Press
Retrouvez ici une sélection d’articles, critiques et parutions issus de la presse généraliste et spécialisée. Cette page rassemble différents regards portés sur les prestations de la contralto Anaïs Yvoz, ses collaborations artistiques et les productions auxquelles elle participe.
Les publications présentées offrent un aperçu des projets dans lesquels elle s’inscrit, qu’il s’agisse de concerts, de productions scéniques ou d’événements, ainsi que des contextes artistiques dans lesquels ils prennent place. Elles permettent également de situer les différentes scènes et structures qui accueillent ces projets, en Alsace, en France et à l’échelle européenne.
Cette sélection évolue au fil des saisons et des collaborations, au rythme des nouveaux projets et de leur réception dans les médias.
"The Painter" Duni, Orkester Nord
(directed by Mr. Wåhlberg)
CD Label Aparté
"Anaïs Yvoz's Jacinte is absolutely delightful in its lightness and brilliance."
Jean-Michel Pennetier, Forum Opera
"Mezzo-soprano Anaïs Yvoz embodies the governess Jacinte with determination thanks to a frank prosody and a full-bodied timbre."
Sabine Teulon Lardic, First Box Opera
“Louis XIV, Warlord: The Triple Alliance”, Orkester Nord, Paris
Paris, Saint-Louis Cathedral at Les Invalides: solo viola
"Mezzo-soprano Anaïs Yvoz was the pleasant surprise of the evening, as she simply reminded us of the fundamentals of singing (support, breath, projection, text) and thus gave a luminous simplicity to each of her contributions."
Bachtrack, Philippe Ramin
(…) “The French mezzo-soprano Anaïs Yvoz (…) offers a warm timbre in the middle range and a very velvety timbre in the lower range, as well as carefully crafted phrasing.”
Olyrix, Emmanuel Deroeux
"The Painter" Duni, Orkester Nord
(directed by Mr. Wåhlberg)
CD Label Aparté
"Anaïs Yvoz's Jacinte is absolutely delightful in its lightness and brilliance."
Jean-Michel Pennetier, Forum Opera
"Mezzo-soprano Anaïs Yvoz embodies the governess Jacinte with determination thanks to a frank prosody and a full-bodied timbre."
Sabine Teulon Lardic, First Box Opera
“Louis XIV, Warlord: The Triple Alliance”, Orkester Nord, Paris
Paris, Saint-Louis Cathedral at Les Invalides: solo viola
"Mezzo-soprano Anaïs Yvoz was the pleasant surprise of the evening, as she simply reminded us of the fundamentals of singing (support, breath, projection, text) and thus gave a luminous simplicity to each of her contributions."
Bachtrack, Philippe Ramin
(…) “The French mezzo-soprano Anaïs Yvoz (…) offers a warm timbre in the middle range and a very velvety timbre in the lower range, as well as carefully crafted phrasing.”
Olyrix, Emmanuel Deroeux
"The Painter" Duni, Orkester Nord
(directed by Mr. Wåhlberg)
CD Label Aparté
"Anaïs Yvoz's Jacinte is absolutely delightful in its lightness and brilliance."
Jean-Michel Pennetier, Forum Opera
"Mezzo-soprano Anaïs Yvoz embodies the governess Jacinte with determination thanks to a frank prosody and a full-bodied timbre."
Sabine Teulon Lardic, First Box Opera
“Louis XIV, Warlord: The Triple Alliance”, Orkester Nord, Paris
Paris, Saint-Louis Cathedral at Les Invalides: solo viola
"Mezzo-soprano Anaïs Yvoz was the pleasant surprise of the evening, as she simply reminded us of the fundamentals of singing (support, breath, projection, text) and thus gave a luminous simplicity to each of her contributions."
Bachtrack, Philippe Ramin
(…) “The French mezzo-soprano Anaïs Yvoz (…) offers a warm timbre in the middle range and a very velvety timbre in the lower range, as well as carefully crafted phrasing.”
