For a young mezzo-soprano to replace, as she did in October 2019 for Handel's Messiah, at short notice, a countertenor suffering by extricating himself from the ranks of the audience to decipher with the sole benefit of an intermission extended by a few too short minutes and then brilliantly holding the score, is not a trivial thing. But Adèle Charvet's great talent goes far beyond a simple coup d'éclat and is reflected in the intense activity she has been deploying ever since, both on stage and on record.
In Berlioz's Les Troyens with the Monteverdi Choir, Massenet's Grisélidis recently revived by the Palazzetto Bru Zane and especially soon in Zingarelli's Romeo and Juliet staged at Versailles by the Opéra Royal and Bernard Foccroulle's eagerly awaited Journal d'Hélène Berr at the Opéra du Rhin where she plays the leading roles, not to mention this Teatro Sant'Angelo, his second and magnificent programme published by the Alpha label. She brings to life with Le Consort – an orchestra in which the film particularly shines...
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