Press Review




« National Opera’s superb Manon »

« The role of Manon demands an ever-growing personality, vocally and dramatically. As her character develops, so too does the depth of lead Conrad; her voice commands the entire stage right down to her last mortal breath. Manon centres this opera; she is reckless, careless, and greedy yet always so delicate, her sad notes of sorrow floating through the auditorium, seeming to linger before gently falling to the stage. »

Baltic Times

« F. Conrad’s performance is an example for the others : voice technique and a capacity to express emotions using shadows, colours, numerous pianissimi and musical nuances »

« F. Conrad’s acting skills reveal all the facets of the role, ranging from reserve to eroticism.  Almost throughout the scene in the church with Des Grieux, she is lying prostate on the floor but with such grace and elegance !  The duo was thus the ultimate moment of emotional and vocal perfection of the entire night.
Subtly changing voices of Chung and Conrad matched perfectly. »



« Fabienne Conrad portrays Olympia with incredible dramatic audacity and with brilliant coloratura :  a real feat, both dramatically and musically. Indeed the sublimely beautiful French singer assumes all the roles of Hoffmann’s lovers.  In Antonia’s act, on a more intimate note, she plays a character with consumption singing floating but rich pianissimi. »

« She combines breathing technique and old school legato with genuinely moving portraits of modern women »


« Fabienne Conrad from France was the highlight of the evening.

« Exceptional voice technique, musicianship and a remarkable acting talent create the alchemy characteristic of top artists. »   

Kultur Magazin

« She has the gift of a big creamy voice (…) and gives a magnificent performance both vocally and dramatically. »

 Der neue Merker

« Vocally and dramatically, in a league of her own, Fabienne Conrad in the roles of the four women »

« We will be hearing more about Fabienne Conrad.  A true discovery.  As a guest performer, she enhanced the whole performance and, if only for that, Lübeck’s Tales of Hoffmann are a must.   An asset to the theatre ! »

« She has tremendous dramatic presence, a gracious appearance and a pure and radiant voice »

NDR (NordDeutscheRadio)

 « it is beautiful in the lyrical passages, radiant in the coloratura »

HL Live

« Remarkable debut in these four roles for Fabienne Conrad. Her stage presence and voice quality enabled her to command a vast range, including exceptional high pianissimos both legato and pizzicato »

La Lettre du Musicien

« Fabienne Conrad confirms her voice technique and met the challenge of the four female roles with charm and intelligence.  Olympia’s coloraturas were impeccably executed and allowed the audience to admire a tone that remains velvety even in the extra high notes ; Giuletta lacked neither charm nor authority ; the sensitivity shown by Antonia made her extremely moving »

Forum Opéra


« Fabienne Conrad is a very attractive young woman (…)  Moreover, she is an excellent actress and copes well with the delicate postures imposed sometimes by the staging.  The tone is charming and the high notes flow easily »   


« Physically ideal, Conrad performs with remarkable musicianship. The high notes of the soprano seem limitless»

ODB Opera

 « she has an exquisite command of the various registers, the combination of strength and grace that are required by the different female roles of the work »


« A sensational Stella, credible in her incarnation of all the soprano roles.  Here an opera star is born (…) Thunderous applause rewarded her performance. Conrad’s vocal characteristics give her access to an incredible repertoire»

« Amazingly, Fabienne Conrad succeeded in singing the four roles with great vocal presence (…) technically skilful and assured in the high notes (…) a huge achievement ! »

Die deutsche Bühne


« Star of the evening, Fabienne Conrad, sings the 3 roles magnificently. An incredible range of light and shade. Here an opera star is born. A voice to die for. »

« Fabienne Conrad assumes with remarkable ease this multiple and vocally most exacting role. »

France 3



« an admirable Donna Anna, the star of the evening. Breadth, nobility, tenderness, fury . . . they are all there, and she is perfect in the role. »

Forum classique

« a highly accomplished and dazzling Donna Anna ».

La Libre Belgique

« A discovery. Her assurance, her solid vocal technique, her elegance and charm together with her pleasant timbre and interpretation of the text, all make her a promising talent for the great operatic heroines ».

Forum Opera

« a highly sensitive role debut, that was very moving. Fascinating »

Forum Opera

 « a huge success and the revelation of Fabienne Conrad.  (…)  An amazing Violetta, a pure and luminous tone, powerful high notes insolently reaching up to high E flat.  She combines exceptional interpretation with remarkable acting skills.»

Théâtre en Normandie

« And then Violetta. Verdi’s Violetta by « THE » Conrad. The new soprano, who made a resounding first appearance in Le Nozze di Figaro, was again divine as the tragic woman in love »

“Strong and full of color, Fabienne Conrad’s voice and stage presence made her a stupendous Violetta.”

« There are many sopranos, but this diva is made for the highest ranks. »

L’Yonne républicaine


« In the role of Juliet, we heard Fabienne Conrad.  A pure and luminous voice, dramatic presence, physically noble and gracious :  a dream. »

La Libre Belgique

« she is the ideal Juliet : young and light in her movements and her singing but also capable of suffering and passion »

« Conrad reveals the multi-faceted Juliet.  She charms by her lightness and grace, embodying at first an innocent Juliet, lively and changing, who then develops without ever renouncing her timbre to achieve the greatest heights of lyricism. She has complete command of coloraturas which are light ans silvery and her phrasing is eloquent.

In the four love duos with Romeo, she is seductive, developing a voluptuous and sensual tone and constantly dominating the stage, thank to her interpretation, which stems from a full engagement in her character. »



« Listening to her Norma, Nizhny Novgorod was convinced : her secure and elegant pianissimi are reminiscent of those of Montserrat Caballé».

NNNews – Russia


« A topflight Verdi’s Requiem, with four reknowed soloists : (…) and the sublime Fabienne Conrad. The voice of this soprano breaks your heart»

L’Est Républicain

“Fabienne Conrad was irresistible with the a cappella choir in the ‘Libera me’ of Verdi’s Requiem.

« Fabienne Conrad’s voice, alternately powerful and caressing, round and bright »

L’Yonne républicaine


«  a very beautiful voice, and also a more than promising interpreter. To those who are speaking all the time about Yoncheva, I say : listen to Fabienne Conrad ! (…) A grand full-lyric soprano voice, with great possibilities of colours, amplitude, depth…. Her Norma was the one of a great talented artist, her Manon was overwhelming… (…) Here a great full-lyric is rising. »

«  In Eliza Doolittle’s role, Fabienne Conrad goes with brillance from the northern french accent to the high-society affected accent, sings remarquably well (her radiant high notes make us want to hear her in the great heroines of the lyric repertoire) and seduces without effort her mentor »


« Sylvain Pluyaut, organist, and Fabienne Conrad, a magnificent soprano with a promising future, transported the audience in their
very moving complicity, especially in Charles Gounod’s ‘Repentir’. »

L’Est Républicain

« Fabienne Conrad’s presence and her sublime interpretation of Pergolesi’s ‘Gloria Patri’ were the crowning moment of this excellent concert. Singing in front of the choirs, this soprano concluded with a sublime ‘Sicut erat’, full of color and perfectly in key. »

Le Centre

« Fabienne Conrad was the Countess herself, making the staunchest of hearts flutter.”

L’Yonne républicaine