Yoncheva’s Parisian Recital: Velvety Tone, But Lacking Fire
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A performance by soprano Sonya Yoncheva and the Sofia Philharmonic Orchestra at Paris’s Théâtre des Champs-Élysées on January 7th showcased a stunning vocal instrument, yet ultimately left critics wanting a more profound emotional resonance. Under the auspices of Les Grandes Voix, the program of romantic arias, skillfully chosen to highlight Yoncheva’s “velvety timbre,” risked, as one observer noted, “hedonism without much depth.”
The concert commenced with selections from Puccini’s rarely performed Villi. From the outset, Yoncheva captivated the audience with her “finesse, great flexibility and naturalness,” possessing a “sumptuous instrument” that she wisely refrained from forcing. She was perfectly matched by conductor Nayden Todorov, described as “attentive as he is playful.” However, the performance hinted at a potential shortcoming: while technically brilliant, the interpretation sometimes lacked the raw dramatic intensity demanded by the composer.
In “If I were little like you,” the aria depicting Anna’s farewell before becoming a vengeful spirit, the implored “don’t forget me” felt more prettily sung than tragically fraught. The orchestra, while “precise and diligent,” remained somewhat “bland,” failing to fully embody the “fiery choreographic page” of The Tregenda, intended to represent a deadly dance of betrayed brides. This lack of depth was particularly noticeable when contrasted with the intermezzo of Manon Lescaut.
Massenet and a Refined Delicacy
Yoncheva truly shone with Massenet, where her “tone of refined delicacy and voice charged with sensuality” found ideal expression in the French fin de siècle repertoire. Her portrayals of Salome and Herodiade were lauded for gracefully blending “naivety, eroticism and fragility.” However, this same serenity proved problematic when tackling Mimì from La Bohème. In “Whence she happily emerged,” the sheer beauty of her tone bordered on “excessive serenity,” obscuring the heartbreaking farewell at the heart of the aria. A similar reservation arose during a languid rendition of Rusalka’s Song to the Moon, where the performance, while beautiful, lacked a crucial “rise in tension.”
A Bulgarian Showcase and a Questionable Encore
Following intermission, a dynamic performance of the Carmen overture injected much-needed energy, though the brass and percussion could have benefited from greater subtlety. Yoncheva’s strengths in the French repertoire were again evident in a beautifully murmured “Farewell, our little table.” Her interpretation of Puccini’s Manon, however, proved less convincing than her Massenet counterpart, lacking the chilling thrill of “cold mortal” in “In those soft laces.”
The concert also provided a platform for Bulgarian artistry, introducing Parisian audiences to lesser-known works. Rachenitsa by Petko Staynov, a Thracian folk dance with an asymmetrical rhythm, was described as a “curiosity played quite flatly.” In contrast, an aria from The Bee by Parashkev Hadjiev – hailed as a successor to Puccini and verismo – emerged as the evening’s high point. Singing in her native Bulgarian, Yoncheva finally achieved a “dramatic truth that hits the mark.”
A performance of “To Havana” felt somewhat detached, hampered by a “nonchalance of tempo and diction” – a recurring issue in both French and Italian pieces. As an encore, Yoncheva charmed the audience with De Curtis’s “Don’t forget me,” but when a request for Verdi was made, the evening concluded with “La vie en rose.” This choice, one commentator suggested, was “revealing” of a program that was “well-kept, careful, friendly,” but ultimately lacking the “inner fire” needed to elevate a beautiful recital into a truly unforgettable event.
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