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« … Manon FEUBEL offers an equally stunning reply, astonishing in several respects in how nothing seems beyond the reach of her voice. In this demanding role that constantly contrasts the most smoldering vehemence with the most angelic singing (and which was originally conceived for the first Lady Macbeth, Marianna Barbieri-Nini), no difficulties seem to be an obstacle to Mrs Feubel. Even the most paroxysmal extremes of the role provide no obstacle, and she knows how to marvelously sustain, the purest and softest lines even as conjugal tenderness and pain move her character to delicate cantilenas. Note that this Lucrezia, soon after Mrs Feubel’s debut in the role in Vienna, has recently paved the way to the doors of La SCALA, both times alongside Leo Nucci. »« … The Canadian soprano Manon Feubel is the true revelation of the evening. She faced with ability all the difficulties of the role of Lucrezia. »« … The Canadian Manon Feubel, (Lucrezia) in her debuts in The Scala, interpreted with honour one of the most demanding roles of the Verdi’s repertoire with temperament and remarkable casualness. »« … My favorite is, beyond doubt, Manon Feubel who even got a standing ovation in the middle of the dress rehearsal. What a performance when she prays for her lover’s salvation!! Manon Feubel covers all registers… really impressive! Her acting is also quite convincing. Congratulations Mrs. Feubel ! »« … The interpretation of the title role by Manon Feubel could only be unanimous : an impressive vocal technique (Ah! This sharp C attacked pianissimo…), with a voice both deep and touching, like the character of Verdi’s heroine. An undeniable presence and certainly tailored role. »« … Manon Feubel in Aida with that timbre of glamour specific to her, overcame difficulties found in a role that few singers dare to perform. With acute sharps, warm mediums, and colored basses, Manon Feubel was able to interpret the role of the Ethiopan slave sculpting the lines, singing pianissimo and even dolce l’ut in the Nil’s Aria with always a flexibility and vocal fluidity. »« … Canadian soprano Manon Feubel’s heartfelt and exquisite voice is demonstrative of a remarkable mastery of her art. »« … One of the most beautiful soprano voices in the Verdi tradition. She truly has captured the emotional essence of the piece. »« … In the meantime appeared a heroine up to the difficult task assigned by Verdi. Manon Feubel, holding the role of Amelia, has fully justified the confidence Opera Montreal has given her, in a role of an uncommon envergure. She literally carried the representation of Ballo in Maschera»« … Extraordinary, Manon Feubel’s voice (Donna Leonora di Vargas ) In a beautiful legato, the soprano gives up her soul to an agonizing Madre (Pietosa Vergine). Ignoring the difficulties of the score and without making use of any artifice to bring her voice to the heights of emotion she appears as one of the most beautiful dramatic singers of our time. This first sung prayer comforts the heart of the abandoned woman… The emotional climax then materializes in the final prayer of Leonora in this “Pace, pace, mio Dio !” where Manon Feubel raises her voice again at an ecstatic level showing that nothing reaches the soul more that a pressing evocation of death. Nothing is as smooth an urgent invocation to death. The Canadian soprano abandons her voice to the authenticity of the moment. Suddenly collapsing on the floor, she punctuates a dramatic “Fatalità, Fatalità!” in a despair that seems to affect the artist herself. »« … The impressive Manon Feubel, triumphs in Leonora. Her large and sumptuous soprano electrifies in her forte, almost caballean in her pianissimi which allow her to assume almost effortlessly that lyric spinto role, and each of her interventions is a moment of pure vocal happiness. The artist gives a real consistence to her character while showing a stage dynamism. So generously made. »« … Manon Feubel is familiar with Verdi’s great roles after performing many of them in France and various stages of the world. Her interpretation of Leonora is magnificent in all aspects. Her perfectly managed voice gives us chills with beautiful highs and no less beautiful pianissimi ! »« … Let’s start with Manon Feubel, THE star of the evening. A superb soprano voice which serves perfectly the role of Leonora. Her magnificent instrument allows her great lyrical prowesses and triumphant