MÉDIA

SHARON AZRIELI | SOPRANO
REVUE DE PRESSE​
Très belle critique pour notre Soprano Falcon Sharon Azrieli suite au Concert Gala des Prix Azrieli
LIRE LA CRITIQUE

 

...«Dissidence» du compositeur canadien Pierre Mercure dans un arrangement de Jonathan Monro,  qui fait également partie de la Cantate pour une Joie de Mercure (1955), a été chanté par Sharon Azrieli, avec une couleur charmante et fluide, sans prétention mais concentrée et convaincante. 

John Sobel, blogcritics, 22 October 2020

“Among the highly credible supporting nuns was Montrealer Sharon Azrieli as the vivacious Sister Dolcina."Arthur Kaptainis – THE MONTREAL GAZETTE “Amid lively casts the Canadian soprano Sharon Azrieli, as the heroine of Le Docteur Miracle, was a mistress of merry inflections, piquant phrasing, and pointed words."Andrew Porter – THE NEW YORKER"Outstanding was Sharon Azrieli, who sang Rachel in La Juive with an exceedingly beautiful voice, full of feeling."Noam Ben-Zeev –HA'ARETZ (Israel)

 

"Having heard her in Mozart last September, I found that the shift into romantic high gear becomes Azrieli. Her engagingly clear and vibrant voice matched the sentiments -and sentimentality- of the Tchaikovsky songs. Azrieli sang in Russian and rendered the songs with a vocal exuberance [...]"

Ilse Zadrozny

THE MONTREAL GAZETTE

 

"Sharon Azrieli's Susanna managed to be wily yet candid, flirtatious, practical and utterly charming. And her bell-like soprano is always exquisitely in tune […]"Florence Fisher – SARASOTA HERALD-TRIBUNE

 

"Susanna, one of the longest roles in opera, was the delightful Sharon Azrieli. Pert and pretty, she has a lovely warm voice that easily floated over the orchestra. Her rock-solid technique enabled her in the fourth act, after a long evening, to still sing an ethereal and enchanting 'Dehvieni non tardar'".Kenneth Blount – OUR TOWN (New York)

 

"Soprano Sharon Azrieli […] has a focused, buttery voice blessed with a radiant high end […]”Kurt Loft – THE TAMPA TRIBUNE

 

"Soprano Sharon Azrieli soared sweetly or quaked with fear and wrath on cue […]”Richard S. Ginell – THE LOS ANGELES TIMES

 

"Her low profile is a paradox, for her voice was big and lustrous, and her way with Tchaikovsky’s melodies was compelling. […] Azrieli’s Russian diction […] sounded spot-on, and her stage comportment was naturally expressive.[…] A real, operatic soprano […]”Richard S. Ginell – THE LOS ANGELES TIMES

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