© 2015 by LUCIE CHARTIN all rights reserved 

PRESS

Kaffee Kantate

"Ook Chartin toonde zich een ware comédienne"

Joos Galema, NRC Handelsblad, May 2019

Hamlet

"Lucie Chartin’s Ophélie was rather brittle to start, as well she might be; neither Ophélie nor Hamlet seemed to fit in with the boozy hi-jinks at court. During the Mad Scene, Chartin came into her own, singing with disturbing intensity yet engaging in her reminiscences with great charm."

Robert Hugill, Opera Now, 2018

"Soprano Lucie Chartin’s Ophelia starts out with a charming twinkle in her eye, then gradually collapses into the frangible victim of Hamlet’s bullying and abandonment. After taking a few phrases to settle vocally, Chartin sang very naturally, as if she were speaking, which rendered her portrayal intimate and immediate. In her mad scene she dispensed with pretty warbling and mined deep pathos from Ophelia’s folk song. Accurate and tortured, her high-flying cadenzas sliced the air like stiletto knives."

Jenny Camilleri, Opera Today, 2018

 

"Révélation avec notre compatriote Lucie Chartin, qui possède les (sur)aigus du rôle d’Ophélie, mais avec une richesse de couleurs que n’offrent pas toujours les titulaires du rôle."

Laurent Bury, Forum Opera, 2018

"However, the star of the evening was Lucie Chartin (Ophélie). With astonishing flexibility she moved through the great musical challenges of her role: she effortlessly tied together the most beautiful, crystal-clear sounds with great trills and coloratura, and breathtaking high notes. Her acting and stage presence were also very convincing."

Laura Roling, Opera Magazine, 2018

"Lucie Chartin's Ophélie was a remarkably poised and intense creation, rather brittle at first but entirely comfortable in her coloratura, Lucie Chartin shone in the great showpiece of the mad scene. Again, like Quirijn de Lang she clearly prized expressiveness against simply canary fancying, and gave a remarkably disturbing portrait of the now mad young woman, slitting her wrists. But she did not omit one of the most important elements from the scene, charm; Thomas' music takes a very particular view (rather reductive, it could be argued) of Ophélie and we cannot make it otherwise. Lucie Chartin brought just the right elements of naive charm and wonder to the scene."

Robert Hugill, Planethugill.com, 2018

"However, Ophelia, or Ophélie as she is called in this piece, steals the show. The French soprano Lucie Chartin, who lives in the Netherlands, shows a madness which lingers for days afterwards. Coloratura and high notes flow from her throat like water from a tap. So easy, so clear and yet immediately dark with despair and madness."

Camiel Hamans, Brabants Cultureel, 2018

"Auf gleichem Niveau vermag auch die geradezu makellos singende Lucie Chartin als Ophélie die Herzen des Publikums zu erobern. Sie läuft in der Wahnsinns-Szene zu einer gesangstechnisch blitzsauberen und emotional anrührenden Form auf"

Pedro ObieraO-Ton, 2018

"Everyone is good vocally, especially Lucie Chartin as Ophelia. She has an incisive madness and suicide scene, with a lot of coloratura and an icy high top note: superlatively Lucia di Lamermoor."

Paul Herruer, Dagblad van het Noorden, 2018

"The genius of the vocal performances of Lucie Chartin as Ophélie and Martina Prins as the Queen Mother, opens the story to a much deeper conflict.  One of the highlights is the already famous aria of Ophélie, 'Partagez-vous mes fleurs', in which Chartin builds hysteria, depression and innocence into a heartbreaking swan song."

Veto, 2018

"We see largely Ophélie's love drama, which is beautifully performed by soprano Lucie Chartin."

Max Arian, Theaterkrant, 2018

"But the only sob is for Ophélie, where she wanders, in her frayed, smeared, useless wedding dress.  Hamlet has just dumped her, because her father would have killed his. “La la la", she jabbers in a delusional scene with Oriental-spiced notes. These come from the throat of Lucie Chartin, a soprano who sweeps the floor with prejudices about 19th-century belcanto. Nothing Bianca Castafiore, nothing warbling. Top note, trill or melody: with Chartin everything flows perfectly from the madness with which Ophélie turns to suicide."

Guido van Oorschot, Volkskrant, 2018

St Matthew Passion

"Anders ligt dat bij sopraan Lucie Chartin. Zij valt in voor Sibylla Rubens en viert triomfen met een toegewijd en ingetogen 'Ich will dir mein Herze schenken'. Haar aria 'Aus Liebe': gaaf en ongekunsteld."

Concertgebouw, Frederike Berntsen, Trouw, March 2019

Café Zimmermann

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Hamlet

"The performance of Lucie Chartin (Ophélie) was also strong, delivering a blood-curdling suicide scene with hysterical coloraturas, piercing delusions and butcher's knife."

Joep Christenhusz, NRC Handelsblad, 2018

"The French-Dutch soprano Lucie Chartin is an endearing Ophélie, including a high Fsharp at the end of her mad aria"

Opera Nederland, 2018

"D’un gosier agile et tonique, Lucie Chartin compose une Ophélie attachante."

Bertrand Bolognesi, Anaclase, 2018

Technology

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Le Roi David

"Lucie Chartin, Marianne Beate Kielland and Thomas Walker make the most of their solo vocal numbers.” 

Andrew Clements, The Guardian, 2017

Dr Miracle's Last Illusion

"Chartin puts on a gorgeous Olympia"

Peter Franken, Operamagazine, 25/06/2016

"Lucie Chartin excels with impressive vocal acrobatics in Offenbach's Les oiseaux dans la charmille” 

Laura Roling, Operamagazine, 17/02/2017

"Chartin provides dazzling nimble vocal fireworks. She shines in acting and singing as the singing doll Olympia in Hoffmann's tales of Jacques Offenbach. Staggering with stiff limbs she warbles effortlessly. 'Je t'aime', the tasty love song of a distraught soprano by Isabelle Aboulker she sings partially suspended in the air.” 

Dick van Teylingen, Theaterkrant

Mariken in de tuin der lusten

"In a particularly moving ending, one of the singers of Cappella Amsterdam [Lucie Chartin] performed a long and serene aria.(...) Shiveringly beautiful."

- Mariken in de tuin der lusten,

Limburgs Dagblad 2015

"The production has everything you could dream of, from the angel-like voice of Lucie Chartin to a portative medieval organ."

- Mariken in de tuin der lusten,

Volkskrant 2015

"Only the Soul stayed pure and found a beautifully vulnerable incarnation in soprano Lucie Chartin"

- Mariken in de tuin der lusten,

Het Parool 2015

"Lucie Chartin kept her solo beautifully simple; a fine ending."

- Jephte, Carissimi, Volkskrant 2012