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PRESS

"Her grace, her acting and her charisma are dazzling: the soprano tackles each emotional state of the character with incredible density. Thrown headlong into happiness, disillusioned, lucid, sacrificial, distraught: Amina Edris' Violetta is a color chart of the human soul."

FORUM OPÉRA

LA TRAVIATA

VIOLETTA |CANADIAN OPERA COMPANY

Edris, another debut, stepped into her role with a rich sound and a softness in her demeanour; the effect was more of the courtesan between shifts, the real Violetta who knows her health is failing and who needs to talk herself up before going to work. Edris brought the same care to her singing, showing off incredible detail work in her most agile moments. She spends two acts offering up truly gorgeous colours, earning herself the right to vocal risks in the third act that pack an emotional punch.

THE GLOBE AND MAIL

The revelation of the night though was young Egyptian-New Zealand soprano Amina Edris making her company debut and singing only her second Violetta. Beautiful of tone throughout her registers, with accurate coloratura and no shortage of power, she made just about an ideal Violetta from a vocal standpoint.

BACHTRACK

...glorious tone and acted with touching vulnerability, her “Addio del passato” a highlight of the evening. 

LUDWIG VAN TORONTO

Edris is superb in the role of Violetta; she's got an incredible clarity to her voice, carrying her through the range of Violetta's demanding numbers seemingly with ease. Edris also brings great emotion to the role, and has a certain magnetism to what she does on stage - there were times where I stopped looking at the translations above screen simply because I was so caught up in her performance.

BROADWAY WORLD

IN SONG WITH AMINA EDRIS

LA TRAVIATA

VIOLETTA | OPÉRA LIMOGES

Le tour de force est-il vocal ou théâtral ? Réponse : les deux. La voix est magnifique : il y a dans le timbre charnu d’Amina Edris une profondeur magmatique, une chaleur et un bouillonnement telluriques, évocateurs d’un volcan en pleine effusion. La cantatrice déploie, sans coup férir, les vocalises de « Sempre Libera » avec un naturel et une agilité époustouflante ; souveraine, elle mobilise avec la même beauté les registres dramatique et lyrique aux actes II et III ; enfin, son « Addio del passato » confirme sa perfection technique et la noblesse de son timbre aux infinies nuances. Sa grâce, son jeu scénique et son charisme sont éblouissants : la soprano aborde avec une densité incroyable chaque état émotionnel du personnage. Jetée à corps perdu dans le bonheur, désabusée, lucide, sacrificielle, désemparée : la Violetta d’Amina Edris est un nuancier de l’âme humaine. Brava !

 

{Is the tour de force vocal or theatrical? Answer: both. The voice is magnificent: there is in the fleshy timbre of Amina Edris a magmatic depth, a heat and a telluric bubbling, evocative of a volcano in full effusion. The singer deploys, without firing a shot, the vocalizations of “Sempre Libera” with breathtaking naturalness and agility; nobly, it mobilizes with the same beauty the dramatic and lyrical registers in acts II and III; finally, her “Addio del passato” confirms her technical perfection and the nobility of her timbre with infinite nuances. Her grace, her acting and her charisma are dazzling: the soprano tackles each emotional state of the character with incredible density. Thrown headlong into happiness, disillusioned, lucid, sacrificial, distraught: Amina Edris' Violetta is a color chart of the human soul. Well done!}

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La standing ovation réservée à une Amina Edris bouleversée témoigne du choc reçu par le public. La soprano offre ici une prise de rôle absolument magistrale dans la lignée de sa performance de 2020 pour la Manon de Massenet à Paris. L’Opéra de Limoges ne peut que se féliciter d’avoir eu la primeur d’une telle performance qui confirme que la soprano est une révélation majeure de la scène lyrique. Avec une voix chaleureuse, pulpeuse et dense de l’aigu puissant au grave profond, elle réussit naturellement la quadrature du cercle des trois voix de soprano qu’exige le rôle. Des périlleuses vocalises du « Sempre Libera », au dramatisme incandescent du II, de la simplicité du « Dite alla giovine » à l’« Addio del passato » d’un lyrisme d’une suprême élégance, à faire fondre une banquise, tout est assumé avec une égale finesse d’approche. Au service d’un portrait fouillé qui ne cesse d’évoluer au fil des actes, elle apporte des couleurs rarement savourées, des nuances ineffables, un sens du discours et du tragique confondant pour une jeune artiste. Une émotion mémorable qui donne l’impression de la simplicité.

