Abysses. French Arias for Contralto

The contralto voice range did not emerge in French opera until around 1850, largely thanks to the singer Rosine Stoltz, who made her debut at the Paris Opera in 1837. The low female voice then gained prominence on all the Parisian opera stages, with contraltos and sopranos becoming increasingly distinct. It is this entire evolution that is highlighted in the recital presented by Aude Extremo: she performs the world premiere recording of the aria from Niedermeyer's Marie Stuart; she impresses in Joncières' Dimitri, portraying Tsarina Marpha, a role with an exceptionally wide range, extending down to F3 (the F below middle C) but capable of reaching A?5 (the high A-flat). The roles written by Massenet for Ariane or Cleopâtre are equally fascinating, not to mention the iconic Dalila in Saint-Saëns's Samson and Dalila. Other instrumental and vocal gems punctuate this recital, conceived by Alexandre Dratwicki, artistic director of the Palazzetto Bru Zane.