Press Review
« Fabienne Conrad,
the sparkling tragedienne »
Jérôme Pesqué, ODB Opéra
« Tosca idolatra, ogni cosa in te mi piace —Beloved Tosca, I love everything about you. »
Olivier Braux, Aix-en Provence 2022
« The dramatic soprano asserts the passionate nature of Floria Tosca with obvious sincerity, with a full-bodied timbre, powerful, luminous high notes and perfectly controlled half-tones »
Tosca, Charlotte Saulneron, Resmusica
« With her easy, expansive soprano voice, Fabienne Conrad portrays the various characters with roaring energy. Full-bodied throughout her range, she masters the dynamics from pianissimo to fortissimo, asserts her chest register and takes great care with the text to accurately portray all these women, whether victims or attackers. She ended Casta Diva (from Bellini’s Norma) with an ecstatic pianissimo, while her Leonora was full of bravura and her Traviata charged with emotion. The audience showed its enthusiasm in full. »
Ôlyrix, Joël Heuillon, 2023
"Dazzling highs"
"A steel technique"
Opera Magazine
«A lesson: vocal mastery, ability to move through the colors and shadows of the voice, many pianissimi, Fabienne Conrad fascinates»
Lrytas
"The French Fabienne Conrad is the absolute highlight of the evening. Excellent voice conduct and real actress talent create a symbiosis characteristic of elite artists. "
Kultur Magazin
« Her 'Enfin' !' in the Saint-Sulpice duet took on an incomparable relief that transformed, in a fraction of a second, the beggar of love into a terrible and triumphant vamp, as the masks come off »
ODB OPERA
« She was overwhelming in Desdemona's Ave Maria, which was pierced by the sure and dazzling premonition of imminent death »
ODB Opéra
« Her cover girl physique, her queenly bearing, her sharp sense of fashion, her cascading vivacity, her frank, passionate volubility, all make this soprano—who in passing is sharp as they come—the quintessential incarnation of the Parisienne. Emily in Paris really needs her, and so does opera. »
Jérôme Pesqué, ODB Opéra
"Her Norma is really that of an artist of great talent, his Manon upsetting ... Here is a great lyrical that rises. "
classissima.com
« Fabienne Conrad has given this Butterfly a disturbing dimension. The voice is warm, amber, fruity and even throughout the range. A perfect musician, she adapts her voice to every nuance (spun piano notes, messa di voce - the marvellous high D of the opening aria), thanks to perfect breath control. It is the ideal instrument for Puccini's heroines. We dream of her Floria Tosca—she has the same beauty and bearing of a diva »
Madama Butterfly, Olivier Braux, Aix-en-Provence, 2021
«The aria "Addio del passato" once again gives us a taste of her talents as an actress/tragedienne, experienced here as a dizzying slide, right up to the final words, "Rinasce, rinasce", before collapsing like a tree struck by lightning: everything is quivering and beautiful in Fabienne Conrad's singing and interpretation. »
La Traviata, Emmanuel Andrieu, ClassiqueNews
« Once again, we savour the intrinsic beauty of the timbre, but also the theatrical sincerity of the artist, who does not forget to play her part, delivering pianos that would make stones cry during this sublime aria - just as she was also capable of explosions of violence during a confrontation with Scarpia.»