highs as well as pianissimi of the greatest effect. The character is magnificently lived from start to finish, the emphasis being put on fragility and remorse. »« … Canadian Manon Feubel has the same big sound, though with her, there is refinement as well. I heard her at Liège several years ago in a fine Carmen where she struck me as the best singer. The voice is still fine but has definitely grown and can easily soar over the orchestra. But contrary to her male partners, she has some nice diminuendo’s and knows how to sing an appealing messa di voce in several of her arias. She knows how to spin out long arching phrases in one breath in “Me pellegrino” and “Pace, pace” and she could easily be heard over the monks in the second act. »« … It takes a lot of conviction in the voice to admit love, without looking at each other, facing the public, ten meters apart, in each corner of the stage. It takes emotion, in these conditions, to be shaken by the message. It is however what succeed Manon Feubel (Amelia) and Misha Didyk (Gustave III, King of Sweden) when they declare love to each other at the foot of the Hanging tree where grows the mythical mandragore. In this production of Avignon, the stage reveals itself amazingly balanced: who can say that Verdi does not have representatives anymore to perform his arias when Manon Feubel gets on the floor at the end of Ecco l’orrido campo with a despaired miserere d’un povero cor!. She confirms her total artistic commitment with a breathtaking morro, ma prima in grazia. Manon Feubel leaves the imperial gesture behind to let her voice say the lyrical text. »« … Canadian soprano Manon Feubel triumphs in Francesco Cilea’s Adriana Lecouvreur’s title role. The latter is characterized by a dramatic and silky voice. A few moments of transparency and tenderness, thanks to Manon Feubel’s powerful and sensual voice tone. A tragic Adriana, gifted with all the nobility of the heart. »« … Will we ever do justice to the Canadian soprano, Manon Feubel’s immense talent? She portrays a vocally magnificent Adriana, with a facility that is somewhat disconcerting all the while not contenting herself with being simply a touching musician. She veritably inhabits her character, constructing it from within, without excess, never exaggerating and shaping both the vocal line and her interpretation to perfection. Her legato is simply splendid, the voice over whelming, enhanced by an irreproachable vocal production, the warm timbre is more than appealing and the use of vibrato captivating. Depending on the state of the heroine, she could produce certain high notes with majestic delicacy or project a river of voice of a remarkable power with the utmost intelligence. »« … In the title role, Manon Feubel is mesmerizing. Devoid of any superfluous gesture, she inhabits her character and the drama with a simple turn of the head or side-ways glance. Vocally she is at the summit of her powers, her technical mastery allowing her to pass from vocal power to vocal restraint with disconcerting ease. She is the Diva, the Duse, the Sarah Bernhard, simultaneously immense and fragile. »« … The major event of the production is Manon Feubel’s first Adrianne Lecouvreur. The soprano from Québec, who had already made such an impact as Pénélope here in 2000, is revealed in her full vocal splendor. From the beginning to the very end, Manon Feubel’s character is inhabited by a magnetic personality, an expressive warmth, a scenic presence – without ever losing, not even for one moment, an once of tenderness and sensibility. Such is her impact that the various characters in the opera appear to be satellites that are in orbit around her brilliant star. »« … The company had assembled an admirable cast. In the vocally challenging title role, Manon Feubel, a strong dramatic soprano from Quebec, burst upon the scene in her U.S. debut to the acclaim of a large, enthusiastic audience… expressed by Feubel’s voice of dark resonance and seemingly effortless power, with particularly stunning high notes. »« … Singing the challenging title role was Manon Feubel, a feisty Quebec soprano in her American debut. Her big, dusky voice has cutting power in its top range. »« … The soprano Manon Feubel had plenty of veristic temperament and delivered some impressively high-flying phrases. »« … Teatro Grattacielo found a cast worthy of the occasion. Manon Feubel’s vibrant soprano and expressive generosity made her a most appealing