Philiponet, Gabrielle - Soprano

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Carmen, Opéra de Metz, 2019
Superb Marguerite in Faust in Saint-Etienne not long ago, Gabrielle Philiponet radiates her character with moving generosity, giving under the tremor of her vocal line all the sensitivity and lyricism of a character of first importance.
– Emmanuel Andrieu,
[...] the magnificent soprano by Gabrielle Philiponet, sweet Micaëla, in an old dress close to the type of the young Navarrese. In her tunes and as a duo, the brave youngster fulfills her duty of courage, delicacy, and a new demonstration of mastery and charm by the very melodious singer from Tarn, with her exquisite timbre and lovely French diction...
– François Cavaillès,
Les Pêcheurs de Perles, Opéra de Nice, 2018
To give life to the young woman who capsizes the two fishermen, Gabrielle Philiponet offers a Leïla with a ductile voice with an exemplary focus and projection. The colors are vibrant, and the registers are perfectly unified. The soprano combines lightness and power imposed by the role; her most famous tune receives almost a minute of applause!
– Tania Bracq,
Faust, Opéra de Saint-Etienne. 2018
As Marguerite, Gabrielle Philiponet offers the freshness, the sincerity of the character, the inner evolution from her first sentence to the bedroom scene, then to the momentum of the church and the final trio. The "Song of the King of Thule" and the "Air of Jewels" form a part of this construction which marks an incarnation.
– Patrice Henriot, Opera Magazine
L’Elixir d’Amore, Opéra de Nice, 2017 
...After her Antonia (Les Contes d'Hoffmann) from Toulon or her Caroline (La Chauve-Souris) from Avignon, Gabrielle Philiponet confirms that she has everything in her voice to make a great career in the repertoire of lyric soprano: quality of the timbre, homogeneity of the program, ease in the treble, ease in the vocalizations… to which a particularly attractive scenic presence is added...
– Emmanuel Andrieux.
La Bohème, Opéra de Metz, 2017
Musette, the cheeky young woman, daring, sincere in her love for Marcel, yet frivolous, Gabrielle Philiponet, seduced Alcindor, who maintains her, but above all the public. Her vocal and scenic qualities are extraordinary. Comfortable in all registers, a sonorous, agile voice reveals itself whether in her waltz "Quando me'n vo 'soletta" where she sends herself up in the air on a swing...
Albert Dacheux,
Don Giovanni, Angers-Nantes Opéra, 2016 
The soprano Gabrielle Philiponet delivers a remarkable performance in Donna Anna. Vocally, her round timbre supports a perfectly mastered vibrato. The fury expressed in grief tears hearts apart. Dramatically, she impresses with the accuracy of the feelings expressed, despite their tremendous violence. It is inhabited by her character, without over-playing, and her performance on the opening stage would alone give credibility to the situation and the universe created on stage.
– Damien Dutilleul,
La Traviata, New Orleans Opera (USA), 2015
The principal singers are almost always vocally reliable and, on occasion, considerably more than that. French soprano Gabrielle Philiponet's Violetta, whose defining personality evolves radically from salon to country house to deathbed, is a success if not quite an unalloyed triumph. Philiponet appreciates the idiomatic Italianate style – she can spin out a lush, evenly supported legato, and her points of expressive emphasis, regardless of dynamic, are intuitively truthful. In the totality of her interpretation, and her ability to maintain poise and shading amid the taxing final 15 minutes, Philiponet was an affecting, authentic Violetta...
Andrew Adler, pour
The NOAA production stars French soprano Gabrielle Philiponet as Violetta Valery. Philliponet is a bit of a Violetta virtuoso, playing the role in numerous productions worldwide. It shows. The soprano nailed her notes is some of the form’s most recognizable arias...
– Claude Robichaux, pour