Olyrix, Emmanuel Deroeux
“Until the lions”, Thierry Pecou
National Rhine Opera
"The two women who witnessed the deadly confrontation are not to be outdone: the two royal attendants, the German soprano Mirella Hagen and the French mezzo Anaïs Yvoz, offer a radiant counterpoint, full of finesse and beauty. The two voices harmonize and intertwine superbly."
Catherine Jordy, opera forum
"A duo composed of soprano Mirella Hagen and mezzo-soprano Anaïs Yvoz also plays a witness role, still quite close to an ancient chorus, placed next to the character of Amba. Their clear and powerful voices are coupled with a remarkable sense of lyrical expression."
Jean Landras, Backtrack
“Talestri, Queen of the Amazons”, Maria Antonia de Walpurgis
"Without a doubt, Anaïs Yvoz wins all the votes with the quality of her performance and the velvety quality of her timbre as Antiope: the compassionate sister of Talestri, in love with Oronte's best friend."
Le Figaro, T. Hillériteau
"(...) The cast (is) dominated by the excellent Anaïs Yvoz, a very committed mezzo who stands out for her virtuosity and the richness of her timbre in the role of Antiope, sister of Talestri."
Concert classic, L. Bury
https://www.concertclassic.com/article/talestri-reine-des-amazones-de-marie-antoinette-de-baviere-en-premiere-francaise-par-la
"Anaïs Yvoz, mezzo-soprano (playing her sister Antiope) offers the fullest voice on stage; this score demands arias from her and one of those impossible but frequent performances in the baroque repertoire. She concentrates her resources in the middle range, sketching from afar the deep low notes and lyrical high notes that she is supposed to link together in a few notes."
Olyrix
https://www.olyrix.com/articles/production/5115/talestri-reine-des-amazones-opera-princesse-maria-antonia-walpurgis-dresde-1763-28-septembre-2021-article-critique-collet-comte-concert-de-lhostel-dieu-arcal-bry-khassenova-yvoz-gaussin-cabral-choeur-amazones-westphal-heulle-macbeth-locher-badier-debois
"It is perhaps Anaïs Yvoz (…) who has the most frank and firm vocal production. The beautiful colors of her mezzo allow her to portray an Antiope that is as convincing in anger as in nascent love."
First box at the Opera, S. Lelièvre
https://www.premiereloge-opera.com/article/compte-rendu/production/2021/09/30/talestri-de-maria-antonia-walpurgis-quand-lopera-preconise-lapaisement-entre-les-femmes-et-les-hommes-berenice-collet-le-perreux-arcal/
“Fiddler on the Roof”, Stein / Bock / Harnick / Robbins
“Neïma Naouri and Anaïs Yvoz (Tzeitel and Chava) fully commit themselves through their acting and the naturalness of their prosody. Their voices are healthy and well-placed. (…) The latter creates a charming and delicate portrait of the young, intellectual, and avid reader thanks to her fruity voice, projected with a radiant quality.”
Pierre Degott, Olyrix
"Anaïs Yvoz (Chava) has already proven herself in Strasbourg, notably in the role of Zerline, which she performed brilliantly. In her more modest duet with Fyedka, she demonstrated her usual vocal qualities, and we wish her a role worthy of her great talent."
Odb opera
"Anaïs Yvoz's moving film, Chava".
Mr. Thomé, Resmusica
"A very touching Chava."
