The truth is that we are getting used to the great figures of the international operatic panorama brought by the AOA. The audience, rigorous in itself, will become insatiable and will not accept voices with less voltage than we've been hearing lately.

Sonya Yoncheva's performance within the OLBE on stage cycle was, like the previous ones, very tasty. Maybe too short, but it lasted long enough to appreciate a voice full of beautiful harmonics, very balanced and elegant in all records.

The Bulgarian singer started with the French repertoire, with the operas Hérodiade and Thaïs of Massenet, in which she proved to master the language. In French, vocalization should be excellent to take full care of the special sonority of language, and in that Yoncheva had no problem.

The capacity for nuance was demonstrated with an aria of the Iolarrasa of Tchaikovsky and, above all, with a beautiful song for the Moon of the Rusalka opera in Dvorák.

However, especially in the Italian repertoire, the impressive technique of this soprano and excellent respiratory control appeared with all its glory. In these songs we were able to enjoy the richness of the nuances of their powerful voice. Puccini is a very appropriate composer for his voice and demonstrated his ability to enter Se come voi piccina de Le Villi, Where lieta uses La Bohème and Un bel di vedremo de Madama Butterfly.

At the end of the programme he returned to France: He sang the Adieu à nôtre petite table of the opera Manon de Massenet and the Habanera de Carmen de Bizet. He received a well-deserved applause.

Yoncheva joined the pianist Antoine Palloc. He worked with total skill as an assistant, but not so much when he performed some pieces as a soloist to rest the singer. The pianist Palloc is certainly an effective musician.

Yoncheva gave us a couple of bis, a piece of zarzuela with great grace and the famous aria O mio babbino caro of the opera Gianni Schicchi de Puccini. Wonderful.