„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

A few days ago, Coline Dutilleul appeared in a staged production of Purcell’s The Fairy Queen under the music direction of Alexis Kossendo at the Atelier lyrique de Tourcoing. The production received critics-acclaim in general, however in particular Coline Dutilleul’s performance. Here are some press-cuts:

„The Fairy Queen is expressing herself through Coline Dutilleul’s bright and velvety mezzo-soprano. Albeit already caressing with velvet timbre and promising vocal flexibility in her aria „Ye gentle spirits of the air“, she causes an even stronger sensation with her both controlled as sophisticated rendition of the plaint „O, let me ever weep“. Moreover she takes possession of the acting as Titania brilliantly, imperiously and if required as a vamp. A name to keep in mind! (Forumopera)

„Coline Dutilleul, a beautiful and well-balanced mezzo-voice with flexible phrasing. Her plaint „O let me ever weep“ - accompanied by a magnificent oboe - is a summit of expressivity“. (Diapason)

„Gorgeous as Marisa Berenson in Barry Lyndon, Titania steps apparently out of a painting by Reynolds or Gainsborough, in doing so Coline Dutilleul bestows a fascinating sensuality, conjuring particularly in the plaint. (Concertclassic)

„Coline Dutilleul unfolds Titania’s long plaint “O let me ever weep” with a sentient expressivity that touches the heart.“ (Olyrix)

08.03.22