Sabina Puértolas
Sabina Puértolas
Soprano
Sabina Puértolas is managed worldwide by Rozemarijn Tiben and Fernando de Testa.
Contact:
Artist Manager
E: rozemarijn.tiben@interartists.nl
T: +31 6 34 272 282
Assistant Artist Manager
E: fernando.detesta@interartists.nl
T: +33 7 48 25 93 63
Season highlights 2024-25
September 2024:
Role debut of Anna Bolena at the Ópera de Oviedo. Production by Emilio López, musical direction by Iván López-Reynoso.
October 2024:
Role debut of Marina (Emilio Arrieta) at the Teatro de la Zarzuela. Production by Bárbara Lluch, musical direction by José Miguel Pérez-Sierra.
March-April 2025:
Ismene in Mitridate at the Teatro Real, Madrid. Production by Claus Guth, musical direction by Ivor Bolton.
May 2025:
Gilda in Rigoletto at the Teatro Verdi di Trieste and at the Teatro Nuovo Giovanni da Udine. Production by Vivien Hewitt, musical direction by Daniel Oren.
Reviews
Violetta in Verdi’s La Traviata, Teatro Villamarta, Jerez de la Frontera, June 2024
“[Violetta is sung by] Sabina Puértolas, whose international career continues to grow. From the first moment, the audience realized they were in the presence of a great singer and actress. She knew how to move through the crowd in the colourful first act and assert her presence when singing ‘È strano!’ alone. A powerful, flexible, clear, and emotional voice.”
“Sabina Puértolas manifested herself as a perfect Violetta, capable of giving body and voice to the character throughout the opera. With her well-timbered voice, projected with clarity, brightness, and fullness, along with an immaculate technique, she was believable from beginning to end. Her outstanding feature is her way of using the color of her voice with dramatic sense through the use of dynamics and half-voice. With a very well-sustained legato and controlled dynamics, she sang a beautiful ‘Ah, fors’è lui’ where one could feel the almost trembling emotion of a possible true love, then launched with full capability into the fireworks of ‘Sempre libera,’ without thinning the sound in the coloraturas and using them with dramatic sense. But where her dramatic ability emerged, fully convincing and capable of moving the listener, was in the second and third acts. Memorable were the filados and the delicate singing in the dialogue with Giorgio Germont; the tragic expression of her phrasing in the concertato finale of the second act; the fragile color of the voice of the dying Violetta in the third; or, above all, the meticulously measured phrasing of ‘Addio, del passato,’ all sadness in the sound, crowned by an emotional final messa di voce.”
“The musical treatment given to this main character was matched by the soprano Sabina Puértolas in a true state of grace, allowing her to navigate the varied vocal palette of this role with admirable coloratura displayed from the beginning of the opera, notable lyrical warmth in the second act, intense drama expressed in the third, and finally, the moving performance leading to her death. She maintained the idealization demanded by the composer with ample vocal capability and dramatic mastery, allowing her to tenderly express the feelings of a woman in love in her painful renunciation of her beloved Alfredo, suffering in solitude, thereby elevating her role to the level of a true heroine of the performance. She managed to alternate the agility of her light lyric soprano timbre in the first act with the weight of a dramatic singer in the subsequent acts, showcasing the versatility of Sabina Puértolas, who is at one of the peak moments of her career.”
Carnegie Hall debut: A celebration of Spanish music, 2022.
“Sabina Puértolas sets the Carnegie Hall on fire [...] The soprano sparkled with her zarzuelas, bringing the audience to their feet.”
Gilda in Rigoletto at the ABAO Ópera de Bilbao, February 2024
“Sabina Puértolas is one of those singers who gives absolutely everything on stage. And this time was no exception. Incredible were her coloraturas in Caro nome..., her narration of the abduction in the second act, and above all, her duets with the baritone during the performance, especially the spectacular cabaletta (in which Puértolas gave us some stratospheric high notes) which closes the second act and which the two singers encored to the delirium of the audience. The connection between the two was evident and Puértolas proved, once again, that she is a Gilda of reference.
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“And if up to this point everything had been correct, it was with the father and daughter of this drama that the bottle of essences was uncorked. Sabina Puértolas sang an immaculate Gilda, with a splendid theatrical attitude and delicious singing; in addition to her personal timbre, her careful phrasing, her delicate line and her overflowing talent stood out, leaving a moving “Caro nome” to be remembered.”
Manon (title role) at the Ópera de Oviedo, September 2023
“And I have the feeling that if that were possible, Victoria would have smiled at the end of it, because the great protagonist was, precisely, Sabina Puértolas, the soprano from Navarre and Aragon who swept the audience off their feet with a solid performance full of personality. And I would like to point out that if there is one thing that makes her performance meritorious, it is undoubtedly her ability to bring to a character so deeply rooted in our historical musical memory the voice and characteristics of the Catalan soprano with sufficient personality to construct a distinguished young woman. Where with Victoria de los Ángeles the protagonist is an angelic girl, self-conscious and innocent without being childish or sappy, with Puértolas Manon is a young woman, full of character, dominant and courageous. It is only at the moment of the arrest in the gambling hall that Manon falls, physically and psychologically, as she becomes aware of her mistakes. Until then she has been a young but daring woman, who has feared nothing; and this is conveyed by the soprano with a strong, dense voice, with vocal details that underline that she is a woman of character, who controls and dominates all situations. It is to be appreciated that these peculiarities are sought and that we can experience another way of approaching such a familiar protagonist as Manon Lescaut.
The audience at the last of the five performances of Massenet’s title emphasised their joy by giving a resounding and unanimous ovation to Sabina Puértolas, who dominated the stage from her first appearance. There were even attempts to request an encore at the end of her Profitons bien de la jeuneusse, such was the satisfaction of the audience.”
“Manon is Sabina Puértolas
It is not at all easy to achieve a dramaturgical effect of this depth in an operatic role that so often tends to stereotype. Here it is achieved thanks to an exceptional protagonist who will long be remembered in our theatre: Sabina Puértolas. She has earned, in her own right, a place in the “Olympus” of the Campoamor, with a performance in the wake of the greats. Exceptional in form and substance: naïve, sensual, aggressive, madly in love, courageous, she embodies the role vocally with an expressive beauty that shows the evolution of Manon through the score. Superb moments - “Voyons, Maon”, “Adieu, notre petite table” - and the duets with Des Grieux marked an intervention of volcanic intensity from beginning to end, with a closing of high emotional voltage.”
Fiorilla in Rossini’s Il Turco in Italia, Teatro Real, June 2023
“The soprano from Navarre demonstrated her great professionalism and acting qualities, perfectly defending Pelly’s proposal with that image of an Italian housewife, which reminded us of Sofia Loren, and which, capricious and flirtatious, is the soul of the opera. Vocally, her excellent work in the coloratura, the essence of bel canto, is outstanding, worked without haste, recreating herself in each note, always sung without shouting, even at half-voice, but heard throughout the theatre. Moving confidently through the whole tessitura, she stood out especially for her perfect interpretation of her great scene of the second act Squallida veste bruna, very applauded by the audience.”