NEWS & REVIEWS
Corinne's 2018/19 season includes exciting debuts and rewarding projects with favorite collaborators. She will make her Turkish debut in Les nuits d'été with the Borusan Philharmonic Orchestra in Istanbul, return to Michigan Opera Theatre as Tatyana in Tchaikovsky's Eugene Onegin under the baton of Stephen Lord, and return to Opera Vlaanderen to make her role debut as Rachel in the Peter Konwitschny production of La Juive. She will also join Sir John Eliot Gardiner and the Monteverdi Choir as the soprano soloist in a tour of the Verdi Requiem, which will visit a roster of major European venues this fall before concluding at Amsterdam's Concertgebouw in early November. After a series of Bachianas Brasileiras performances in Arizona, she’ll return to the New York Festival of Song for García Lorca: Muse and Magician, a portrait of the great Spanish poet through songs by an international roster of composers. Corinne closes out the season with her role debut as Leïla in The Pearl Fishers at Santa Fe Opera.
This fall, Corinne joined the Monteverdi Choir & Orchestra for a nine-city European tour of the Verdi Requiem, led by Sir John Eliot Gardiner. Critics from the UK and Poland to Switzerland and Italy praised her performance in this most operatic requiem.
“Soprano Corinne Winters was spell-bindingly regal… For all that has gone before it, the Libera me, originally composed separately, brings the work to its conclusion, both literally and emotionally. Winters’ soaring soprano was persistent but beautiful, rising to her second high C without a flicker.”
“Winters ascends the heights with gold-colored tones that resonate softly in the piano. And how she structures the end of “Libera me” is breathtaking.”
“At Westminster Cathedral, American soprano Corinne Winters, a slight but striking figure, excelled. She is an exquisitely expressive singer.”
“A nuanced reading of the Requiem… The soprano Corinne Winters has the graceful timbre of silk, and she moved as one with the Swedish mezzo-soprano Ann Hallenberg. The quartet is therefore optimal for synergy, as you hear in the Agnus Dei: warm, vocally united, faithful to the score.”
Corinne brought her signature role of Violetta in La traviata to house debuts at Opera Australia and Theater Basel. Audiences and critics were enthralled!
"A wholly consistent characterisation, sometimes coolly self-possessed in the face of tightly controlled desire, sometimes enraptured, sometimes very convincingly at the edge of despair. This is a very contemporary Violetta – musically flawless but with a convincing and enshrouding self-possession that rises to meet the implicit tragedy.”
The Saturday Paper
"No one could ask for more from the role: a Traviata who delivers glittering coloratura runs as well as intimate lyrical passages, extroverted self-expression, and bitterest pain with magnificent touching intensity.”
"The evening belongs to Corinne Winters, a woman with the beauty of a Catherine Zeta-Jones and the voice of a young Anna Netrebko. She makes use of the enormous range of this part with all her facets and shades. Her Violetta is frivolous, girlish, in love, humiliated, and eerily strong."
"The American Corinne Winters filled her role with vocal refinement and touching intensity – in the end, the entire audience lay at her feet without reserve.”
Corinne starred as Mélisande in Dmitri Tcherniakov's new production of Debussy's Pelléas et Mélisande at Opernhaus Zürich. Oper Aktuell praises her as "an ideal candidate for this traumatized, enigmatic being" while Deutschlandradio Kultur writes, "Winters exudes the fascination of a very exceptional woman in every moment."
Corinne talks to Opera News about why she loves Tchaikovsky heroines, discovering new things in repeat roles, how veering off the standard path enriches her artistry, and what it's like to coach Violetta with the legendary Diana Soviero.
In the spring, Corinne returns to Opera Vlaanderen for her role debut as Rachel in Halévy’s La Juive.
Corinne makes her Turkish debut with the Borusan Istanbul Philharmonic Orchestra in the Berlioz song cycle Les nuits d'été.