in her singing, in her lyricism and expressiveness, thanks to her ability to bring to the surface the depths of her sentimental involvement, a compendium of anguish, pain, hopeful love and abrupt death.
The role of Salud is tough because she hardly ever leaves the stage, and although it is a concert version, she has to deal with different moments and romanzas in changing tessituras and with dense orchestration. Solís was able to cope with these contouring conditions and manage all the dramatic moments using her resources in the skilful handling of her lyric soprano technique and attention to dynamics. Her singing line pleased us, above all, in the passage "Vivan los que ríen", which already enjoys a life of its own as a separate piece in many concerts".
Similarly, Ópera Actual writes:
"Carmen Solís was also at a high level, and with a generous flow she managed to ensure that the orchestra did not cover her singing without opening up any notes; her Salud remained in perpetual anguish, stirred by undercurrents exposed by the music Falla chose to accompany her. There was foreboding and tragedy from the first moment, and Solís's singing style, with careful phrasing and nuanced searching, allowed that sense of helplessness not to remain sentimental."
And in Beckmesser we can read:
"The cast was headed by Carmen Solís, who drew a devoted Salud, with palpable anguish with and without her lover and an intensity that is explained from the perspective of a character who lives by, for and from love. With a generous emission and beautiful phrasing, she knew not to fall into sentimentality and to impose herself on the orchestra, whose uncovered sound was quite voluminous".
While Opera World magazine has highlighted the following:
"[...] soprano Carmen Solís in the role of the gitanilla Salud. Together with mezzo-soprano Cristina Faus, both carried the weight of the work. Well matched and endowed with dramatic colours, the vocal lines of these two singers were impeccable".
"...from the first phrases of the more conversational singing of the first act it was clear that she is a soprano of breed, full spinto, capable of modulating her large instrument from a well-controlled volume to some exquisitely crafted pianissimos. [...] A voice with a morbid centre, sensual bass and firm treble, she dominated the character with phrasing that reached its climax in her moving final phrase "Le mie colpe travolgerà l'oblio ma l'amor mio... non muor".
Likewise, La Vanguardia has also reported in its pages on Carmen Solís's solvency and good work:
"The soprano from Extremadura, Carmen Solís, made her debut in the title role, singing with great skill, elegance in her phrasing, fine emission and an ever-present projection of pearly timbre sonorities. [...], the Extremadura-born singer demonstrated vocal maturity and stylistic suitability for a role that will grow performance after performance".
On the other hand, and on the occasion of the concert in which the soprano from Extremadura performed Salud from La Vida Breve at the Teatro Monumental, various media have highlighted her excellent work.
Thus, Codalario reports on Carmen's excellent work on stage:
"Carmen Solís is a singer who specialises in suffering roles - Butterfly, Tosca, Nedda, la Dolores, Reyes (protagonist of Entre Sevilla y Triana), etc. - so it is not surprising that the character of Salud, who is madly in love and dies for the well-to-do Paco, shone in her singing, in her lyricism and expressiveness, thanks to her ability to bring to the surface the depths of her sentimental involvement, a compendium of anguish, pain, hopeful love and abrupt death.
The role of Salud is tough because she hardly ever leaves the stage, and although it is a concert version, she has to deal with different moments and romanzas in changing tessituras and with dense orchestration. Solís was able to cope with these contouring conditions and manage all the dramatic moments using her resources in the skilful handling of her lyric soprano technique and attention to dynamics. Her singing line pleased us, above all, in the passage "Vivan los que ríen", which already enjoys a life of its own as a separate piece in many concerts".
Similarly, Ópera Actual writes:
"Carmen Solís was also at a high level, and with a generous flow she managed to ensure that the orchestra did not cover her singing without opening up any notes; her Salud remained in perpetual anguish, stirred by undercurrents exposed by the music Falla chose to accompany her. There was foreboding and tragedy from the first moment, and Solís's singing style, with careful phrasing and nuanced searching, allowed that sense of helplessness not to remain sentimental."
And in Beckmesser we can read:
"The cast was headed by Carmen Solís, who drew a devoted Salud, with palpable anguish with and without her lover and an intensity that is explained from the perspective of a character who lives by, for and from love. With a generous emission and beautiful phrasing, she knew not to fall into sentimentality and to impose herself on the orchestra, whose uncovered sound was quite voluminous".
While Opera World magazine has highlighted the following:
"[...] soprano Carmen Solís in the role of the gitanilla Salud. Together with mezzo-soprano Cristina Faus, both carried the weight of the work. Well matched and endowed with dramatic colours, the vocal lines of these two singers were impeccable".
