Don Giovanni

INNSBRUCK
 
Sébastien Soules was in total command as a young, mercurial, sadistic Don, playing boyishly with Leporello one moment, hurling him to the ground the next. Intelligent employment of interpolations and legato added volumes to the character, with “Finch’han dal vino” a technical triumph.
 
Metropolitan Opera Guild, 2006
 







HALLE FRIEDRICHSHAFEN

In Sébastien Soulès als Don Giovanni steht ihr der geborene Bonvivant gegenüber. Soulès besitzt jene traumwandlerische Sicherheit des geborenen Herzensbrechers, ohne die jeder Don Giovanni aufgesetzt wirken muss. Zugleich würzt er sein Spiel mit einer Note Langeweile, die ein Don Giovanni ebenfalls braucht, da er ja immer schon im Voraus um die Wirksamkeit seiner gleich angewandten Verführungskünste weiß.
 
Süd Kurrier, Oktober 2010

Pelléas et Mélisande, Golaud, 
Innsbruck 2007

he scored an unqualified triumph. The emotional center of the opera, he was a volatile, nerve-racked compendium of compassion, guilt and cynicism, with irony in his voice as he extolled Mélisande's innocence after walking in on her and Arkel. A stunning sequence occured when he spontaneously reached out to save Pélleas from a dangerous fall in the grotto scene; back in the sunlight, Pélleas embraced his brother in a profoundly awkward moment; Golaud was consumed with self-loathing for what he had just done. Soules was gripping in the scene in which he made Yniold spy on the couple, heartrending in his yowl when he believed himself responsible for Mélisande's death. The complexity and depth of Soules's performance were astounding (as was his perfect diction).

Salome, Jochanaan, 
Innsbruck 2006
 

(Sébastien S. est une distribution idéale en Jochanaan. Son Baryton viril, et son apperence crédible donne de la force à la figure du prêcheur)

Das Opernglass