 

{The standing ovation reserved for an overwhelmed Amina Edris testifies the shock received by the audience. The soprano offers an absolutely masterful role debut in line with her 2020 performance of Manon de Massenet in Paris. The Limoges Opera can only be pleased to have had the first of such a performance which confirms that the soprano is a major revelation of the opera scene. With a warm, luscious and dense voice from the powerful middle voice to the deep low voice, she easily succeeds in conquering all of the three soprano voices required for the role. From the perilous vocalizations of the "Semper Libera", to the incandescent dramatism of the II, from the simplicity of the "Dite alla giovine" to the "Addio del passato" with supreme elegance and legato, to melt an ice floe, everything is assumed with an equal finesse. In the service of a detailed portrait that continues to evolve over the course of the acts, she brings colors that are rarely savored, ineffable nuances, a sense of discourse and confusing tragedy for a young artist. A memorable emotion that gives the impression of simplicity.}

RESMUSICA

Mais la voix d'Amina Edris présente une autre singularité. Le jeu très engagé de la soprano la fait résonner d'une émotion exceptionnelle, avec quelque chose d'étonnamment charnel.  Amina Edris interprète en effet une Violetta très incarnée, amoureuse bien sûr mais aussi infiniment généreuse.

 

{But the voice of Amina Edris presents another singularity. The very engaged acting of the soprano makes her resonate with exceptional emotion, with something surprisingly carnal. Amina Edris indeed interprets a very embodied Violetta, in love of course but also infinitely generous.}

LE POPULAIRE DU CENTRE

FORUM OPERA

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CARMEN

MICAELA | OPÉRA NATIONAL DU RHIN

La voix se marie aussi bien avec celle de Carmen qu’avec celle de Micaëla, interprétée par Amina Edris. Cette dernière est tout simplement impressionnante, non seulement par la projection et les nuances dont elle fait preuve, mais aussi par une interprétation loin du piège de la « coquille vide » dans lequel il est aisé de tomber dans ce rôle. Loin d’être une simple et douce jeune fille dont la plus grande aventure reviendrait à porter des messages à Don José, elle laisse deviner un tempérament affirmé ainsi qu’un désir de femme et non une simple amourette gentillette envers Don José. Ajoutons à cela une diction qui force le respect (l’on n’aurait d’ailleurs aucun mal à la croire native de notre beau pays). Chacun de ses airs est source de plaisir, et l’on attend naturellement avec impatience « Je dis que rien ne m’épouvante » au III, dont elle ne fait qu’une bouchée.


{The voice goes just as well with that of Carmen as with that of Micaëla, interpreted by Amina Edris. The latter is truly impressive, not only by the projection and the nuances that she shows, but also by an interpretation far from the trap of the "empty shell" in which it is easy to fall in this role. Far from being a simple and sweet young girl whose greatest adventure would be to carry messages to Don José, she suggests a strong temperament as well as a desire for a woman and not a simple love affair with Don José, add to that a diction that commands respect (one would have no trouble believing it to be native to our beautiful country). Each of her arias is a source of pleasure, and one naturally waits impatiently for "Je dis que rien ne m’épouvante " at the III Act, of which she handles with ease.}

OPERA ONLINE

"Somptueux soprano lyrique, elle se montre remarquable dans cet emploi. La voix est sonore, colorée et conduite avec art."

 

{"A sumptuous lyric soprano, she is remarkable in this role. The voice is sonorous, colorful and artfully driven."}

FORUM OPERA

"Son instrument puissant et vibrant, aux aigus ronds et faciles, correspond pleinement à cette vision du personnage."

 

{"Her powerful and vibrant instrument, with round and easy high notes, fully corresponds to this vision of the character."}

"De sa voix au volume imposant et à la belle ductilité, la cantatrice exprimait beaucoup de sentiment et d'émotion dans ses deux interventions les plus fameuses, au premier acte, Tout cela n'est ce pas, mignonne et au quatrième acte, La-bas dans la chaumière."


{"With her voice of imposing volume and beautiful ductility, the singer expressed a lot of feeling and emotion in her two most famous interventions, in the first act,Tout cela n'est ce pas, mignonne and in the fourth act,  La-bas dans la chaumière."}

ODB-OPERA

OLYRIX

"Dans le rôle de Micaëla, Amina Edris affirme aussi avec talent un caractère bien trempé, loin des oies blanches habituelles, grâce à un timbre plutôt corsé, à sa puissante projection et à sa remarquable homogénéité des registres."

