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Raphaelle Farman

Without attracting the huge amounts of buzz that attend other sopranos of her generation, Raphaëlle Farman through the entire 1990s established a reputation as an excellent and intelligent emerging opera singer with a broad and diverse repertory. She found singing just after making her university level and completing a Master’s Level in Law. At that time, she analyzed opera and performing in the Paris Conservatory with the Lyric College from the Opera Bastille. She finished her formal research in 1992 and began singing skillfully in Paris. She’s developed a nationwide reputation, performing in Paris, Nantes, Toulouse, Lille, and various other French centers, but also in Utrecht, the Royal Albert Hall in London, and Havana. Her set of assignments indicates that she actually is a lyric soprano, and she actually is also called a gleaming operetta performer. Her portrayal of Rosalinda in Die Fledermaus was transmit on Téléeyesight Française’s France 2 route, and she’s also sung Flora in La Traviata on the live TV transmit. It is, once again, her set of assignments that suggests she’s an unusually wide variety, for she sings the alto function of Miss Jessel in Britten’s The Convert from the Screw aswell as Micaëla in Carmen and Gilda in Rigoletto. Her repertory is certainly unusually solid in assignments the Classic period (Mademoiselle Silberklang in Mozart’s Schauspieldirktor, Donna Anna in Don Giovanni, Fiordiligi in Così enthusiast tutte, Arminda in La Finta Giardinera, the Countess in Le Nozze di Figaro, and Euridice in Orphée et Eurydice). But it addittionally provides bel canto period functions: Elvira in Bellini’s I Puritani, Contessa di Folleville in Rossini’s Il viaggio a Reims, and Anna in Boildieu’s La Dame Blanche. From the typical repertory, her assignments consist of Prilepa in Tchaikovsky’s Pikovaya Dama (Queen of Spades), Mimì in La Bohème, Antonia in Stories of Hoffmann, Micaëla, Flora, Hanna in Die Lustige Witwe von Windsor and Alice Ford in Verdi’s edition from the same story, Falstaff, plus Nedda in Pagliacci. Besides Johann Strauss’ Rosalinde, she will take the operetta stage as the Baroness in Offenbach’s La Vie Parisienne, and Lisa in Der Property das Lächelns. She actually is from the operas of Britten and Poulenc. She sings, besides Miss Jessell, the elements of Mrs. Coyle in Owen Wingrave and Feminine Chorus in The Rape of Lucretia, Thérèse in Les Mamelles de Tiresias and Blanche in Dialogues from the Carmelites. Among her ideal triumphs was her June 1998 appearance in the name function of Massenet’s Esclarmonde at London’s Queen Elizabeth Hall using the Chelsea Opera Group. John Higgins from the London Situations, noting the fact that role needs “everything: the whoops of the Brünnhilde, … the interest of the Sieglinde, … some coloratura and lastly the sophistication of Massenet himself” known as her accounts “full-blooded” and “up to all or any requirements.” Bruno Villien of Opera International known as her Nedda in Cavalleria Rusticana remarked on her behalf portrayal of “torrid eroticism” aswell as tenderness, producing reference to her “magnificent silhouette.”

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