Giulio Cesare in Egitto - Opera North

"Coloratura soprano Lucie Chartin is a Cleopatra for the 21st century, dressed in blue shorts, handy with a sword and charmingly seductive. She is a long way from the heavily made-up Hollywood versions and more like a character from an Ingmar Bergman film as she travels from flirt to serious lover, her arias delivered with power and precision and causing the greatest volumes of applause, particularly ‘V'adoro, pupille’ when Cesare still thinks she is Lidia."

Richard Wilcocks, Bachtrack, sept. 2019

"Lucie Chartin took Cleopatra's taxing coloratura in her stride, pinpointing her top notes immaculately. At first a playful ingenue, she turned seductive in 'V'adoro, pupille' as she peeled off her stockings for Cesare, was appealingly plaintive in 'Se Pietà' (with cooly mournful bassoons) and infectiously joyful at Ceare's safe return in 'Da tempeste'."

Martin Dreyer, Opera Magazine, dec. 2019

"Lucie Chartin’s blingy little minx of a Cleopatra was another logical and credible characterization; every generation has its own notion of what Cleopatra was like, and the suggestion that she’s a bit ditzy as well as seductive makes perfect sense. Vocally Ms Chartin is a firecracker, confident in her coloratura and touching enough in ‘V’adoro, pupille’ to demonstrate how easily Cesare fell for her."

MusicOMH, Melanie Eskenazi, sept. 2019

"Lucie Chartin sang Cleopatra with a light almost fragile tone which belied the sparkiness of the way she portrayed the character. This was a Cleopatra who knew how to get what she wanted, just as much a schemer as her her brother. Her account of her seduction aria, 'V'adoro pupille', was masterly as she seductively removed her stockings. Similarly, 'Piangero' and 'Per pieta' were twin highlights of the second half, with a moving vulnerability to them. Perhaps, ultimately, I would have liked an occasional touch of steel in Chartin's voice, but this was an account of Cleopatra which certainly seduced, fascinated and engaged."

Robert Hugill, Planet Hugill, sept. 2019

"And so to Cleopatra herself, perhaps the main character of the piece and certainly the most complex. Soprano, Lucie Chartin makes her UK debut in this production and she’s great. All sexual allure at first, using her attractions to taunt her brother and to seduce Cesare, the depth of her love for the Roman leader baffles and delights her. ‘When a ship battled by the storm’, partly sung as she lies on the floor, conveys these emotions beautifully."

Yorkshire Magazine, Eve Luddington, sept. 2019

"Lucie Chartin’s Cleopatra sparkles from the start, physically and vocally, initially almost frivolous, always sensuous and ultimately emotionally profound."

The Reviews Hub, Ron Simpson, sept. 2019

"But whilst Cesare gets his name in the opera’s title, it is Cleopatra who steals the show. Lucie Chartin admirably conveys Cleopatra’s seductive powers, but gives her real depth and complexity. Whilst she cynically uses her beauty to make Cesare love her, she is taken by surprise to find she reciprocates his feelings. Whether she is languidly disrobing (knowing that Cesare is watching), or armour-clad for her sword fight with Tolomeo, she mesmerises. Her arias are exquisitely beautiful, and her extraordinary voice does them full justice."

Cath Annabel, The Culture Vulture

"Also making her Opera North debut, Lucie Chartin is captivating as Cleopatra. Tasked with portraying one of the most fascinating woman in history, she brings real depth to the part of Cleopatra, making her a multi-dimensional character.
With a beautifully clear, bright voice she is more than equal to the challenging vocal demands of the role and delivers some lovely baroque ornamentation; her rendition of Cleopatra's aria 'Piangerò' is truly moving."

Elaine Annable, The Yorkshire Times

"It is a truth generally accepted that Cleopatra is a minx, and Lucie Chartin’s blonde-haired minx has a voice as intoxicating as your favourite cream liqueur."

The Opera Critic, Catriona Graham

"I was astounded by the calibre of performances in this show, particularly from Lucie Chartin as Cleopatra. Her succession of arias was truly extraordinary and she managed to capture the “infinite variety” that Shakespeare has ascribed to Egypt’s most famous royal."


James Ballands, The British Theater Guide

"Lucie Chartin is spellbinding as Cleopatra. Her arias are simply breathtaking, particularly those that are performed whilst sat or lying down. She rightfully received tumultuous applause for her aria, that prays for Cesare’s safety, as she lies chained on the floor. Chartin’s Cleopatra is a charming temptress who ensnares the audience’s heart as well as Cesare’s. This is evident in the aria where she seductively removes her stockings, undressing to take a bath. Far from a helpless beautiful Egyptian, Chartin also brilliantly depicts her character’s strength and fierce defiance against her villainous brother, rendered to perfection by James Laing."

Nicola Brierley, The Play’s the Thing


"Anyone still harbouring doubts about the dramatic suitability of the baroque da capo aria need only to have heard Chartin in her great aria in captivity, 'Piangerò la sorte mia'. The steel in her voice as she envisages her ghost tormenting her hostile brother Tolomeo softened into a repeat of the opening even more poignant than before."

Mike Wheeler, Classical Music Daily


"However, the night clearly belonged to Lucie Chartin. Chartin (who also joined the Company for the first time as Cleopatra), steals the show. She is confident, melancholic, yet passionate and aggressive as she wields her sword in Act 2 and locks heads with her brother. Her coloratura is just outstanding, gracing every note, ornament and phrase with such grace."

Dean Thomas-Lowde, Canal-street


"Also making het company debut, the Dutch soprano Lucie Chartin pictures a perfect ‘femme fatale’ as Cleopatra - her arias are the highlight of the evening."

David Denton, Yorkshire Post


"De mooiste scènes zijn die waarin Mozart en de muziek de hoofdrol spelen, zoals in de sierlijke dansscène uit Le nozze di Figaro of de furieuze Koningin van de Nacht uit Die Zauberflöte, schitterend gezongen door sopraan Lucie Chartin."

Kester Freriks, NRC, June 2019

"Sopraan Lucie Chartin steelt de harten van het publiek, vooral als zij haar zang weet te combineren met een uitbundig orgasme."

Jos schuring, Scenes, June 2019

"met zinderend spel van sopraan Lucie Chartin"

Hanny Alkema, Trouw, June 2019

"Vooral met Der Hölle Rache kocht in meinem Herzen uit de Zauberflöte de sopraan Lucie Chartin de zaal plat. Haar hoge noten tijdens een vrijscène zijn buitengewoon grappig.

Patrick van den Hanenberg, Het Parool, June 2019

"Prachtig is de muziek, live uitgevoerd door een sterk spelend ensemble met glansrollen voor sopraan Lucie Chartin"

Henri Drost, Theaterkrant, June 2019

"met de bedwelmende sopraan Lucie Chartin"

Eric Korsten, Den Haag Centraal, June 2019

"door de fraai passende, schitterende muziek, van een bijna twintig musici tellend orkest, 40 zangers en letterlijk bovenal de sopraan Lucie Chartin in de geweldige rol van Katherina Cavalieri."

Peter Olsthorn, Sargasso, June 2019

St Matthew Passion

Marc Albrecht &

het Nederlands Kamerorkest

"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

Kaffee Kantate

"Ook Chartin toonde zich een ware comédienne"

Joos Galema, NRC Handelsblad, May 2019


"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

"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,, 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

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

© 2015 by LUCIE CHARTIN all rights reserved