C. Jordy, Forum Opéra
Don Giovanni, Mozart
"The revelation is Anaïs Yvoz's Zerlina, a graduate of the ONR's Studio Workshop. With her smooth timbre, fluid vocalizations, and fine acting skills, her upcoming engagements are ones to watch." (Concert Classic, V. Borel)
“Among the women, two gems particularly stand out. (…) Jeanine De Bique is a splendid and haughty Donna Anna. Sparkling and vibrant, fresh from the Opera Studio of the Opéra national du Rhin, Anaïs Yvoz is equally seductive and irresistible as Zerlina.” (Resmusica, M. Thomé)
“Among the female voices, it was Anaïs Yvoz, a singer from the Opéra Studio of the Opéra National du Rhin, who stood out the most thanks to her truly Mozartian vocal interpretation of Zerlina. The singer conveyed to her character the candor, the feigned (?) peasant simplicity that both the text and the music bestow upon her, despite the fact that she was dressed as a bourgeois woman, just like Donna Anna and Donna Elvira.” (Webthéâtre, J. Estapà i Arguemì)
"Anaïs Yvoz's Zerlina, fresh, spirited, and sensual, is delightful and deserves better than a catalogue entry." (Forum Opéra, Y. Beuvard)
“Anaïs Yvoz, from the Opéra Studio of the Opéra National du Rhin, portrays a spirited Zerlina with a captivating smile. Her voice, with its silky and colorful timbre, is intensely projected and vibrant.” (Olyrix, D. Dutilleul)
"It's also a question of performance for the 'singing actors,' as Marie-Eve Signeyrole demands a great deal from the various protagonists, among whom a dazzling trio of women stands out. (...) Special mention goes to Anaïs Yvoz: the Opéra Studio member embodies a charming and mischievous Zerlina, perfectly embodying her character." (L'Alsace, H. Lévy)
"Anaïs Yvoz's Zerline, mischievous, greedy, and cheeky, is delightful. The performance is fresh, always expressive, and beautifully phrased." (Classiquenews, A. Dacheux)
"With a legendary duet, two arias, and participation in various ensembles, the role of Zerlina is very important and was performed with great charm and undeniable stage presence by Anaïs Yvoz of the Opéra Studio, a young artist whose potential, already revealed in Mouton, is considerable. Her interpretation of the famous duet 'La ci darem la mano' showcased a superbly projected voice with a pleasantly tangy timbre." (Odb-opéra, P. Benveniste)
Barkouf, Offenbach
“Finally, Périzade, described as ugly and choleric in the libretto, takes on the delicate features and graceful smile (topped by a moustache) of Anaïs Yvoz. Her sweet, broadly projected voice also contrasts with the description of the character, making her endearing.” D. Dutilleul, Olyrix.
"With a clear timbre, perfect diction, and good acting skills, soprano Anaïs Yvoz acquits herself very well in the role of the impossible Périzade, a woman with a moustache and a nasty little girl." P. Lieberman, Bachtrack.
"Anaïs Yvoz brings to the ungainly Périzade (in reality only suffering from facial hypertrichosis) her freshness, her strong character and her exquisite vocality." M. Thomé, ResMusica.
"Anaïs Yvoz hits the mark in a role where she portrays a character unaware of her monstrous nature, a character she cheerfully humanizes with a certain grace and a honeyed voice." J. Pesqué, Odb opéra
“The young Anaïs Yvoz (…) delights with her fresh and fruity voice, and her slender figure contrasts sharply with the ‘ugly’ woman described in the libretto.” E. Andrieu, Opera Online.
"Anaïs Yvoz's fresh and engaging Périzade", MA. Roux, Le Monde.
“Sheep”, Sophie Kassies
“Anaïs Yvoz, a member this year of the Opéra Studio at the Opéra du Rhin, responds brilliantly to her performance. Her voice is full-bodied, remarkably even across all registers, and beautifully resonant in the lower notes.” T. Bracq, Forum Opéra
"Anaïs Yvoz, who made a remarkable debut at the Opéra du Rhin in the role of Barberina (Le Nozze di Figaro), confirmed her outstanding vocal qualities here, notably in Monteverdi's superb lament: Si dolce è'l tormento. On the one hand, her vocal timbre is very pleasing; on the other, her technique is impeccable, as demonstrated by the formidable vocal runs in No, di voi non vo' fidarmi… Her comic temperament and commitment were fully evident in the numerous roles she undertook." piero1809.blogspot.com
» … Anaïs Yvoz has ebenso leuchtendem wie zartem lyrischen Mezzo-sopran gestalten mit großer vokaler Intensität. » A. Dick, Badische Zeitung
« Le Nozze di Figaro », Mozart
"Anaïs Yvoz is a refreshing and promising Barbarina." S. Lay-Canessa, Bachtrack
“The cautivadora Barbarina by Anaïs Yvoz”. FJ CABRERA, Operaactual.
"Poetic Barberine by Anaïs Yvoz", M. Le Naour, Concert Classic
