To mark the 150th anniversary of the death of Georges Bizet (1838-1875), the Palazzetto Bru Zane – Centre for French Romantic Music, in collaboration with the Harmonia Mundi label, Les Amis de Georges Bizet and the La Forlane Foundation (Institut de France), has released a complete recording of Georges Bizet's 63 melodies.

Alongside three other singers (Marianne Croux, Cyrille Dubois, Guilhem Worms), accompanied on the pianoforte by Luca Montebugnoli and Edoardo Torbianelli, Coline Dutilleul shines with her grace, sensuality and delicacy in melodies with evocative titles such as „Rêve de la bien-aimée“, „Ma vie a son secret“, „À une fleur”, „Le Colibri”, „La chanson de la rose”, „De mes brebis la plus charmante” and many more.

The press is no less enthusiastic than we are (excerpts):

„Coline Dutilleul strikes an almost ideal balance between the tremulous sensitivity of the words and the form of the line, as in Ma vie a son secret and especially in A une fleur – where she benefits from the soft sounds of the 1857 Pleyel, our favourite. Her luminous, slightly nasal mezzo voice and refined pronunciation blend beautifully with the pianino in the Chants des Pyrénées, harmonised in the 1860s – the jewel in the crown of this triple album.“ (Diapason)

„Mezzo-soprano Coline Dutilleul enchants with the constant naturalness of her singing, as if she only had to open her mouth for Bizet to come out.“ (Concertclassic)

„On the same level of excellence [as Cyrille Dubois], Coline Dutilleul showcases a rich, velvety tone, which can also become more refined when it comes to conveying the text.“ (Forumopera)

„Mezzo-soprano Coline Dutilleul brings warmth and commitment to her singing without losing her naturalness.“ (Olyrix)

„The voice of mezzo-soprano Coline Dutilleul is magnificent and velvety.“ (Scherzo)

10.06.25

„Licht in der Nacht“, Coline Dutilleul's first solo-album, superbly accompanied by pianist Kunal Lahiry, has just been published by the label Fuga Libera (Outhere Music).

Coline Dutilleul explains her basic concept as follows:
„This programme of music on the cusps of modernity (1899-1914) is intended as a bridge between expressionism and impressionism. Concomitantly not the differences between these styles should be highlighted, but their commonalities, in order to reveal the voluptuous and almost decadent sensuality of these two artistic movements, being in other respects geographically and stylistically most diverse. A fascinating and almost erotic relation between text and music can be detected, both in the German part of the programme, represented by Alma Mahler, Arnold Schönberg, Alexander Zemlinsky and Alban Berg as in French one with music by Claude Debussy, Maurice Ravel and the sisters Nadia and Lili Boulanger. A game of harmonic expression acuminated both to paroxysm and poetic subtlety, colourful like a painting.“

An elaborated programme with the delightful result full of mellifluous beauty and chiaroscuro atmospheres.

14.11.22