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Vincent Recolin

Artist

Approved

2022

2021

2020

2019

2018

2017

Individual contributor id

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Pianista

Instrumentalist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Percussionist

Organist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da Gambist

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Theorbist

Cornettist

Viola d’amore Player

Synthesist

Kompozytor / -ka

Dyrygent

Reżyseria

Libretto

Scenografia

Kostiumy

Choreografia

Reżyseria światła

Taniec

Aktor

Wideo

Dramaturgia

Tłumaczenie

Realizacja dźwięku

Korepetytor /- ka

Makijaż

Produkcja wykonawcza

Fryzjer

Other

Stage Manager

Chór

Orkiestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Sopran

Singer

Kontralt

Bas - baryton

Mezzosopran

Tenor

Baryton

Kontratenor

Spoken

Głos dziecięcy

Silent

Alto

Continuo

Charlotte only married Albert out of duty but continues to love Werther without admitting it to herself and even less to him. The young man despairs at seeing his advances rejected and will not taste the love that the young woman comes to confess too late.

TEASER | WERTHER Massenet – Opéra Orchestre National Montpellier

Acclaimed Canadian contralto Marie-Nicole Lemieux sings the role of Charlotte for the first time at Opéra Orchestre National Montpellier.

‘Massenet always knew exactly what he wanted. When you look at a score by Massenet, he is almost as demanding of his performers as Verdi because he notes absolutely everything. In just two pages of the aria, Va, laisse couler mes larmes, he writes as many tips as possible for the singer and it is a real challenge to follow all these annotations. And as I am something of a 'good girl’ with a total respect for the score, I am often dissatisfied by certain editions which gloss over all these instructions. Massenet is very demanding in this way, and when you do everything as instructed, it works perfectly. Maybe he didn't trust his singers completely? We can for sure say that Massenet must have loved female voices passionately; just think of Charlotte, Manon or Cinderella!’ (Marie-Nicole Lemieux)

‘Va ! Laisse couler mes larmes’ from WERTHER Massenet – Opéra Orchestre National Montpellier

Vincent Recolin

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