Press

In December and January, Sonya Yoncheva captivated audiences with her highly acclaimed Christmas program at the Royal Chapel of the Versailles Castle and the Gstaad New Year Music Festival. Critics have praised her “natural expressiveness,” “remarkable breath control” (Première Loge), “richly colored voice,” “natural charisma” (Forum Opéra), “sumptuous high notes,” and “exquisite mezza voce” (Classykeo).
You can find the full reviews below:

“Yoncheva in Gstaad: Happy New Year

RECITAL – At the foot of the Swiss Alps, the 19th edition of the Gstaad New Year Festival once again offers the chance to spend the festive season in excellent company, including a soprano who proves her mastery of many languages.

(…)

And then there’s Sonya Yoncheva. The luminous Bulgarian soprano, entrusted with the task of reviving the Christmas spirit just hours after the generous feasting of New Year’s Eve, is no stranger to the local audience (she’s also a regular at the summer Menuhin Festival). She doesn’t undertake this mission alone: alongside her are ten musicians and five choristers, all from the ranks of the Orchestra and Choir of the Royal Opera of Versailles. A full stage indeed, in the wooden splendor of Saanen Church, a true jewel of gold and frescoes. One could almost forget the majestic organ towering above the nave, but for the captivating presence of Yoncheva herself.

If she’s going to wish you a Merry Christmas and a Happy New Year, she intends to do it in every language. Every language? Well, almost. But still. A touch of English to start? Cue Handel’s Messiah. “I know that my Redeemer liveth,” she announces. And you want to believe her and follow her along this path of redemption, carried by her velvety, supremely smooth voice. Her formidable range effortlessly spans warm low notes to celestial high notes, her technique so natural it seems almost effortless. Add to that her ability to imbue each word with its precise emotional weight. What a moving moment!, some in the audience must be thinking.

And in French? The same thrill. From an excerpt of Gounod’s Messe Solennelle (“Repentir”), the soprano conveys all its emotional power, with a flawless mastery of legato and nuanced dynamics culminating in sumptuous high notes—all in perfectly comprehensible French. Undoubtedly, one of the evening’s highlights.

The arrival of Italian only enhances the experience. Puccini’s charming Sogno d’Or and Mascagni’s Ave Maria from Cavalleria Rusticana deliver equal enchantment. Yoncheva’s voice becomes richer and more luminous, with tones as radiant as the golden gown she dons midway through the recital, after already stunning in a long, flowing red dress. Her Pie Jesu by Andrew Lloyd Webber, recited with impeccable liturgical fervor and exquisite mezza voce, is nothing short of spellbinding.

And Spanish? It’s not forgotten, hombre! The program, featuring many other Christmas songs (including Irving Berlin’s timeless White Christmas), also includes a nativity carol from Honduras: Arru, Arrurrú. What does it mean? Who cares? Its charm lies in its traditional melody, performed like a fireside lullaby with perfectly rolled R’s.

And so, Christmas and New Year’s are celebrated in many languages—even German and Bulgarian, with an unmissable rendition of the famous Stille Nacht. A concert like a true voyage, enriched by the contributions of the Royal Opera of Versailles ensemble. The five choristers shine with their evident camaraderie, resonant voices, and the way they connect through glances to sing in perfect harmony. The musicians, too, are dedicated accompanists and remarkable soloists, like the cellist playing with such gusto that her bow hairs fray. And then there’s conductor Stefan Plewniak, whose energetic direction matches his striking look (leather pants and cape), drawing the most expressive nuances from his musicians, like the Intermezzo from Cavalleria Rusticana, rarely performed in such an intimate chamber version.

These artists, after a final Ave Maria encore, are warmly thanked by the audience with the ultimate shared language: thunderous applause.”
Pierre Géraudie, Classykeo

“Sonya Yoncheva’s Royal Christmas

For any renowned opera singer, performing a recital of Christmas arias is almost a rite of passage. The results can vary: some, like Anne Sofie von Otter in her highly successful Home for Christmas, bring a local touch to traditional classics; others, like Roberto Alagna or Juan Diego Flórez, incorporate their own compositions into their programs; and still others, like the jazzy Renée Fleming, embrace the delights of crossover without hesitation. In a Versailles evening recorded by France Télévisions, Sonya Yoncheva strikes a particularly happy balance among these approaches. The solemnity of the venue dictates the tone of the first half of the concert, which honors works perfectly suited to the grandeur of the Royal Chapel’s vaulted ceiling.