 

{"In the role of Micaëla, Amina Edris also talentedly asserts a well-tempered character, far from the usual “white geese,” thanks to a rather full-bodied timbre, her powerful projection and her remarkable homogeneity of registers."}

RESMUSICA

Amina Edris réalise ce que l’on espérait depuis longtemps : entendre un soprano qui a les moyens de donner enfin toute leur plénitude aux phrases sublimes de Micaëla, au premier comme au troisième acte. La richesse du timbre, la puissance vocale totalement dominée, la diction formidablement sculptée, l’éventail de nuances idéalement accouplé avec le sens du texte et des sentiments exprimés, tout cela fait de sa Micaëla un personnage capable de faire le pendant à Carmen, pendant que jamais encore nous n’avions entendu ni vu (ses qualités d’actrice sont au même niveau). À la fin du troisième acte, quand Micaëla s’oppose directement à Carmen face à Don José (« Ah, José, tu me suivras »/ « Va t’en, va t’en, tu me feras du bien »), on peut enfin connaître la réalisation vocale de l’idée selon laquelle Micaëla et Carmen sont comme les deux faces d’une même pièce, deux tentations antithétiques, mais d’un égal poids face aux atermoiements du faible brigadier.

 

Amina Edris achieves what we have been hoping for for a long time: to hear a soprano who has the means to finally give all their fullness to Micaëla's sublime phrases, in both the first and third acts. The richness of the timbre, the totally dominated vocal power, the wonderfully sculpted diction, the range of nuances ideally coupled with the meaning of the text and the feelings expressed, all this makes his Micaëla a character capable of being the counterpart to Carmen, during whom we had never heard or seen before (her qualities as an actress are on the same level). At the end of the third act, when Micaëla is directly opposed to Carmen facing Don José ("Ah, José, tu me suivras »/ « Va t’en, va t’en, tu me feras du bien "), we can finally hear the realization of the idea that Micaëla and Carmen are like two sides of the same coin, two antithetical temptations, but of equal weight in the face of the procrastination of the weak brigadier.

TOUTE LA CULTURE

ROBERT LE DIABLE

ALICE | OPÉRA NATIONAL DE BORDEAUX

"Justement, la soprano égyptienne Amina Edris (Alice, fidèle vassale de Robert qui lui évite les enfers), dispose d’une voix pulpeuse agitée d’un vibrato rond et tonique. Son timbre tendre et chaud dans les médiums...Ses vocalises sont précises, portées par un souffle long. Son legato délicat est soigné et ses lignes nuancées."

{"...the Egyptian soprano Amina Edris (Alice, Robert's faithful vassal who spares him from hell), has a luscious, agile voice with a round and youthful vibrato. Her tone is soft and warm tone in the midrange... Her vocalizations are precise, carried by a long breath. Her delicate legato is precise and its lines nuanced."}

OLYRIX

"Mais la plus grande surprise vocale provient de la chanteuse egypto-néo-zélandaise Amina Edris (elle nous a accordé un entretien) qui campe une magnifique Alice : l’émission surprend par son ampleur, le timbre est beau, le souffle long, et ses écarts de registre ne manquent pas d’impressionner, sans compter qu’elle s’exprime dans un français plus que chatié."

{"But the biggest vocal surprise comes from the Egyptian-New Zealand singer Amina Edris (she gave us an interview) who portrays a magnificent Alice: the voice surprises [us]  with its scale, the tone is beautiful, the breath long, and [her mastery of the] passagio does not fail to impress, not to mention that she speaks in a French more than 'chatié.'"}

OPÉRA ONLINE

"Lyric soprano Amina Edris portrayed the role of Alice. She has a velvety timbre, with an even, fair vibrato. In spite of her big volume, she has an astonishing ability to sing pianissimi and extreme diminuendi in her top register. She proved this during her entrance aria “Vá! vá! vá! Dit elle” which, although written mostly in the middle register of the voice, has several ascensions to B naturals, all of which Edris emitted with crystalline tone. After the second Act, she returned to the stage to sing “Quand je quitais la Normandie” which follows the same musical pattern as the first appearance. She sang with her expansive dark center, rising easily again to several B naturals, and even a high C in the final cadenza, all while maintaining even rich harmonics throughout her entire register."

OPERAWIRE

"...la jeune soprano égyptienne, Amina Edris, ressuscite d’une voix longue au timbre enveloppant, l’ingénuité d’Alice, ses écarts de registre et le tracé voluptueux d’une ligne qui s’affine dans l’aigu."
 

