As the devastated heroine known only as Elle, Natalia Lemercier conveys the sense thatlife and love are so intimately linked that this ultimate stage of a relationshipexperienced in 45 minutes of real time is an agonising death. Every time the line goesdown, it could be the last breath. Every time the phone rings, her heart leaps.Lemercier’s Argentinian-Italian mellifluousness brings just enough of the exotic to theEnglish translation of The Human Voice to ensure it is never banal.
Natalia Lemercier is the soprano who sings this emotional glumathon, with musicaldirector Elspeth Wilkes on the piano – they work beautifully together. The voice part iswritten to reflect speech patterns and the jumpiness of a bad telephone connection, andjust occasionally soars. Lemercier sings it very sweetly and affectingly, while lightingcigarettes, stubbing them out and gulping whisky as she takes us down her private wellof misery.
Passionate and spendthrift, this Elvira moved in the arena installed by the Spanishregime Emilio Sagi, like a desperate leaf, pushed by the wind and the cold of life.With a powerful and confident voice, the trans-Andean soprano is the owner of a timbrecapable of resolving all the complexities of bel canto spun by the genius of Bellini.Her throat did not give in to the Sicilian's challenges. Lying on the pebbles, or at thegates of madness, in love or unsuspecting, without faith or full of hope, Lemercierturned out to be an exceptional, generous and moving actress.
"The voice of Natalia Lemercier fascinates already from the first sounds: a lovely voice,crystalline, and looks just as impressive on the dramatic fortissimo and pianissimotragic ... She was a fresh and aristocratic Violetta ..."
"On stage, shone, in every sense, the argentinian soprano Natalia Lemercier as theCountess, of sure musicality so that their airs have been approved by the public,especially the second, "Dove sono i bei momenti" ... with whom she reached the largestOvation of the show"
"The standing ovation of the evening was for the Countess of Natalia Lemercier, gentlysung and recited with a measured and elegant picardy... "
"The Countess of Natalia Lemercier found in the argentinian soprano a perfect vocalinterpreter and on stage. She felt the role and sent it to the public. She showed a first-order voice that has a smooth, great color and a voice timbre very attractive. She shonein both beautiful Arias that Mozart gave his character, singing with such good taste thatthey were rewarded with enthusiastic applause. Another standing ovation of the eveningfor her, deserved a top-level job ... "
The Argentinian soprano Natalia Lemercier, who a few months ago on the same stagesang a convincing Lucrezia Borgia, excelled, and now she was an intense and solidDoña Ana, singing her two demanding arias very well and whose timbre once againseemed very particular, on this occasion reminding us of Edita Gruberova'sinterpretation of this character.
"Natalia Lemercier, Donna Anna, sang with secure and convincing voice acting, withenormous musicality in each of its Arias and ensembles ..."
"Bravissimo the argentinian soprano Natalia Lemercier as Donna Anna..."
"The argentinian soprano Natalia Lemercier (Lucrezia) is planted firmly in a perfectsinging style, unbeatable in accurate and crystalline high notes. She prevailed in atender mother that facet opacò, certainly, any hint of wickedness or perversity. Herperformance gave the body to a different Lucrezia ... "
"The argentinian soprano Natalia Lemercier, was a convincing Lucrezia, his timbre ishomogeneous and beautiful, without any difficulty for the coloratura and the high notes,with the addition of beautiful pianissimi and a great sense of drama, has converted hischaracter into something totally believable by showing several character changes,agreements to the evolution of its role ...
"Natalia Lemercier has a fresh and youthful voice that suits the coloratura demands andshines in the third over, without hesitating to some daring saves high notes..."
"Natalia Lemercier sings warmly the role of Corinna..."
"...Corinna ,sing by Natalia Lemercier, is a "buffa" daughter of flowers dedicated tomeditation and the soprano is lavish in her best yarns, with a refined and elegant singingside-by-side with a really funny character ...
The Queen of the night aria, sung by the virtuosa Natalia Lemercier, inhuman,terrible mother, femininity all negative and time to darkness, reaches the inhuman andcold peaks like crystal plates ..."
The nerve centre of the performance is the aria of the Queen of the Night, sung by thevirtuous Natalia Lemercier, an inhuman, terrible mother, a totally negative femininity,turned towards darkness, who, with inhuman vocalisations in D minor, the key parexcellence associated with death (think Requiem and Don Giovanni), reaches inhumanand cold heights like sheets of crystal.
"The singing is bite but composed, the peremptory but austere gestures, as befits aQueen ..."
"The coloratura of the Queen of the night come out easily as pearls of soprano NataliaLemercier's throat ... "
"The Argentinian-Italian Natalia Lemercier was a mischievous and wonderfullytouching Adina ..."
"Lemercier exalts la Boheme ... "Over everyone, both for vocal technique that fordramatic inspiration, the soprano Natalia Lemercier, who as a brilliant Musetta hasshown great interpretative qualities based on an excellent singing technique ..."
