Press review – Fidelio

Fidelio – Marzelline

Insula Orchestra (Bruxelles, London, Paris), 2022

“The opening scene between Jacquino and Marzelline shone, Patrick Grahl’s ardent (and sometimes comedic) enthusiasm the perfect foil for the more layered character of Marzelline. And it is at this very role we find a singer of huge talent: soprano Hélène Carpentier, a voice of both purity and strength with acting abilities to match. It is rare to hear a Marzelline that can hold her own against the ‘other’ soprano – Leonore/Fidelio her/himself. Yet here, time and again we felt the importance of Marzelline to the ongoing drama – which meant her contribution to the radiant closing scene enabled us to resonate with her disappointment while equalling Campbell-Wallace’s cries of ‘Nie’ (Never) in Beethoven’s concluding hymn to liberty.” Colin Clarke – Seen and heard International

Hélène Carpentier campe une Marzelline légère et sensible. Les aigus puissants, limpides et clairs de la soprano sont expressifs, marqués d’une souple ondulation, le souffle allant et venant avec grâce. Elle reste sincère dans le jeu, constante et très maitrisée.” Soline Heurtebise – Olyrix

“La douceur de la mélodie, l’exaltation de Marzelline, la beauté de la voix d’Hélène Carpentier” Amélie Blaustein Niddam –

Hélène Carpentier’s Marzelline was a complex, sensitive character, not merely a love-struck soubrette.  There was a lovely brightness to her voice, a real asset in the ensembles, and her graceful phrasing brought out her sympathetic qualities, as well as making her both sensual and sincere.” Claire Seymour – Opera Today

“The domestic squabbles of Act 1 can be a drag, but Hélène Carpentier and Patrick Grahl brought an appealing earnestness to their parts. Carpentier’s plum-hued soprano is darker than usual for Marzelline and she brought an earthiness and melancholy to the part that made a refreshing contrast from the usual soubrette. She spun the opening of the quartet beautifully and more than held her own with Campbell-Wallace’s heroic soprano in the ensembles.” Kevin W Ng – Bachtrack

“As the jailer’s lovestruck daughter Marzelline, Hélène Carpentier had both sweetness of tone and a slightly fragile vulnerability: an emotional realism that keynoted the whole production.” Boyd Tonkin – The arts desk


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