La Traviata/Violetta

Rachel Willis-Sorensen's role debut is extremely impressive, as the standing ovation at the end proves: the voice is opulent, generous and the vocal line very expressive. It is moreover inadequate to say that she is expressive, so much could be said about her inexhaustible capacity to give sense and definition to each word, to give musicality to each phrase, and emotion in such a straightforward manner...

OLYRIX

La prise de rôle de Rachel Willis-Sorensen est extrêmement séduisante, en témoigne l’ovation que le public lui réserve à la fin : la voix est opulente, généreuse et la ligne de chant d’une grande expressivité. C’est d’ailleurs peu de dire qu’elle est expressive tant mille choses pourraient être dites sur son inépuisable capacité à rendre au mot sa justesse, à la phrase sa musicalité, à l’émotion sa déroutante simplicité… Rachel Willis-Sorensen donne un portrait de Violetta aussi prodigieux qu’évident et ce seul fait permet de donner au dernier acte la profonde noirceur dont il manque si souvent. En effet, la chanteuse américaine offre une caractérisation du personnage à contre-courant de toutes les coquettes habituelles : ici, il s’agit d’une femme en souffrance dès le début, désabusée et lasse, et que la maladie va profondément aigrir. En témoignent l’abattement qui la prend lors de la confrontation avec le père d’Alfredo ou encore sa grande morosité dans “Addio del passato”, assombrie par une sourde rancune à l’égard du destin. Le portrait est simple et saisissant.

{Rachel Willis-Sorensen’s role debut is extremely impressive, as the standing ovation at the end proves: the voice is opulent, generous and the vocal line very expressive. It is moreover inadequate to say that she is expressive, so much could be said about her inexhaustible capacity to give sense and definition to each word…to give musicality to each phrase, and emotion in such a straightforward manner… Rachel Willis-Sorensen gives a portrait of Violetta that is as prodigious as it is clear, and this fact alone gives the last act the deep darkness it so often lacks. Indeed, the American singer offers a characterization of the character that goes against the grain of all the usual coquettes: here, it is a woman who is in pain from the start, disillusioned and weary, and whose illness will be deeply embittered. This is evidenced by the despondency she feels when confronted with Alfredo’s father or her great moroseness in “Addio del passato”, which is colored by a deaf resentment towards fate. The portrait is simple and striking.}