With a very moving opening aria, Pauline Sabatier offers us the full
range of her velvet voice and still displays the musical and
emotional qualities we had already enjoyed in her striking
performance as Lazuli in L’Étoile de Chabrier at the Opéra du Rhin
Classiquenews - Nicolas Grienenberger - La chatte métamorphosée en femme
The pair of lovers – an opening night revelation – is irresistible.
Pauline Sabatier’s transvestite Lazuli has a superb conquering
energy and her voice a fascinating colour.
DNA - Christian Fruchart - L’Etoile "Opéra National du Rhin"
Amongst the ladies, the most moving voice no doubt is that of
Pauline Sabatier in the role of Lazuli : pure and souple, it was
particularly striking in the "Romance de l’Étoile".
L’Alsace - Jacques Weil - L’Etoile "Opéra National du Rhin"
Pauline Sabatier lends her beautiful fruity voice and ravishing
features to the role of Lazuli.
Forum Opéra - Geoffroy Bertran - L’Etoile "Opéra National du Rhin"
Catherine Dune and Pauline Sabatier make the most of their
scrumptuous looks and the harmony of their voices.
Resmusica - Vinvent Deloge - Thäis "Opéra de Tours"
In Debussy’s La Demoiselle Élue, we discovered Pauline Sabatier,
a captivatingly graceful mezzo-soprano.
L’Express - Saskia Guye - La demoiselle élue
Last winter, we had the opportunity to assess the qualities of Pauline Sabatier in a Mozart recital produced by the Opéra Studio of the Opéra National du Rhin. They are all confirmed by her performances of Zerlina’s "Batti, batti, o bel Masetto" and of "Amour, viens rendre mon âme" (from Gluck’s Orphée et Eurydice, revised by Berlioz) : homogeneity of sound, clarity of diction and vocal agility are all blooming.
Concert classic - Alain Cochard - (révélations de l’Adami)
We particularly enjoyed Pauline Sabatier’s mezzo voice in Lisetta.
Resmusica - Il mondo della luna
Pauline Sabatier’s Lisetta proves to be an efficient mezzo voice.
LB Anaclase - Il mondo della luna
The mezzo-soprano Pauline Sabatier (Marianne) makes a fine
dramatic journey : first a surly spinster, she gradually lights up as
the happy end gets closer.
Concert classic - Alain Cochard - La chatte métamorphosée en femme
We commend Pauline Sabatier’s work, her impeccable vocal
projection and very fine phrasing.
Forum opera - Romain Louveau - Requiem pour une nuit
Amongst the singers, we shall remember the elegance of the
mezzo-soprano Pauline Sabatier.
La lettre du musicien - Elsa Fottorino - Concert l’Adami révèle ses classiques
The two mezzo-sopranos Pauline Sabatier and Eve Maud Hubeaux
(the twins), opened this Martyre with a bare and archaic duet,
proving their perfectly commanded voices to be as much twins as
their roles are. The artistic success of the concert deserves a
La libre - Le martyre de Saint Sébastien
Amongst the vocal ensemble gathered by the conductor, we noticed
some beautiful performances (…) such as Pauline Sabatier’s, which
transcended the Benedictus.
Classiquenews - Hélène Biard
Pauline Sabatier’s and Charlotte Dellion’s free-spirited Lisetta and
Clarice (budding Dorabella and Fiordiligi) are at their best at the
start, with as much remarkable stage presence as beautiful singing
technique and musicality.
"Lord, how stupid men can be" is obvious, yet if you consider the
dazzling looks of the commanding creature who tames them in
"J’ai deux amants" (from Messager’s L’Amour Masqué), you can’t
really blame them.
Attractive Dorabella by Pauline Sabatier, in tip-top shape.
DNA - Christian Fruchart - Requiem pour une nuit "Opéra National du Rhin"
The mezzo-soprano Pauline Sabatier, who is an impeccable
Dorabella, has a beautifully moving voice.
L’Alsace - Jacques Weil - Requiem pour une nuit "Opéra National du Rhin"
Nadine Descendre, the Artistic Director, chose the supernatural as a
leitmotiv for this edition, as shown by a lied by Schubert sung by the
young and promising mezzo-soprano Pauline Sabatier.
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