Sabina Puértolas
Sabina Puértolas
Soprano
Sabina Puértolas is managed worldwide by Rozemarijn Tiben.
Contact:
E: rozemarijn.tiben@interartists.nl
T: +31 6 34 272 282
Season highlights 2023-24
September 2023:
Title role of Manon at the Ópera de Oviedo. Production by Emilio Sagi, musical direction by Nuno Coelho.
October 2023:
Role debut of Norina in Don Pasquale at the Teatro Municipal de Santiago de Chile. Production by Francisco Krebs, musical direction by Evelino Pidò.
November 2023:
Title role of Manon at the Auditorio de Tenerife. Production by Emilio Sagi, musical direction by Christopher Franklin
Centennial Gala Concert for Victoria de los Ángeles at the Gran Teatre del Liceu.
February 2024:
Gilda in Rigoletto at ABAO Bilbao Opera. Production by Miguel del Arco, musical direction by Daniel Oren.
March 2024:
Musetta in La Bohème at the Ópera de Las Palmas de Gran Canaria.
May 2024:
Violetta in La Traviata at the Teatro Villamarta in Jerez de la Frontera. Production by Francisco López, musical direction by Manuel Busto.
June 2024:
Title role in Doña Francisquita at the Teatro de la Zarzuela. Production by Lluís Pasqua, musical direction by Guillermo García Calvo.
Reviews
Teagene in Corselli’s Achille in Sciro at the Teatro Real, 2023.
“With dynamic and punctilious musical direction by Ivor Bolton conducting the Orquesta Barroca de Sevilla, a well thought-out stage direction by Marianne Clément and a very adequate cast, in which the soprano Sabina Puértolas stands out, this remarkable piece of pure baroque, cancelled at the beginning of the pandemic, is presented.”
““An undeniable triumph for the Navarrese Sabina Puértolas, who sang with vocal and scenic boldness the difficult coloraturas of her heroic arias and who also demonstrated her good work in the recitatives.”
Carnegie Hall debut: A celebration of Spanish music, 2022.
“Sabina Puértolas sets the Carnegie Hall on fire [...] The soprano sparkled with her zarzuelas, bringing the audience to their feet.”
Fiorilla in Rossini’s Il Turco in Italia, Teatro Real, 2023
“The soprano from Navarre demonstrated her great professionalism and acting qualities, perfectly defending Pelly’s proposal with that image of an Italian housewife, which reminded us of Sofia Loren, and which, capricious and flirtatious, is the soul of the opera. Vocally, her excellent work in the coloratura, the essence of bel canto, is outstanding, worked without haste, recreating herself in each note, always sung without shouting, even at half-voice, but heard throughout the theatre. Moving confidently through the whole tessitura, she stood out especially for her perfect interpretation of her great scene of the second act Squallida veste bruna, very applauded by the audience.”
“as the Navarrese-Aragonese soprano Sabina Puértolas, who sang magnificently from the beginning and perfectly overcame the challenges of her role (which begins in a low, almost mezzo-soprano tessitura, and rises and rises until the end of the work): her timbre was beautiful, with no problems in the high register; the ornaments, elegant and executed with precision and agility; the phrasing, varied. Not to mention the sensuality and mischievousness she brought to her character at all times.”
Manon (title role) at the Teatro Municipal de Santiago, 2022.
“Sabina Puértolas was a vocal and dramatic mainstay as Manon and knew how to inhabit the very different facets of the character. Puértolas has something important: she knows how to say and adapt the intensity of her phrasing to the psychological development of the role. She knew how to excel in the treble and coloratura and did not lack weight in the more dramatic moments; in fact, her singing had the expected strength in the Saint Sulpice scene. [...] It was endearing how she approached the mournful “Adieu, notre petite table”.”
Partenope (title role) at the Teatro Real Madrid, 2021.
Daria in Viva la Mamma, Teatro Real Madrid, 2021.
“Sabina Puértolas was the one who stood out above the rest: unrestrained in her manner, with extreme facility for coloratura and extreme treble, she constructed a perfect Daria with good balance in the ensemble numbers and agility, placement and projection in her solo aria.”
“The best vocally of the cast was the performance of soprano Sabina Puértolas in the part of Daria, the prima donna. She offered scenic poise, an attractive voice and had no problems in the agilities and trills, being brilliant in the high notes.”
“Sabina Puértolas stood out in the cavatina thanks to her penetrating high register and her elaborate coloratura. She also shone in the polonaise, already with a focused voice.”
“Sabina Puértolas shone in what I think is her greatest role so far. Very difficult, if possible, to find a light soprano capable of equalling in global terms her Partenope, by physique, by her exceptional abilities as an actress, and also by her vocal performances, which culminate in her great aria of the second act ‘Qual farfalleta! She has worked hard. An admirable great job. These performances will mark a before and after in her already brilliant career””
“Sabina Puértolas did not show the slightest fissure. Hers is a powerful, dark voice, which fits perfectly with the strong personality of the character of Partenope, the Queen of Naples who is courted by all (transformed, in Christopher Alden’s production, into the English writer Nancy Cunard). Puértolas sang with admirable
character in the first act the aria ‘Io ti levo l’impero dell’armi’, perhaps the most accomplished of those Handel wrote for this role.”