Summer concerts with Sonya Yoncheva, Emöke Barath and Orfeo 55

Nathalie Stutzmann and her orchestra Orfeo 55

Nathalie Stutzmann and her orchestra Orfeo 55

On June 16, Nathalie Stutzmann reunites with Bulgarian soprano Sonya Yoncheva, for a concert at the Festival de Saint-Denis with Orfeo 55. They will present the “Caro, cara” program, featuring love opera arias and duets by Handel from Alcina, Rinaldo, Amadigi, Atalanta, Radamisto… She will also take this program to the Nuits Musicales d’Uzès in Provence on July 31, singing this time with Hungarian soprano Emöke Barath.

Moreover, this summer Nathalie Stutzmann will be heading with her orchestra to the Midsummer Festival in Hardelot, North France, to present Heroes from the Shadows (June 19), followed by the Festival de musique ancienne et baroque in Saint-Michel-en-Thiérache (June 28) and the Festival Polignac in Guidel, Brittany (July 23).

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New Schubert lieder box set released

Winterreise, Die schöne Müllerin, Schwanengesang: the three major Schubert song-cycles recorded by Nathalie Stutzmann and her pianist Inger Södergren in 2004, 2005 and 2008 are now available together in a new box set (3 CDs) on Erato!*

“We’ve been able to improve the sound quality of the original recordings, and I’m satisfied that the remastered versions do full justice to the work we did back then”, says Nathalie. “I couldn’t do without Schubert in my life,” she adds.

This set also celebrates the 20th anniversary of her partnership with Inger Södergren.
A perfect Christmas gift for all classical music lovers!

• Listen to sample tracks and purchase online
* Outside France only. French release date is due on January 12, 2015.

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Nathalie’s new album is now available worldwide!

Check-out some of the reviews and purchase your copy on Amazon, Fnac, iTunesQobuz or at any good local retailer!


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“… the entire disc is collectible.”
The Sunday Times

“… splendid Handel recital… High points – and there are quite a few – include the duet for Cornelia and Sesto from Giulio Cesare, in which she is joined by the countertenor Philippe Jaroussky.”
The Guardian

“… it is not just a matter of singing slowly and beautifully: in Arsamene’s aria from Serse, the word ‘cor’ at the end of the B section is barely sounded; Ottone breaks momentarily into speech in his aria from Agrippina; and ‘Pena tiranna’, the plaintive sarabande with pained oboe and bassoon lines for Dardano from Amadigi di Gaula is one of several arias to culminate in a surging climactic final phrase and orchestral play-out. Subtle, considered and truthful touches like this make every aria, be it fast or slow, a memorably shaped event.”

“… it’s a pleasure to hear the musically confident and imaginative Stutzmann get her way.”
Opera News

“What’s never ambivalent about Stutzmann are her command of a huge range, her nigh-perfect technique, and her dark, rich sound that, to borrow an adjective from the millennial thesaurus, is awesome. Equally impressive is how well she conducts her own period instrument orchestra, Orfeo 55, which plays to perfection.“
The San Francisco Classical Voice

“Chef, [Nathalie Stutzmann] dirige un orchestre Orfeo 55 idéal de couleurs et de nuances, avec la conviction nécessaires, choisissant toujours le tempo et le ton juste… Chanteuse, elle prête à chacun des personnages un timbre singulier et une intelligence dramatique incontestable.”
– Classica

“Ein Stimme der Extraklasse.”
– Norddeutscher Rundfunk

Melómano de Oro: “Un Haendel Fascinante… Como solista, ya conocemos la extraordinaria voz de esta contralto. Su instrumento es de una belleza conmovedora, de registro perfecto: oscuro, aterciopelado y capaz de salir airoso de las coloraturas más complejas.”
– Melómano

“C’est qu’il y a de l’ogresse comme du funambule chez Nathalie Stutzmann, prête à toutes les métamorphoses pourvu qu’elles servent l’essentiel : l’interprétation. Puissamment incarnée (« Voi che udite il mio lamento ») ou, au contraire, subtilisée, poétisée (« Non so se sia la speme » où affleure le souvenir de Paul Esswood), la plainte se renouvelle et nous captive, parce que l’artiste se l’approprie avec une acuité dramatique remarquable. Dans sa tessiture, bien peu poussent aussi loin la recherche expressive.”
– Forum Opéra

Diapason d’Or: “On y entend, avec émotion et reconnaissance, l’accomplissement d’une artiste hors du commun. Nathalie Stutzmann sert Händel avec autorité, profondeur, humilité, et un esprit pointu (Rosmira de Partenope). Les couleurs extraordinaires de la voix ont bien fructifié, avec un creux, une noirceur qui impressionnent, mais c’est l’imagination du style qui emporte la balance. Ni inertie, ni hystérie. Comme dans cet orchestre ductile et plein, d’une rare économie dramatique.”
– Diapason

“On ne discute pas Nathalie Stutzmann. Elle est là. Elle règne. On s’incline devant son organe fabuleux, sa technique de haut vol capable de regarder en face les folles vocalises dans une stupéfiante alacrité, un fabuleux aplomb. On ne se lasse pas de redécouvrir, de saisons en saisons un métier sans faille au service d’une expression et d’une intelligence musicale rares, avec toujours cette impression d’aisance rigolote, de virtuosité qui laisse baba.”
– Le Podcast Journal

“… an impressive demonstration of this artist’s multitude of musical talents, as she takes centre stage both as conductor and contralto soloist.”
– Limelight Magazine

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