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Eglise Gutierrez

  • Soprano


Eglise Gutiérrez Press Reviews

Opera News feature, August 2012

La Sonnambula, Amina - Royal Opera House

La Sonnambula at Covent Garden has divided opinion., it hasn't. Most agreed on the outcome. Eglise Gutierrez's Amina was the point of it, and really the only point. What a voice she has: persuasive, malleable, spot-on, seductive, tender and powerful. A star is born? You bet.", November 2011

"Amina (Eglise Gutierrez), her maid, is about to marry. And in the numerous ecstatic, pitch-perfect hops, skips and jumps of her ravishing coloratura, Gutierrez made sure we knew it...Gutierrez delivered all her vocal fireworks in an exquisitely sleepy state, engaging in some extremely fine legato bel canto. Her dreamy voice, coloured by the small warming palpitations of her vibrato, aided this fluidity. Most astonishing, however, was how she was able to deliver all the highest roulades and trills (on Cs, Ds and E flats) sotto voce or fortissimo. Most singers can only do one or the other."
The Arts Desk, November 2011

"As the somnambulist of the title, Amina, the Cuban-American soprano Eglise Gutiérrez is superb. She has a lovely voice, a considerable technical command and the ability to knock off electrifying notes above the stave…she really came to light in the closing numbers of Act Two: ‘Ah! non credea mirarti’ was very touching and ‘Ah! non giunge’ suitably brilliant.", November 2011

"Eglise Gutiérrez is a vibrant stage presence, and her Amina was most successful in her final aria and her exchanges with Teresa and Rodolfo. ‘Ah! non credea mirarti’ was finely spun … and ‘Ah! non giunge’ was spectacularly presented in vocal terms…Gutiérrez was cheered to the rafters."
OMH Review, November 2011

"Eglise Gutiérrez has a light, soft soprano that floats up to delicate top notes and whenever she is singing quietly, as in her sleepwalking scene, the results are dreamily beautiful."
Financial Times, November 2011

"Eglise Gutiérrez, the Cuban-American soprano, makes a sensational Amina, dispatching her roller-coaster solos with ease and genuine charm."
The Observer, November 2011

"Thankfully the evening was saved by some spell-binding singing, not least of which was a bel canto masterclass courtesy of the Cuban-American coloratura soprano, Eglise Gutiérrez…Amina is Gutiérrez’s third role at The Royal Opera, having previously sung La Fée in Cendrillon and the title role in Linda di Chamounix.

Nothing however prepared us for what was an astonishing performance, as Gutiérrez bewitched the audience with the sort of singing that is all but extinct today. From the moment she sang her exquisite entrance aria “Care compagne.....Come per me sereno”, the audience knew it was in for something special and responded in kind.  Chief amongst her many attributes is the haunting way in which her voice, often accompanied by little more than a selection of strings (as is in the “Ah! Non credea mirarti”), can create the illusion of everything winding down, stopping still even, as she caresses the vocal line with delicacy and tenderness.  This is a singer who knows the secret of Bellini’s music – its timeless, intricate melodies that should, when sung so beautifully, leave you moved and amazed in equal proportions.

Hers was a personal triumph, of brilliant vocalism over the constraints of a diabolical production and mediocre accompaniment by the orchestra.  I daresay Covent Garden hasn’t heard such a luxurious coloratura soprano for many years. It’s a plush voice, used with panache and some real old-fashioned glamour – think Lina Pagliughi meets Maria Cebotari.  The middle is rich, dark and velvety, whilst the top is silvery and glinting.  Her trills are probably unrivalled today, whilst her acuti were all expertly placed, no matter how altitudinous. The top F with which she capped her brilliant rondo finale “Ah! non giunge” was simply astounding. What sets her apart from other coloratura sopranos today is her finely judged legato and feeling for the music.  This is not a singer who smudges the vocal line, breaks phrases at inappropriate moments, or indulges in cheap vocal tricks designed to throw you off the scent of a deficient technique.  There is integrity in the singing and a real feel for the expressivity of Bellini’s vocal line. It is a moderately-sized voice capable of refined, hushed singing and then, when it’s called for, a real punch in altissimo. Now that we have a soprano who can uphold the grand bel canto tradition, perhaps Covent Garden can be persuaded to offer her Lucia, Elvira in I Puritani, Semiramide or even Beatrice di Tenda?"
Opera Brittania, November 2011

"Eglise Gutierrez as Amina often sang beautifully, with some wonderful floated pianissimi but also heft when required. Her final moments, with that costume change between 'Ah, non credea' and 'Ah, non giunge', were a tour de force."
Opera Magazine, December 2011