Par amour Vannina Santoni, Orchestre National de Lille & Jean-Marie Zeitouni

• Franco Alfano (1875 - 1954): Risurrezione, Act II:
• 1 Alfano: Risurrezione, Act II: Giunge il treno… Dio pietoso 04:26
• Alfredo Catalani (1854 - 1853):
• 2 Catalani: La Wally, Act I: Ebben? Ne andrò lontana 05:20
• Charles Gounod (1818 - 1893): Roméo et Juliette, CG 9, Act I:
• 3 Gounod: Roméo et Juliette, CG 9, Act I: Ah! Je veux vivre 03:48
• Roméo et Juliette, CG 9, Act II:
• 4 Gounod: Roméo et Juliette, CG 9, Act II: Entracte 02:41
• Jules Massenet (1842 - 1912): Manon, Act III:
• 5 Massenet: Manon, Act III: Toi ! Vous ! - Oui, c'est moi ! 08:09
• Manon, Act II:
• 6 Massenet: Manon, Act II: Prélude 01:52
• 7 Massenet: Manon, Act II: Allons, il le faut… Adieu, notre petite table 04:10
• Giuseppe Verdi (1813 - 1901): Otello, Act IV:
• 8 Verdi: Otello, Act IV: Era più calmo?… Ave Maria… 17:39
• Giacomo Puccini (1858 - 1924): Gianni Schicchi:
• 9 Puccini: Gianni Schicchi: O moi babbino caro 02:48
• Le Villi, Act I:
• 10 Puccini: Le Villi, Act I: Se come voi piccina io fossi 05:24
• Jules Massenet: Thaïs, Act II:
• 11 Massenet: Thaïs, Act II: Ah ! Je suis seule… Dis-moi que je suis belle 07:32
• Henri Tomasi (1901 - 1971): Six mélodies populaires corses:
• 12 Tomasi: Six mélodies populaires corses: No. 1, O ciucciarella 04:35
• Total Runtime 01:08:24

Info for Par amour

Love is the common thread running through this first recorded recital by soprano Vannina Santoni; it's also an opportunity to look back over her fifteen-year career, through her leading roles, alongside her favourite musicians. With the help of the Orchestre National de Lille and Quebecois conductor Jean-Marie Zeitouni, she places her sensual voice at the service of famous operatic arias featuring the amorous heroines of Gounod, Massenet, Puccini (‘O mio babbino caro’), Catalini (‘Ne andrò’ from La Wally) and Verdi (Desdemona’s poignant ‘Ave Maria’ from Otello). The programme also includes a rare but sublime aria from Franco Alfano’s Tolstoy-inspired opera Risurrezione (1904), as well as the magnificent ‘Saint-Sulpice’ duet from Massenet’s Manon, with tenor Julien Dran. Finally, Vannina Santoni pays homage to her Corsican roots with a new orchestration of the lullaby ‘O Ciucciarella’ that Corsican mothers have sung to their children for generations.

Vannina Santoni, soprano
Orchestre National de Lille
Jean-Marie Zeitouni, conductor

Vannina Santoni
born in Paris on 5 May 1986, is a fusion of ice and fire, with a dual Corsican and Russian heritage from which springs her intense, passionate love of nature, animals and horses, her sense of rapport with the earth, and her deep and intimate bond with the elements.

After training at the Maîtrise de Radio France and the Paris Conservatoire, she very soon began a career as a soprano soloist that has garnered her more than thirty main roles so far, among them Countess Almaviva (Le nozze di Figaro), Fiordiligi (Così fan tutte), Pamina (Die Zauberflöte), Donna Anna (Don Giovanni), Mimi (La Bohème), Liù (Turandot), Suor Angelica and Lauretta (Il Trittico), Violetta (La Traviata), Nanetta (Falstaff), Adina (L’elisir d’amore), the title roles in Manon and Grisélidis (Manon, Grisélidis), Juliette (Roméo et Juliette), Agnès (La Nonne sanglante), Micaëla (Carmen), Leïla (Les Pêcheurs de perles); Mélisande (Pelléas et Mélisande), Antonia (Les Contes d’Hoffmann), Héro (Béatrice et Bénédict), Iphigénie (Iphigénie en Tauride), La Princesse Saamcheddine (Mârouf, savetier du Caire), Gretel (Hänsel und Gretel), and Adele (Die Fledermaus).

She has appeared at the Opéra de Paris, Théâtre des Champs- Élysées, Opéra Comique, Théâtre du Capitole de Toulouse, and the National Opera of Bordeaux, as well as at la Scala Milan, the Konzerthaus in Vienna, the Hong Kong Cultural Center, the Opéra de Monte-Carlo, the Gulbenkian Foundation Lisbon, Zurich Opera, the Opéra de Lausanne, the Teatru Manoel Malta, the Berlioz Festival in La Côte-Saint-André, and in Lille, Montpellier and Tours.

With her total commitment to theatre and to music, Vannina Santoni cannot imagine being an opera singer without deeply immersing herself in her roles; while also sensing the importance of honouring the music just as much as the characters she embodies. An ardent ‘people person’ at the core of her being, Vannina Santoni is on a constant quest to identify the quintessence of her roles.

Booklet for Par amour