Press

Having already portrayed a notable Traviata with the Académie de l’Opéra National de Bordeaux, Deborah Salazar is a Clothilde whose brief appearances do not overshadow her vocal quality. The silky timbre of the Franco-Mexican soprano, full of nuances and flexibility, makes her a character whose rare appearances do not go unnoticed. Olyrix – Olivier Delaunay

First prize winner of the 2019 Bellini Competition—a testament to her mastery of bel canto—Déborah Salazar brings a vivacity to Clotilde that suits a role which has gained increased attention since a young Joan Sutherland sang it in 1952 alongside Maria Callas. Forum Opera, Christophe Rizoud 

The title role of Violetta is portrayed by soprano Déborah Salazar. She delivers an expressive voice in this challenging vocal part, with a commendable range. Her warm and clear timbre is beautifully vibrant at times, and she holds the piece together with a moving stage interpretation, depicting a sparkling yet assertive Violetta. Olyrix

“Gifted with a voice of remarkable purity, a dazzling vibrato and highly refined musicianship, Déborah Salazar captures the audience from her very first notes” le Progrès

Déborah Salazar thus highlights a certain nonchalance behind which lies a fragility not always free from stereotypes, compensated by the richness and warmth of her soprano, which carries the sincerity of emotions, even as the singing fades into speech. Classicagenda

Her sister, Clarice, is entrusted to Déborah Salazar-Sanfeld. Her “Son fanciulla da marito” was promising. The following aria, “Quanta gente che sospira,” and especially her final duet with Ecclitico, are delightful. Forum Opera – Yvan Beuvard

Déborah Salazar, a soprano who is still at the beginning of her career but already showcases a well-placed voice with pleasant colors and a refined vocal line (a very beautiful “Quanta gente che sospira” in the second act!). Première Loge – Stéphane Lelièvre

“Déborah Salazar reveals a magnificient dramatic temperament, touching through its refinement and the great emotional subtlety of her singing. her sensitive interpretation allows the heroine’s awakening to the world, nature and love to meerge with remarkable depth and sincerity.” ClassicNews

“Déborah Salazar makes a strong impression as Aurora, having also taken the role of the Queen in the Prologue. her vocal richness is superb, maintaining the same quality throughout the range, and she commands generous reserves of power that never from the rare charm of her timbre.” Bachtrack

Déborah Salazar, for her part, is a fitting Gretel, portraying a little sister tormented by her brother, yet with a sparkling innocence. Her soprano voice is polished with a clear and vibrant timbre, carried by an effortless projection that blossoms with richness in the highest register. Pierre Géraudie – Olyrix

‘As both the Queen and Princess Aurora, Déborah Salazar captivates with ther suppleness of her phrasing, the fruity freshness of her timbre, and her ability to vary its brillance, radiant with light as sh unfolds the great love duet of the final act.” Diapason

The young singer already demonstrates a fine art of sustained sounds and diminuendos, with a supple voice and a pleasant timbre. The excellence of her diction in the second aria, and especially her lively and brilliant vocalises, earn her enthusiastic applause from the audience. Emmanuel Andrieu – OperaOnline

With her first piece, “Vaga Luna” by Bellini, a pleasant and homogeneous voice with a generous timbre gradually fills the auditorium. With warm and harmonically rich mid-tones, the lines seem effortless and devoid of any apparent difficulty. She continues with grand dramatic lyric arias, stepping out of her comfort zone and applying great vocal rigor throughout the concert, demonstrating strong potential. Immersed in the music, her vocal nuances appear to be her primary strength, allowing her to enhance long phrases and sustained notes. The legato is executed and supported very well.

The high notes in “staccato” (detached) during the mad scene from Lucia di Lammermoor (Donizetti) have the effectiveness of a concentrated, short, and resonant sound. As for the low notes, they are resonant and vibrant. For an encore, she returns to the classical repertoire with Susanna’s tender aria (“Deh vieni non tardar”) from The Marriage of Figaro (Mozart), where her simple and artless interpretation relies on refined and charming pianissimi. Olyrix

“Aurore is portrayed by Déborah Salazar, who lends the character a delicacy and textual intelligence of deeply moving effect. Her supple, luminous voice blossoms throughout the performance and culminates in one of the evening’s almost beautiful moments of singing at Aurora’s awakening in the final act.” – Forum Opera

The afternoon session introduced Deborah Salazar, as charming as she is young, who boldly opened her performance with Milhaud’s “A Cupidon”—a melody on the edge of atonality, suspended in the high register, revealing an almost supernatural super-high note along the way… The aria from Donizetti’s Linda di Chamounix seemed almost “easier” in comparison, the whole performance showcasing her gifts (voice, personality, musicality). Martine D. Mergeay – La Libre (Belgique)

One had to contend with the bite of French soprano Deborah Salazar, whose register exudes a dazzling allure that literally illuminates her character from the height of her twenty-two years. Roland Duclos – Forum Opera