EmmanuelAndrieu, ClassiqueNews
« an incandescent duo of wildcats »
Olivier Braux, Aix-en-Provence, 2022
«A lesson: vocal mastery, ability to move through the colors and shadows of the voice, many pianissimi, Fabienne Conrad fascinates»
Lrytas
"The French Fabienne Conrad is the absolute highlight of the evening. Excellent voice conduct and real actress talent create a symbiosis characteristic of elite artists. "
Kultur Magazin
« Conrad's brilliant, broad soprano is matched by XXX's valiant, full-bodied baritone: (...) a wild dramatic intensity »
Emmanuel Andrieu, ClassiqueNews
« A whirlwind of energy in her scarlet dress, Fabienne Conrad inhabits the stage intensely as the sensually proactive Josefa. »
Matthieu Chenal, 24heures.ch
«…one of her hobbyhorses and signature aria, the sublime "Casta Diva" (from Vincenzo Bellini’s Norma). Conrad's soft yet full-bodied voice, her elegance and even her beauty, take hold of this ecstatic, bewitching song with admirable suavity, and her final pianissimo high note earns her a thunderous round of applause. »
E. Andrieu, ClassiqueNews
« In the title role, Fabienne Conrad phrases the arias assigned to her with grace and pleasing sentimentality, dosing out their pathos to make it credible. The dramatic soprano asserts Floria Tosca’s passionate nature with manifest sincerity, with a full-bodied timbre, powerful, luminous high notes and perfectly controlled half-tones. With perfect stage credibility during the showdown with Scarpia, we witness a wonderful moment of theatre with these two spirited and inspired performers. With this soprano, everything is nuanced, something to be appreciated in a role that often lacks nuance in its interpretations. »
Tosca, Charlotte Saulneron, Resmusica
« When the heroine, like Fabienne Conrad, has a full lyric soprano voice, fruity, full-bodied when necessary, capable of all nuances - what a prayer! what truthfulness! "Of art and love, I lived all...". - from dramatic brilliance to exquisite pianissimo, and above all it fulfils all her interpretative intentions (...) in the details that make a great Tosca.».
Olivier Braux, Aix-en-Provence, 2022
« du très haut voltage en duo (…) »
« Fabienne Conrad déploya son jeu si intense et si opératique dans les grandes pages de Puccini, de
Verdi et de Cilea. »
ODB Opéra
« Fabienne Conrad sings the deeply moving "Io son l'umile ancella" from Cilea's Adriana Lecouvreur, which she delivers with her customary impeccable musical bearing, bending her grand means to deliver this magnificent aria with deeply moving nuance.»
Emmanuel Andrieu, ClassiqueNews
« The emotion is renewed in the no less moving "Willow Song" from Verdi's Otello, in which she performs the finale (the Ave Maria), which she finishes in a whisper, on her breath, in a long pianissimo that suspends time before drawing an outburst of applause.»
EmmanuelAndrieu, ClassiqueNews
« Fabienne Conrad's soprano voice is spontaneously full and expansive, with great elegance and a constant quality of stage presence. It is perfectly audible throughout its very long range, with a rich, heady timbre. Depending on the facets of love evoked here, she can be juvenile but also frenetic or dreamlike. Her wide dynamic range is deployed with finesse and a great sense of theatricality right up to Liù's heartbreak, before the restraint of the "Vissi d'arte" expressing Tosca's incomprehension in the face of her fate »
Joël Heuillon, Ôlyrix, 2022
« Violetta (...) sacrificed at the altar of a corseted and hypocritical society... an aria here whispered and magnificently phrased, which proves to be a great moment of pure and raw emotion »
E. Andrieu, ClassiqueNews
" Fabienne Conrad's Mimi stands out of the cast. The homogeneity of the voice of the French soprano supports the vulnerability of the character, without having to yield to expressive facilities. The integrity of the material is verified throughout the range and reserves (...) a moving agony, where the melancholy memories are tinged with a tender smile "Ôlyrix
"Fabienne Conrad combines old-fashioned breath and legato techniques with portraits of very modern women, who really move."
Concerti
« In the formidable scene in Saint-Sulpice (from Massenet's Manon), they overflow with brilliance and passion, ardour and sensitivity, making us believe in their characters, whom they also grace with their fiery, powerful singing, crowned with high notes that are perfectly delivered...
