Juliette De Banes Gardonne
Published on June 18, 2024 at 09:40. / Modified on June 18, 2024 at 10:00.
In the darkness of the night, a strange moon lights up the stage of the Grand Théâtre de Provence. It’s 2022, Elsa Dreisig is Salomé. Solar voice, magnetic presence. The Franco-Danish soprano in a white nightie triumphed that evening over the difficulties of Richard Strauss’s score and brought the Aix-en-Provence Lyric Art Festival to her feet. From his spectacular roles – Fiordilidgi in Cosi fan tutte by Mozart at the Salzburg Festival or, last summer, Juliette in Romeo and Juliet from Gounod to the Paris Opera – to the number of competitions won in the four corners of the globe, what characterizes Elsa Dreisig is a meteoric rise to the top of the profession.
The soprano, however, is in no way a docile competition beast. She immediately threw her irreverence in the face of the world. In 2016, when she had just been crowned Revelation Lyric Artist at the Victoires de la Musique Classique, facing the camera, Elsa refused the usual bowing: “That would make me obedient,” she proclaims with incredible confidence. I will never submit to external opinions, which ruin creation.” The “Justine Triet” of the lyric sets the tone. “It was my first cutting of the umbilical cord,” she explains enigmatically. It makes us want to dig. As far back as his memories go, the song has been there. Love of the voice too. “I come from a line of female singers: my mother, my sisters, my aunts. Everyone is singing.”
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