Peter Konwitschny Production of La Juive, Starring Corinne Winters, Now Streaming Online

April 6, 2019

Photo by Annemie Augustijns

The Peter Konwitschny production of Halévy’s La Juive, which recently concluded its run at Opera Vlaanderen starring soprano Corinne Winters, is now available to view via OperaVision until October 5, 2019.

Watch La Juive >

Read reviews:

”Winters made a magnificent role debut as Rachel, the burnished, purple shades of her lower register gorgeous in the romance “Il va venir.” Her confrontation with Léopold, when he confesses that he is not “Samuel”, but a Christian – sizzled with disbelief and scorn across the pit…”
Bachtrack

“Nothing could have prepared me for the focused intensity of Winters’ performance as Rachel, and the remarkable strength and evenness of her middle and lower registers; the way she sang the whole role with a feeling of intensely projected line. This Rachel felt things deeply and conveyed it through the music. Konwitschny asked a lot of his Rachel, she turned suicide bomber in Act Three, but Winters certainly delivered and did so with the music, not despite it.”
Planet Hugill

“The voice of soprano Corinne Winters goes through marrow and bone… [This is] an intimate performance that crawls under the skin and asks questions about the present.”
NRC Handelsblad

“With her grand, dramatic sound, Corinne Winters shows what potential is in her voice, but also in her acting. It is Konwitschny’s style to step outside the frame of the stage, which feels uncomfortable because you are so directly addressed as an audience. But there was so much power and conviction in Winters' acting that this scene felt logical.”
Place de l’Opera

“Corinne Winters, in her role debut, delivers a powerful performance based on an unerring and penetrating timbre that is a little dark and very personal. Her aria ‘Il va venir’ is undeniably one of the evening’s high points.”
Ôlyrix

“The American Corinne Winters, in her role debut as Rachel has a wonderfully good sense of drama and timing… Winters‘ contribution is intimate, human, touchable.”
de Volkskrant

Corinne Winters Debuts as Desdemona in Verdi's Otello

February 13, 2016

Photo by Annemie Augustijns 

““Corinne Winters as Desdemona was by far the star of the evening. She showed a very bright lyrical soprano ranging to spinto, a beautiful colour, lavish projection and a dynamically varied delivery. The Willow Song and the fight duet with Otello were undeniably the highlight of the evening.” LEIDMOTIEF”

Corinne Winters is earning critical acclaim for her first run as the iconic Desdemona in Opera Vlaanderen's new Michael Thalheimer production of Verdi's Otello. Admist an atmosphere that is dark both literally and psychologically, Winters is receiving raves for her "stunning, intense, and heartbreaking" Desdemona (Flemish Classical Radio), as well as her strength balanced with "grace and nuance." (La Libre) 

Also starring Ian Storey in the title role, Vladimir Stoyanov as Iago, and Adam Smith as Cassio, Otello is conducted by Alexander Joel. Performances run until March 15th with tickets available through Opera Vlaanderen's website.

Read reviews: 

"In all that darkness, the light of this performance is Desdemona. In Corinne Winters, Michael Thalheimer has found a stunning, intense and heartbreaking Desdemona, who draws you in with her arias. "
Klara Classical Radio

"With a creamy timbre and a clear underlying gravity, the young North American soprano Corinne Winters delivers an enveloping Desdemona, fascinating with superbly controlled fil di voce."
Anaclase

"In all that lusciousness a sublime Corinne Winters, in her role debut as Desdemona, is a breath of fresh air in the last act: small and intimately she sing her lament ‘Willow Song,' after which she sings the Ave Maria. The American soprano is the bright light of this very old fashioned staging."
Concert News

"Corinne Winters as Desdemona was by far the star of the evening. She showed a very bright lyrical soprano ranging to spinto, a beautiful colour, lavish projection and a dynamically varied delivery. The Willow Song and the fight duet with Otello were undeniably the highlights of the evening. We’ll happily believe she sang an outstanding Donna Anna and we’d love to see her again in Verdi or Puccini repertoire."
Leidmotief

"Corinne Winter’s Desdemona suited all the black around her. Her Willow Song sounded beautifully fragile..."
Place de l'Opera

"Last year, Corinne Winters sang a fantastic Donna Anna. Her Desdemona succeeds, especially in her piano sounds and textual interpretation in the 'Willow Song' and her internalized expression of the 'Ave Maria'."
GOpera

"Corinne Winters offers both the girlish lightness and the desperation for a convincing Desdemona."
Online Musik Magazin

"Winters' fragility shone through in her "Willow Song", but her saving grace turned out to be a luminescent Ave Maria, brightening Thalheimer's darkness [with] a dynamic intensity and honesty in her voice."
Bachtrack

"The Desdemona of Corinne Winters plays marvelously with the stillness of a doll, which the director imposed on her. This doesn’t prevent her voice from unfurling into a maturity and warmth rare for her age. Not a single interval is cheated and the soprano manages to fly over the choir in act III with the ease of a dove."
ForumOpera

"Corinne Winters, a fragile Desdemona, sings her Willow Song with a perfect sense of effect and timing. Conductor Alexander Joel lets the airy notes of her “Ave Maria” flow straight into the growling basses of the finale."
De Standaard
 
"The way Desdemona and her purity are portrayed can only be described as breathtaking. Corinne Winters (Desdemona) gets to the essence of her fragile character."
Cutting Edge

"Desdemona is played by Corinne Winters. Young and petite, but blessed with an impressive voice."
PodiArt

"The Desdemona of the American soprano Corinne Winters, in her psychological righteousness, is compelling from her first appearance. Her voice is luminous and her technique considerable, with a beautiful legato that works wonders in the last act during the famous "Willow Song" – and the rejection of any external effects makes it deeply moving."
Classique News

"As Otello, Ian Storey is an overwhelming power, facing the Audrey Hepburn-esque Desdemona of Corinne Winters, who is just as strong vocally, but with grace and nuance."
La Libre