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Amor y vida de mujer

''... Laure has a brightly shaded sound, always powerful and round, but, at the same time, very malleable and flexible, able to shade to infinity the jewels of the romantic Lieder, as well as the rest of the repertoire offered like Teresa Catalán's contemporary songs where she shone with interpretive warmth,  moving the audience to a point where it stopped breathing. The beauty of sound, including in the tremendous declamation of Jorge Manrique's text, and a scenic ability, stemming from extremely expressive gestures, without exaggeration.''


- Teobaldos, Noticias de Navarra


... To stage Carmen means to choose a good Carmen. And Laure de Marcellus, picked by Jean-Marie Curti after multiple auditions is a gypsy of the best vintage, rich of a sensuality and vocal presence which make her an ideal Carmen. Gifted with an exceptional dramatic temperament, the young singer brings a vocal and stage presence to her part which give her character an astonishing psychological depth made of freedom, passion, exacerbated sensuality, pride, generosity and fatalism. In short, an immense Carmen...”


- Le Progrès


“… The smaller parts were adequately cast- with an emphasis on (...) and Laure de Marcellus as Maddalena, both reliable as always…”


- Orpheus Oper International

Samson et Dalilah

“… Laure de Marcellus was a superb Dalila, a mixture of softness and violence, and sustained with brio one of the most beautiful lyrical mezzo roles of the repertoire …”


- Dauphiné Libéré

La Traviata

“…Laure de Marcellus was the elegant Flora with a smooth mezzo …”


- Orpheus Oper International.

Pique Dame

(...)the (...) Countess, grandmother to Liza, played with a dignified, proud sense of her level of aristocracy and elderliness by Laure de Marcellus.  As surrounding maids attempt to lure her into bed in Scene Two, Act Two, the Countess sings of earlier loves with a mezzo-soprano voice that increasingly sounds as if locked in a dreamlike trance, finally singing herself to sleep in a lullaby manner.  Along the way, her Countess displays the kind of wide-eyed, dramatically posed expressions that one might have once seen on the screens of a silent movie.  (Kudos goes both to her and Stage Director, Ragnar Conde.)  When she is awakened by an intruding Hermann, Laure de Marcellus is particularly stunning in the gripping scene of the Countess’ demise, with her last breaths sung with memorable, haunting eeriness. (...)

- Eddie Reynolds, Theater Eddys

Tristan und Isolde

''..The thin and pale Laure de Marcellus was most convincing in her characterization of the inner conflicts that tear Brangäne between helpfully soothing her mistress and leading the hand of fate in pouring the elixir of love. Her young mezzosoprano vibrated in changing timbre, in strong high notes with the clarity of a soprano, and in the lower piano with an alto covered in dark velvet...”


- Ostsee Zeitung


“... She was eagerly awaited, she did not disappoint. Auditioned among dozens of her colleagues to play the part of Carmen, Laure de Marcellus, though she does not show a terrifying ogress, gives a lot of grace and sensuality to Bizet’s cigarette girl. It is she

who dominates (the) cast…”


- Tribune de Genève


“... His Carmen, Laure de Marcellus, was amazing.  Picked after multiple auditions, she demonstrated her charisma, giving a psychological depth to her character. In turn passionate, proud, generous,

touching, her vocal presence and her acting made this opera performance into a vintage edition...”


- Voix de l'Ain

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