and held! »
E. Andrieu, ClassiqueNews
« Fabienne Conrad skilfully measures the gradation of these verismo effects—almost breathless when she reveals the secret of Angelotti's hiding place; the quasi parlando of the derisory accusation of murder; the groan she spews over the body of the slowly agonizing Baron, whose corpse will suffer the humiliation of being spat on! »
Olivier Braux, Aix-en-Provence, 2022
"a voluptuous and sensual stamp that seduces"
"a phrasing of an elegant nobility"
"she masters the vocalizations that she makes light and Argentinean sound"
Grenzecho
«Fabienne Conrad, irresistible in the a capella choir, a mixture of strength and grace required by the Verdi Requiem Libera Me»
ForumOpera
"She has a great smooth voice (...) and offers vocally as well as scenically grandiose"
Der neue Merker
"Her voice commands the entire stage right down to the last mortal breath"
The Baltic Times
"Fabienne Conrad, admirable Donna Anna, the star of the evening; Magnitude, nobility, tenderness, fury, everything was there and the role perfectly assumed "
Classic Forum
"Finally, Fabienne Conrad makes a strong impression, pushing the limits of the intensity usually contained in Mimi. Serious and moved with the most heartbreaking tunes, she keeps a simple charm and radiant vitality without failing to raise her art to new heights, delectable and widely applauded "Anaclase
"A very beautiful voice, coupled with an interpreter more than promising. A voice of great lyric soprano, with great possibilities of color, breadth, depth ... "classissima.com
"His stage presence is enormous, his appearance graceful, and his voice radiant and pure"
NDRadio
"Its safe and elegant pianissimis recall the legendary Montserrat Caballé"
NNNews - Russia
"A very beautiful voice, coupled with an interpreter more than promising. A voice of great lyric soprano, with great possibilities of color, breadth, depth ... "classissima.com
"His stage presence is enormous, his appearance graceful, and his voice radiant and pure"
NDRadio
" An opera star is born. The characteristics of this singer open up an incredible repertoire "
opernetz.de
" Fabienne Conrad mirrors the facets of Juliette. She charms by her airy grace by first incarnating an innocent, lively and changing Juliet, who then evolves until the apogee of lyricism, and continually dominates the scene by her art of rich interpretation of temperament "
Grenzecho
"An incredible stage audacity
(...) the very beautiful French endows the character of pianissimi suspended and nevertheless consistent »Concerti
" Impeccable in the pyrotechnics of Olympia, shattering fragility in Antonia and Pulpeuse in Giulietta "
E. Andrieu, The Letter of the Musician
"She has a great smooth voice (...) and offers vocally as well as scenically grandiose "
Der neue Merker
" Fabienne Conrad is a very pretty woman (...) She is also excellent actress and is doing very well postures delicate in which the setting sometimes places it. The stamp is charming and the treble easy "
Resmusica
" ideally plastic, Fabienne Conrad offers a remarkable performance of musicality and conduct of the line. (...) the highs of the soprano do not seem to have a limit "
ODB-Opera
"We have not finished hearing about Fabienne Conrad. A real discovery.
A voice to fall on your knees "
NordDeutscheRadio
"His stage presence is enormous, his graceful appearance and his radiant and pure voice "
NordDeutscheRadio
" And then Violetta, interpreted by "the" Conrad. The new soprano, who made a thunderous entrance into the Marriage of Figaro, was still, in tragic love, divine. There are many sopranos, but this one is made for the front row "
Republican Yonne
" a discovery: his assurance, his vocal technique, his elegance, his seduction, his pleasant tone, his intelligence of the text ... announce a promising performer for the great opera heroines »
Opera Forum
"Fabienne Conrad, with remarkable ease, assumes this mutiple role to the extreme vocal requirement"
France 3
"Fabienne Conrad confirms her vocal mastery and takes on the challenge of the four roles with charm and intelligence"
"an ultra-sensitive role-taking, which moved us a lot"
Opera Forum
"Exceptional pianissimi spun or stitched"
The Musician's Letter
"We will highlight the accomplished art of Fabienne Conrad, incandescent Donna Anna"
Free Belgium
«A breathtaking Violetta: a pure and luminous timbre, radiant highs up to an insolent counter-E flat "
Theater in Normandy
" The young woman flies from success to success. Here, she reveals an impressive vocal palette ranging from Olympia's light soprano to Giulietta's dramatic and sensual colors. "
Progress
" Verdi's Requiem of high flight sublimated by four renowned soloists; (...) and the sublime Fabienne Conrad. the voice of this soprano pierces your body with an uncontrollable thrill The East Republican
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