Wally. »« … There is undeniably ecstasy in Manon Feubel’s voice, when she performs Leonora. Absolutely “royal” when the high pitch, easy and light is sought. The aria “D’amor sull’ali rose” is sumptuously treated. »« … But we had come to hear her and she did not disappoint us. Time and again, Manon Feubel convinces us that she is not just the only true Verdi soprano available today, but that she is the most alluring artist of her generation. The Canadian soprano’s Leonora has a seamless rich and sensual legato, is creamily sung, angelic and dramatically alert. She gives to Leonora a rare captivating presence and mesmerizing brilliance. »« … With her usual brilliance, the soprano Manon Feubel gives the character of Leonora the pre-eminence she deserves. Her singing, which is of a remarkable agility in the upper register, is distinguished by a marvelous dynamic control and mastery. »
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« … Manon Feubel has a full, very even voice with powerful top notes as yet she is capable of the finest subtleties that raise her Aïda into the highest class: at once heroic and knowing that she will be heard effortlessly during the largest ensembles, she can bring a beautiful refinement to the most intimate of scenes. »« … The Triumph of Aïda to Chorégies d’Orange! We discovered in the Aida of Manon Feubel a marvelous dramatic soprano. The purity of the voice which was capable of negotiating all the role’s demands with equal ease, the emotion which pervaded all her singing such as the vocal Everest, ‘Numi Pieta’ – astonished the audience ! »« … Absolutely dominant in the role and every nuance that the voice must make, Feubel is an important Aida. She has a right instrument with an irresistible combination of power and expressive quality. »« … A voice of powerful beauty, excellent in ~ Oh, Patria mia ~ the musical summit of this opera. »« … Manon Feubel to debut in Spain, has shown a very rich and expressive voice quality in the title-role of Aïda. Her pianissimi in the high notes which flow over the orchestra, her musical complicity with the cast, her pure-toned voice, able to respond to every command with great ease. Her most delicate way to move us in the prayer Numi Pieta was a summit of vocal art. »« … We simply touched the sky with your interpretation ! »« … The resurrection of Pénélope … The soprano from Québec, Manon Feubel transfigured the title-role of Pénélope in a masterpiece … with the emergence of this voice that is capable of taking up the torch left by La Crespin. She is from Québec and is called Manon Feubel. Armed with a voice both solid and rich, homogeneous throughout its range in a role that demands velvety lower notes as well as a brilliant top register, and a rare musical intelligence, an irreproachable style and above all with a fascinating clear diction, she is already among the finest francophone singers. »« … The soprano from Québec, Manon Feubel made of this crushing character the role of a lifetime. Though young in this profession, physically and vocally imposing, she transcends without difficult, the vocal extremes of a role that demands the upper and lower registers of a great dramatic soprano, as well as the mezza-voce that expresses doubt and concern. She traverses this performance immobile, expressing everything through an interior concentration through a vocal authority, through the simple radiance of her presence. »« … The attraction of Penelope – In Manon Feubel, who interprets the title role in Fauré’s opéra the core of the performance is concentrated through her voice and her presence – … Indeed the summit of the performance, its dramatic core, its raison d’être, is Manon Feubel, who simply is Pénélope. Whether one likes this work and this production or not, one thing is obvious; Manon Feubel carries Pénélope to the vocal summits through her unique and immobile presence, through her exceptionally powerful and radiant voice, proud from the lower to upper reaches, rich and fruity in the medium and o, so sensual …What is astonishing is that this voice, so lyrical and yet so huge can retain such a perfect diction. Manon Feubel was there centre stage, demonstrating the limitless power of her magnetism. »« … The Canadian Manon Feubel brought to Pénélope her great voice which she deployed with magnificient mastery as well as demonstrating an irreproachable diction… This Pénélope suffers and was extremely moving. »« … The Canadian soprano