{"... young Egyptian soprano, Amina Edris resuscitates Julie Dorus-Gras  with an impressive vocal range with an enveloping timbre, Alice's ingenuity, her changes in register and the voluptuous outline of a line which is refined in the upper register."}

FORUMOPERA

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MANON

MANON | PARIS OPERA

"Amina Edris literally brought the Opera Bastille to their knees thanks to her unparalleled portrayal of the title-role, vocally as much as theatrically…The warm colours of her timbre lack no allure and, the cherry on the cake, her French is impeccable….A fine actress, Amina Edris moves with elegance on stage and carries her lavish costumes beautifully.”

FORUM OPERA

“Amina Edris immediately asserts herself in Paris, offering an exquisite articulation in the French of Philippe Gille and Henri Meilhac (librettists of this opus) as in the musical phrasing of Massenet, including in the most demanding passages, which find ample support.  The voice rises thus, always rich and built towards the upper register.  She laughs there with ornaments reinforcing the candid youth of this character (who had just turned 16)."

“Probably the great discovery of the evening was the Egyptian-American soprano Amina, who was featured in the title role. The artist's voice has a solid and well placed medium register with a great projection and blooming lows, which are perfectly audible and in the upper register the voice easily reaches high C; this is all combined with a pleasant, caressing timbre. In addition, a clear and natural diction that we even often missed with French singers. At the final applause, the audience was literally on their feet, and rightly so.}

OLYRIX

IOCO

MANON

MANON | PARIS OPERA

"Amina Edris literally brought the Opera Bastille to their knees thanks to her unparalleled portrayal of the title-role, vocally as much as theatrically…The warm colours of her timbre lack no allure and, the cherry on the cake, her French is impeccable….A fine actress, Amina Edris moves with elegance on stage and carries her lavish costumes beautifully.”

FORUM OPERA

“Amina Edris immediately asserts herself in Paris, offering an exquisite articulation in the French of Philippe Gille and Henri Meilhac (librettists of this opus) as in the musical phrasing of Massenet, including in the most demanding passages, which find ample support.  The voice rises thus, always rich and built towards the upper register.  She laughs there with ornaments reinforcing the candid youth of this character (who had just turned 16)."

“Probably the great discovery of the evening was the Egyptian-American soprano Amina, who was featured in the title role. The artist's voice has a solid and well placed medium register with a great projection and blooming lows, which are perfectly audible and in the upper register the voice easily reaches high C; this is all combined with a pleasant, caressing timbre. In addition, a clear and natural diction that we even often missed with French singers. At the final applause, the audience was literally on their feet, and rightly so.}

OLYRIX

IOCO

ROMEO ET JULIETTE

JULIETTE| SAN FRANCISCO OPERA

“With Gounod’s famed “Je veux vivre” Mlle. Edris took command of the stage, revising this aria from its usual status as a soprano showpiece to become the portrait of a young girl full of life, ready to fall in love. Mlle. Edris possesses a beautifully colored, burnished tone, rare for a lyric coloratura soprano, her voice fully capable of sailing through the brilliant coloratura to create a freedom of spirit that we know will soon be crushed."

OPERA TODAY

LES INDES GALANTES

FATIME | GRAND THEATRE DE GENEVE

“…Egyptian soprano Amina Edris outshines them in the eyes of the audience thanks to her famous aria « Papillon inconstant », which she delivers in an equally exquisite and radiant way."

OPERA ONLINE

“Amina Edris as Fatime, who dazzles in the famous “Papillon Inconstant'”

CONCERTONET

SAPHO

GLYCÈRE | NEW ZEALAND OPERA

"Amina Edris brought a fitting petulance and fiery vocal ornamentation to Glycere, who, jealous of Sapho, manages to wangle her out of the picture (hence her suicide), in a stirring duet and later trio in Act II. "

WASHINGTON POST

"Soprano Amina Edris made a smashing company debut as the viperous Glycère, for whom Gounod took advantage of the acid side of the soprano voice to characterize a villain. She deployed laser precision in vaulted runs upward and pointed high notes to spit venom at her rival."

WASHINGTON CLASSICAL REVIEW

"Ms. Edris is a perfect foil for Sapho, exuding sexuality and cunning with every note she sings and every precise movement she makes. It helps that she has some of the most natural posturing throughout the night, giving her an ease to everything she does."

BROADWAY WORLD

"Amina Edris was the perfect casting choice for Glycère, from her alluring soprano voice to her commanding red dress, you knew from the moment she stepped on stage that she would go to any length to exact revenge on Sapho."

