Faust reviews

Guanqun Yu’s soprano voice also has a seemingly impossible combination of elements. She has a fast, light sweet vibrato like the fluttering wings of a bird, surrounding a core that is robust like the trunk of a tree. This was perfectly suited to the character of Marguerite, who is independent, yet vulnerable and principled, yet naive. This deceptively strong core to an angelically sweet voice was most evident during her performance of Ah je ris de me voir si belle where her high notes soared like a bird and you could feel her low notes in your own chest. Yu’s realization of this timeless character was impeccably complex and relatable. At the intermission, my companion and I agreed that we had both been Marguerite, getting lured into hell by a charismatic seducer like Faust.

BroadwayWorld

Keira Grant

Though the character isn’t afforded much time for development in Gounod’s opera, Guanqun Yu’s Marguerite compellingly charts a transformation from a demure, innocent ingenue into a heartbroken, disillusioned madwoman. This extreme journey is matched by a beautiful, expressive soprano voice that fills the Four Seasons Centre for the Performing Arts, with Yu hardly opening her mouth to project such an impressive sound.

Intermission

Stephen Low

The most perfect singer of the evening was Chinese lyric soprano Guanqun Yu (Marguerite) whose repertoire lies mostly on the heavier side, but who also sings Mozart and Bizet. What an absolutely gorgeous, expressive voice she has, with perfect, even phrasing and a luscious sweetness of tone. Even when reaching to the highest register, there is never any strain. What a beautiful singer. This is her COC debut and they absolutely have to have her back.

Paula Citron