The previous evening, Handel’s Messiah was performed in the same venue, and Yoncheva begins her recital with “I Know that My Redeemer Liveth.” This piece offers the Bulgarian soprano a chance for a gracefully restrained opening and serves as a poignant reminder of her early musical roots in baroque repertoire. Though her lush, powerful voice naturally drew her towards romantic heroines, Yoncheva’s sumptuous vocal timbre and remarkable projection fit Handel’s language effortlessly, as if revisiting a cherished homeland. The mood shifts with the neo-Gothic tones of “Repentir” from Gounod’s Messe solennelle de Sainte-Cécile, but Yoncheva’s fervor remains unchanged. The first half concludes on two verismo notes, with Puccini’s rare “Sogno d’or,” a melody composed in 1912 that he later reworked into La Rondine, and the Ave Maria from Cavalleria Rusticana, which here feels more meditative than operatic. (…)

After intermission, the program takes on a lighter tone, though it begins with another religiously inspired piece: Andrew Lloyd Webber’s Pie Jesu. For this duet between soprano and child soprano, Yoncheva is joined on stage by Isaure Brunner, the daughter of the venue’s director, whose promising vocal control and projection shine. The audience is treated to Irving Berlin’s “White Christmas” in a slightly saccharine orchestration, and Adam’s “Minuit Chrétien,” where Yoncheva skillfully avoids kitsch, allowing the natural hues of her richly colored voice to take center stage. A Honduran carol delays the inevitable “Stille Nacht, heilige Nacht” for a little longer, before the evening wraps up with jubilant encores: Schubert’s Ave Maria and a charmingly candid rendition of “Petit Papa Noël,” with the audience joining in for the chorus.

The success of the evening owes as much to Sonya Yoncheva’s natural charisma as to the dynamic energy of her musical partner, Stefan Plewniak. From the opening “Joy to the World,” Plewniak propels the orchestra and choirs of the Opéra Royal with vitality and musical integrity, shining especially in a duet with his concertmaster during a brilliant Corelli concerto. As the audience leaves the Royal Chapel with smiles on their faces, they don’t feel overwhelmed by saccharine indulgence as they head off to their holiday celebrations. The evening’s mission is accomplished!”
Clément Taillia, Forum Opéra

“During this festive season, it’s hard to resist the lure of extreme kitsch, from Christmas hits to outrageously sentimental songs. Yet, the program chosen by Sonya Yoncheva for her Christmas recital at the Royal Chapel of Versailles skillfully avoided this pitfall.

The evening began with a grand opening as the Choir of the Royal Opera performed the traditional “Joy to the World,” showcasing a brilliant sound and remarkable harmony. Under the baton of the spirited Stefan Plewniak, the Royal Opera Orchestra then transitioned to more classical works with Handel’s “I Know That My Redeemer Liveth” from Messiah. It was here that Sonya Yoncheva made her entrance, adorned in an immaculate white gown. The soprano infused her performance with natural expressiveness and meticulous attention to the highest notes, which she delivered with a touch of unexpected fragility yet remarkable breath control. The chapel’s acoustics amplified her velvety timbre, resonating beautifully throughout the venue.

The recital took a different turn with the romantic tones of “Repentir” from Gouemphasizede Solennelle de Sainte Cécile. This romantic style dominated the evening, a realm in which Yoncheva excels. She emphasized the poignant lament of Gounod’s aria and the humility of prayer in the Ave Maria set to the intermezzo from Cavalleria Rusticana. Although a conventional choice, it was elevated by the orchestra’s excellence and the magic of the chapel’s acoustics, which highlighted the intricate sounds of the instruments. These instrumental textures shone particularly in purely orchestral moments, such as Corelli’s exquisite Christmas Concerto and Pachelbel’s iconic Canon, performed at a lively tempo that preserved harmonic beauty without compromising the musicians’ virtuosity. Plewniak, demonstrating his versatility, even joined the musicians on violin.

The evening also featured unique pieces such as Puccini’s Sogno d’Oro lullaby and the traditional Arru, Arrurru, blending soprano and choir in delightful harmony. In Andrew Lloyd Webber’s Pie Jesu, Yoncheva’s voice melded gracefully with that of Isaure Brunner, while Adolphe Adam’s Cantique de Noël, sung in both French and English, added a further touch of tradition. Yoncheva’s impeccable diction was especially notable in this piece. No Christmas recital would be complete without Mohr’s Stille Nacht, delivered here with grandeur rather than gentleness, highlighting the choir’s rich timbres.

The Versailles audience was then treated to Irving Berlin’s White Christmas, alternating between solemnity and playfulness while remaining thematic. The orchestral arrangement skillfully avoided any overly nostalgic excess. (…) Yoncheva closed with the unexpected Petit Papa Noël, popularized by Tino Rossi, leaving the audience with a nostalgic smile as they exited the hall.”
Ivar Kjellberg, Première Loge

[Photo by Patricia Dietzi Prin]