Soare’s Dominating Performance Nor can the fault for the work’s inability to create a positive impression be attributed to the singers, who all produced strong performances. The opera is dominated by the role of Olga, who is rarely off the stage and is at the centre of almost all of the major dramatic incidents. It is both an emotionally and technically demanding role, for which soprano Andreea Soare proved herself more than up to the task. By turn, she was loving, feisty, assertive and desperate; the emotions poured out to produce a breathtaking, compelling performance. Her voice is wonderfully secure, able to move with an impressive degree of flexibility across the range, seamlessly incorporating leaps and intricate chromatic passages into the line, and able to push forcefully into her upper register without any sense of vocal anxiety. It is also a lyrically appealing voice that allows her to spin out long lines of intense beauty. Time and time again, it was the expressivity of her singing, in which she delved deeply into Olga’s strongly felt emotions that caught the attention. Her confrontation with de Ruys was so intensely expressed that one assumed she was about to become physically violent. When begging Serge not to assassinate the Grand Duc, her pain and fears were seared into her voice. And on realizing that Serge is dead, in the final scene, she suffers an emotional overload and descends into madness, for which she enveloped her voice with her suffering, despair and anxieties. It would be no exaggeration to say that she single-handedly raised the performance of “L’Aube Rouge” to a higher level.
Alan Neilson - OperaWire
Andreea Soare was magnificent in the role of Olga. She dominated every scene in the opera and was excellent in ratcheting up the dramatic tension at key points. She was firm and resourceful in facing up to the Police in Act I; she displayed steely determination in separating from de Ruys in Act II, and desperation as she later pleaded with de Ruys to save her lover. She has a very powerful voice which continually rose above the assembled orchestral forces, and she was strong throughout the vocal range. She also demonstrated great tenderness and delicacy in the quieter moments of the opera as she reflected on her love for Serge. There was much to admire in this production and Andreea Soare is clearly one of the stars of this year’s festival.
Robert Beattie - Seen and Heard International
The evening was saved by a terrific performance of Olga by the France-based Romanian soprano, Andrea Soare, whose promising Fiordiligi I heard at Garsington in 2015, and who has the vocal chops and fiery persona for Mozart's Elettra. In terms of vocal growth, I'd say her Olga suggests a potential Salome or Chrysothemis, maybe even a Senta. Despite the derivative material, she managed to thrill us with her presence and charisma, and sheer vocal abandon.
Hugh Canning -
The big redeeming quality of the performance was soprano Andreea Soare as Olga, who features in practically every scene. Possessing a huge range and heft, her mellifluous voice soared up on high, dazzling all before her. Her acting was superlative too. She weeps, she beseeches, she loves intensely. Her begging of her former fiancé (a surgeon in Paris) to heal her lover was brilliant, alternating between utter desperation and heartrending entreaty. It was nothing short of magical the way she unfurled the most delicate pianissmo on her high notes as she sang of her (soon-to-be short-lived) happiness in Act 4.
Andrew Larkin - bachtrack
Only Soare avoids the compromise, singing with clarity and power and breathtaking ease. Where others aspire towards moments of realism, Soare clearly saw the melodramatic writing on the wall and nails it with an unapologetically exuberant performance. Marrying dramatic highs with singing that plumbs emotional depths only hinted at in the libretto, Soare delivers with stunning consistency. Apparently there are no recordings of L’aube Rouge in existence. When rectifying that shame, Soare should be afforded first refusal. Elevated, in this instance, by a sublime Soare rescuing Erlanger’s Olga from the graveyard of unsung tragic heroines. For that alone, there's much to be grateful for. Celebrating its 72nd risk taking outing, Wexford Festival Opera continues to enrich opera's present by reclaiming its past, sifting through the dust at times to uncover long forgotten jewels.
Chris O'Rourke - The arts review
La Fiordiligi d’Andreea Soare incarne la vertu par l'investissement dramatique et la générosité vocale de la soprano roumaine. Ample et épanouie sur toute la tessiture, sonore sans paraître forcée, la voix tisse une ligne de chant d’une exquise noblesse, servant la virtuosité mozartienne. Le “Come scoglio”, vibrant et déterminé, est un retentissant hymne à la fidélité. Quant au “Per Pieta”, par son attendrissante expressivité, il constitue un point culminant sur l’échelle des émotions (et le public ne s’y trompe pas, qui couronne l’air et son interprète de chaleureux applaudissements).
Pierre Géraudie - Olyrix
Vêtue de rouge comme la lave du volcan napolitain, Andreea Soare incarne une Fiordiligi plus raisonnable, presque un bas-bleu, mais tout autant passionnée que sa sœur. Ce caractère à la fois noble et fragile s’exprime sublimement dans les deux grandes arie Como scoglio et Per pietà, ben mio, perdona qui lui permettent de déployer toute l’opulence et tout l’ambitus de son instrument de soprano aussi à l’aise dans les passages dramatiques que dans les appogiatures des parties ornées. D’abord hésitant à interrompre la représentation par des applaudissements ponctuant chacun des numéros de la partition, le public dijonnais se dégèle enfin après la démonstration de chant de Andreea Soare dans Come scoglio.
Nicolas Le Clerre - Première loge
C’est là que réside la principale réussite de la réalisation, avec quelques airs. Ainsi, les deux que chante Fioriligi, Come scoglio, puis Per pietà sont de purs moments d’émotion. La voix est large, riche en couleurs, aux vocalises fluides et au jeu sensible. Andreea Soare compose un personnage complexe et attachant. C’est une authentique mozartienne, que l’on espère écouter de nouveau.
Yvan Beuvard - Forum Opéra