Press

Sonya Yoncheva’s recent Marie-Antoinette concerts with William Christie and Les Arts Florissants in Paris, Toulouse, and Compiègne have captivated audiences and critics, earning a standing ovation even before the final notes. The program concluded with encores of O del mio dolce ardor and Plaisir d’amour, beloved songs of Marie-Antoinette, which left audiences moved and reaffirmed Sonya’s place as one of today’s greatest operatic stars.

Celebrated in the press, Yoncheva’s portrayal of Marie-Antoinette’s musical world was praised for her vocal and artistic mastery in embodying the tragic heroines of Gluck, Cherubini, Piccinni, and melodies by Chardin and Martini. Critics praised her radiant high notes, the velvety richness of her timbre, and commanding, graceful stage presence. With her interpretations of arias such as Piccinni’s Didon and Gluck’s Iphigénie en Tauride, Sonya Yoncheva highlighted the tragic beauty of each piece, and of France’s last queen, with precious moments of interaction with William Christie.

Here are a few press highlights:

“William Christie, with assured gestures and light steps (he danced at his podium for most of the program), opened the evening with the overture of La Finta giardiniera. The tone was immediately set: Les Arts Florissants embraced the music of the late Ancien Régime with enthusiasm and vitality, giving Mozart’s work a refreshing fluidity and lightness (…) Sonya Yoncheva then appeared, dressed in a coral chiffon gown that immediately established her role as a diva, a persona she embraced with charming expressions that sometimes bordered on coquetry. However, her vocal artistry shone immediately, particularly in the length and power of her breath, which provided a solid foundation and assured phrasing, winning over her numerous fans in the audience. Effortlessly playing with dynamics, she managed her volume with remarkable mastery. The fruity richness of her middle register and the depth of her timbre in lyrical passages were undeniable strengths, allowing her to move seamlessly from Alceste to Médée, from Piccinni’s Didon to Armide. (…) An ovation at the intermission confirmed her star status for much of the audience, and she returned after the break in a dazzling white gown embroidered with sparkling details, reminiscent of Cinderella’s ball—though more fittingly, Versailles.”
– Olyrix

“At the helm of the orchestra Les Arts Florissants, William Christie calls upon his lyrical star, Sonya Yoncheva, to celebrate one of the most famous female figures of the Enlightenment. (…) One of today’s greatest lyrical stars then graced the stage. Dressed first in red and later in white, Sonya Yoncheva embodied the role of a charming soprano. Throughout the evening, she offered her voice with surprising generosity. She delivered Johann Paul Aegidius Martini’s famous Plaisir d’amour with sensitivity and demonstrated beautiful harmony with the harp in her interpretation of Louis-Claude-Armand Chardin’s C’est mon ami. The harp played a central role in the recital, as it was an instrument cherished by Marie-Antoinette. The lushness and enchantment of Marie Bournisien’s performance perfectly complemented the gentleness of Yoncheva’s singing. Yoncheva also shared a special connection with the conductor, William Christie, showing great affection toward him. Together, they interacted with mutual respect, exchanging meaningful glances. As he approaches his 80th birthday, Christie’s calm gestures reflected his attentive and measured approach to conducting. He seemed to savor Yoncheva’s voice, watching her intently and absorbing every note. The evening concluded on a warm and memorable note as Les Arts Florissants, William Christie, and Sonya Yoncheva performed the queen’s two favorite songs once again. Their rendition left the audience with a lasting impression of grace and unforgettable music.”
– Cult.news

“The second half opened with a magical scene featuring Sonya Yoncheva, William Christie, and ensemble harpist Marie Bournisien, bathed in focused lighting at the front of the stage. Yoncheva performed two traditional repertoire pieces: “C’est mon ami” by Louis-Claude-Armand Chardin and the famous romance Plaisir d’amour by Johann Paul Aegidius Martini—a timeless moment. (…) The remainder of the concert showcased several arias imbued with Yoncheva’s characteristic sweetness and sensitivity. These included “Ah! Peut-être à mes yeux luit ma dernière aurore!” from Cherubini’s Démophoon and “Ah si la liberté me doit être ravie” from Gluck’s Armide.”
– Classic Toulouse

“This performance marked a return to her roots for Sonya Yoncheva, who was discovered years ago through William Christie’s Jardin des Voix, a renowned training ground for singers. The program blended well-known arias with rarer pieces, reflecting the mutual influence between French lyrical tragedy and Italian opera. (…) Throughout the evening, Yoncheva adopted an intimate and refined tone, never straining her magnificent, creamy, and velvety voice. She explored a range of pianissimos, contrasting them with wide, powerful high notes that resonated effortlessly.”
– Díapason

“William Christie, who has championed French music for over 40 years, is uniquely suited to guide Sonya Yoncheva in this pre-revolutionary repertoire. The result is captivating, as this music poses significant vocal and stylistic challenges. Together, their collaboration delivers an interpretation that is both informed and vocally impeccable. (…) She conveys touching emotions through her vocal technique and diction. As a soprano who regularly performs some of the heaviest spinto roles, she skillfully adapts her voice to this repertoire, lightening it as needed. Her phrasing, which echoes the orchestra’s lines, the subtlety of her dynamics, and the remarkable quality of her lower and middle registers create a compelling vocal panorama. (…) Much of Yoncheva’s allure lies in her exceptional command of the French language, which she speaks fluently and articulates beautifully. (…) The playful dynamic in the second half between Yoncheva as Marie-Antoinette and the maestro transcended mere theatrical convention, revealing a deep mutual respect and tenderness.”
– Classique News

Photo by Vincent Pontet.