“Rachel Willis-Sørensen is that rare bird who moves with equal passion from the scandalous accents of the beginning to the humility of the repentant; her tone is as sumptuous as it is perfectly even across the entire range, her phrasing lush and captivating…”
Diapason
“She embodies a cold and unapproachable beauty in the role of the adored courtesan, before finding new depth in the scenes of repentance. Her rich and full-bodied voice accurately conveys the character's intensity, while her precise and careful French diction is evidence of her thorough preparation. Her vocal line, supported by an elegant legato, follows the spiritual journey of the role, and the soprano fully liberates herself in the mystical moments, right up to the final ecstasy…her stage presence and the consistency of her interpretation make this performance convincing.”
Premiere Loge
“From the moment she takes the stage, one is struck by the sumptuousness of the soprano's voice. She combines admirably sculpted diction with phenomenal play on the variations in the colors of her timbre and the metallic reflections that nestle within it. “C'est Thaïs, l'idole fragile” is a monument to sensuality, and the American soprano then bases her seduction on extremely elaborate dynamic nuances. The pianissimo of “Pour ce soir, sois joyeux” is intoxicating, the richness of the timbre exuding a dripping sensuality. The alternation between bursts of power and diminuendi is calibrated to build a fascinating character from the first act onwards, as this totally controlled voice becomes an instrument of power over the men she controls, just as the singer controls the sound.”
Concerto Net
“With her rich tone, polished technique, and perfect diction, Rachel Willis-Sørensen takes her place among the most important performers of this role. Similar to Renée Fleming in her approach to the character, with her caressing voice and luminosity covering the entire register, the singer relishes everything that characterizes Thaïs, the relentless courtesan who repents magnificently and is happy to have been able to atone for her sins before dying.”
Wanderer
“In the role of Thaïs, American singer Rachel Willis-Sørensen takes to the stage at the Capitole, bringing all the nuances required by the role to life in all its depth. Mocking in “Qui te fis si sévère,” luminous, with a brilliant high register, in “Dis moi que suis belle,” she distills the modulations and nuances on the breath in the journey of conversion in the aria “L'amour est une vertu rare” or in the duet “Baigne d'eau”; her luminous lyricism blossoms in the finale “C'est toi mon père.” She who can sing Arabella, Leonora, and Elsa equally well balances interiority and exteriority, power and mastery of the lines, refinement and “marmoreal” projection, as we have read.”
Résonances Lyriques
“American singer Rachel Willis-Sorensen gives an extraordinary performance. The ease with which she interprets the role is astonishing, given its difficulty. She approaches it with candor and brilliance. Her powerful voice, rich in harmonics across the entire range, is a real asset. Her generous singing, with strong high notes, soaring pianissimi, sensual low notes, and a beautiful, solid middle range, is a real treat for the audience. This vocal generosity, quite unusual in this role, which is often given to lighter voices, gives great depth to the character of the courtesan who becomes a saint. Her French diction is very clear. Her physical beauty and presence, combined with the splendor of her voice, make her an irresistible Thaïs.”
Classique News
“American soprano Rachel Willis-Sørensen is simply dazzling in her debut in the title role. The part, written by Massenet for his muse Sibyl Sanderson, who had an exceptional three-octave voice, is terrifyingly difficult, demanding both impetuous high notes and a rich middle register. At 41, the singer is at the peak of her art. Her timbre is both sumptuous and perfectly balanced across the entire range, with a voluptuous middle register and very well-established low notes. Her high notes, while sometimes lacking flexibility, are nonetheless admired for their power. On stage, she embodies with equal fervor the scandalous courtesan of the beginning, obsessed with her own mortality in the famous mirror aria (“Dis-moi que je suis belle”), and the humility of the repentant woman transfigured by faith. Her phrasing is juicy and captivating, ultimately making this performance a moment of absolute grace.”
Scherzo