MD THEATRE

L'ELISIR D'AMORE

ADINA | NEW ZEALAND OPERA

"Both Amina Edris and Pene Pati were frankly adorable, vocally and dramatically. Her voice has an intriguing, throbbing vibrato and she has an instinctive way with the bel canto phrases, especially noticeable in the languorous and longing “Quanto amore” duet with Dulcamara. The final climactic aria, too, was expertly executed, full-toned and ravishingly phrased in the cavatina and with pinpoint vocal divisions in the cabaletta. Her Adina was a complicated creature, veering naturally from flirty and vexatious in the first act to a truly touching realisation of her love for Nemorino."

BACHTRACK

"Amina Edris as Adina was the star on the night for me. Her Adina is clever and complex and Edris brought this out in the role and with wonderful singing. The big arias like ‘Della crudele Isotta’ soared."

"Amina Edris...is flowing and silky in effortless delivery of the runs, notes and lyrics...a delight to see and hear. Her aria in the final stages of Act II, ‘Prendi’ (“Take it – through me you’re free again”) is sheer beauty. Her various duets are beautifully balanced and generously shared."

RADIO NZ

THEATREVIEW NZ

 "...the heart soaring beauty of Edris’s performance of ‘Prendi, per me sei libero’...many of those present tonight completely enamored by Edris’s portrayal of Adina where she mixes just the right amount of independent sass with the often ill thought arrogance of the attractive and wealthy." 

RADIO NZ

IN RECITAL

WITH WARREN JONES

“Of the three, Edris proved most adept at shaping the size and impact of her voice to the circumstances. In particular, a set of four songs by Reynaldo Hahn just before intermission found her singing with a well-judged balance of intimacy and power, bringing a beautifully polished surface to “L’heure exquise” (“The Exquisite Hour”) and stately glamour to the pseudo-Baroque phrases of “À Chloris.” She brought even more liveliness and theatricality to music by Rossini in the second half, delivering the passagework of “The Shepherdess of the Alps” with keen precision, and joining forces with Pati (her brother-in-law in real life) for an ardent account of “La serenata.” 

SAN FRANCISCO CHRONICLE

IN RECITAL

WITH STEVEN BLIER

“Edris has an attractively focused tone, capably blending sophisticated sparkle with seductive darkness. She can flirt as a saucy seductress and show simple emotion in more serious numbers. She also was clearly having a good time interacting with her masculine mates.” 

THE BAY AREA REPORTER

FLIGHT

TINA | OPERA PARALLÈLE

"Amina Edris proved an ideal vocal fit for Tina, producing a big sound with lots of ping and smooth phrasing. Her enraged coloratura in the opera’s second half was particularly funny and technically impressive."

SAN FRANCISCO CLASSICAL VOICE

THE FUTURE IS NOW

SAN FRANCISCO OPERA | ADLER FELLOW CONCERT 2016

“Following this came a surprise highlight of the concert — the aria 'Robert, toi que j'aime' from Meyerbeer’s rarely heard Robert le diable, sung here with consummate vocalism by soprano Amina Edris. Egyptian-born Amina Edris, who excelled as Norina in a 2015 Merola production of Donizetti’s Don Pasquale, was absolutely stupendous in the role of Isabelle in this difficult aria from Meyerbeer’s Robert le diable. The aria itself was totally unknown to me, but Amina Edris navigated its difficult roulades with utterly amazing vocal agility. This was truly remarkable singing.”

THE BERKELEY DAILY PLANET

“Edris dazzled with masterful legato in Isabelle’s aria from Giacomo Meyerbeer’s Robert le diable, and an amazing staccato as Oscar in the program-closing excerpt from Verdi’s A Masked Ball.”

SAN FRANCISCO

CLASSICAL VOICE

“...Edris in a gorgeously forthright and eloquent paced aria from Meyerbeer’s 'Robert le Diable.'"

SAN FRANCISCO CHRONICLE

“A delightful comic turn by soprano Amina Edris and tenor Pene Pati, who sang 'Quoi? Vous m'aimez?' from Donizetti’s La Fille du Régiment. If anyone ever doubted that Amina Edris is not only an exceptional singer but also an outstanding actress, her portrayal of Marie’s vacillating affections for Tonio in this flirtatious duet provided all the proof needed. Along with Pene Pati as Tonio, Amina Edris as Marie was totally in command of this scintillating duet.”

THE BERKELEY DAILY PLANET