Manon Feubel is an exemplary Pénélope. She brings to her character all the suppressed pain and seems to be the perfect example of the fusion of a large voice with an irreproachable diction. What a purely Faurian voluptuousness there is about her singing. »« … Special mention must be made of Manon Feubel who controls her voice with absolute mastery and sensibility. This young Francophone soprano is on the threshold of a wonderful career. »« … The young soprano from Quebec Manon Feubel made a successful debut in the challenging role of Tosca. The public appreciated her vocal performance as well as her impeccable diction. »« … FEUBEL triumph in Carmen » – Manon Feubel succeeded in bringing the house down with her sensationally sung two big arias in the first and the third acts. »« … Among the other successes, note must be made of the remarkable qualities displayed by Elvira of Manon Feubel who sang with great expression, warmth and clarity in her coloratura »« … Verdi’s Don Carlo at l’Opéra de Wallonie : the voices surpassed the production. – Another pearl of the cast was the Elisabeth of the soprano from Quebec, Manon Feubel: a beautiful legato, an extremely touching use of the mezza-voce but also the grandeur of a rich timbre. »« … But it was the soprano from Quebec, Manon Feubel (Elettra) who was ultimately the most satisfying and seductive. Temperamental and volcanic, she found a way to give her role all the force and the femininity that it required. Her voice is a sheer marvel. »« … Manon Feubel … intensely moving… was a magnificent and flamboyant Elettra. »« … Manon Feubel, reminding one of Margaret Price, possesses a richness of timbre and temperament in equal measures. »« … Otello or rather Desdemona ! – The least that can be said of Manon Feubel in the role of Desdemona is that she is impressive… in addition, she is extremely expressive and one listens to everything she sings. And one believes in her ! »« … It is a homogeneous team from which Manon Feubel, the generous Ariadne stands out… her warm and perfectly places voice incorporated both Mozartian and Wagnerian accents. »« … Manon Feubel was extraordinary, the pureness of her voice, her soft and convincing expression, enraptured the public ! »« … Manon Feubel is very moving in her interpretation of Micaëla. Nevertheless, She is the Canadian soprano in the role of Micaëla who most impressed the public. The way in which she interpreted ~ C’est des contrebandiers ~ would have melted even a heart of stone ! »« … As anyone who has heard her debut compact disk on de the CBC label knows, Feubel’s is one of the most impressive voices to have emerged from Quebec in recent seasons, a clear, smoothly produced instrument with a confident top register. Anyone who can sing Elisabeth’s Tu che la vanita from Don Carlos and Violetta’s Ah, fors’è lui through Sempre libera from La Traviata with the ease she (Manon Feubel) commanded is clearly a singer to watch. »« … Choir triumphs over demanding Requiem – … Especially Feubel. She was fine in the quieter parts (being dramatic). Able to cover a full orchestra and chorus at top level, her high range is an instrument of mighty power. »« … In the Libera Me section, the combination of soprano Manon Feubel’s silken voice and the hushed sound of the massed choir was as expressive as music can be. Feubel has the uncommon ability to sing softly and yet can be heard over the entire choir. »« … Manon Feubel, Superb consecration! – … The essential was indeed in this superb, generous voice but it was also in the dramatic temperament for the artist. It is no longer Manon but Marguerite who sings Schubert and who reveals to us the delicious souvenir of Faust’s embrace… The intonation is perfect, the vocal production achieved with such ease, the pianissimos are devastating (Falla) and there is a generosity that springs from each phrase. »« … A very brilliant beginning to the season – The Montreal soprano, Manon Feubel has a voice full and resonant, a clear articulation of the text, here is intelligence, personality, distinction. »« … Manon Feubel, Queen for an evening ! – … The queen of the evening, who was greeted with a torrent of applause at her every appearance, was Manon Feubel whose voice is a veritable delight. »« … The rich an powerful soprano of the soprano form Quebec, Manon Feubel ! -… The soprano from Quebec, Manon Feubel literally transported her audience. Those who heard Manon Feubel will not soon forget her. »
