"...this 36-minute monodrama whose exacting soprano part, against an intricate and stylistically wide-ranging orchestral contribution, has parallels with Schoenberg's Erwartung of almost a century before. If the later work lacks such mesmeric intensity, its emotive power is scarcely in doubt, not least when Rayanne Dupuis projects the vocal line with unfailing commitment." (Richard Whitehouse - Gramophone, 2018)
www.gramophone.co.uk/review/beintus-le-petit-prince-rihm-das-gehege-nagano
" The tension and angst of the play is brought out well in Rihm's music and is heightened by the singing of Rayanne Dupuis. Dupuis seems the ideal singer for this role, her voice is wonderfully dramatic and characterful, and she is able to display all the emotions that this role demands, colouring her voice to great effect. " (Stuart Sillitoe - Musicweb-international, 2018)
" Hearing soprano Rayanne Dupuis' assured and penetrating performance it's no surprise that she has previously sung Anita, notably when Das Gehegewas given at Wolfgang Rihm Total Immersion Day at Barbican, London in 2009. She has the dark low register, the power and the explosive dramatic expression required to excel in that challenging role. " (Michael Cookson - Musicweb-international, 2018)
"Rayanne Dupuis as Lavinia, repeating the role she first sang at Seattle in 2003. The Canadian soprano was radiant, equally impressive in the character´s outbursts and in the softest pianissimos." (Opera News)
"Rayanne Dupuis´ acting shines in Mourning Becomes Electra." (William Littler - Toronto Star)
"As her daughter Lavinia, the soprano Rayanne Dupuis gave an equally compelling performance, with a voice that could quickly shift from sweet lyricism to dramatic fire to ghostly pianissimo at the top of her range. Her embrace of her own doom at the end was as grim a scene as you´ll ever see on the opera stage." (South Florida Classical Review, Nov. 2013)
"Both Flanigan and Dupuis possessed strong projecting pipes with wide tessitura and notes that vibrated bone, exploding like fireworks above the big sound." (miamiartzine.com, Nov. 2013)
"Lauren Flanigan was complimented nicely by the dramatic soprano of Rayanne Dupuis as Lavinia Mannon. Dupuis´ voice is darker in color and has a very strong lower register that was shown off frequently during the course of the evening." (EDGE Miami, Nov. 2013)" The Canadian soprano Rayanne Dupuis, in the pivotal role of Lavinia, …, is an admirable actress whose range is wide, and who takes center stage easily after Christine has killed herself. Her singing is accomplished and masterful, especially in handling the occasional melismatic settings Levy gives to the text. " (Palm Beach News, Nov. 2013)
"Die Kanadische Sopranistin Rayanne Dupuis erfasst souverän den absurden Ernst ihrer Figur, die Aufführung ist ihr persönlicher Erfolg." "...The canadian soprano Rayanne Dupuis masterfully captures the absurd seriousness of the character, the performance is her personal success." (Martin Wilkening, Berliner Zeitung, March 21st, 2011)
"The canadian soprano Rayanne Dupuis raged incredibly brilliantly as the Berlin woman who focuses her agressive sexuality to the prisoned eagle, this symbol of strength and military power." (Helsinki, Helsingin Sanomat, Feb. 2nd, 2011)
"The wonderfully assured Rayanne Dupuis" (Andrew Clements, The Guardian, March 15th, 2010)" Rayanne Dupuis was the sensational soloist, using all the tools Rihm provides to create a theatre of the mind, with excellent support from the BBCSO under André de Ridder. " (Andrew Clark, Financial Times, March 16th 2010)
"Finally came Das Gehege, a strange tale of a woman’s erotically charged encounter with a bird of prey, soprano Rayanne Dupuis wonderful in her portrayal of a fascination that turns to disgust and eventually to murderous triumph. " (Ivan Hewett, Telegraph, March 15th, 2010)
"... Phänomenal und mit höchster Intensität singt und spielt Rayanne Dupuis Petra von Kant, die enorm schwierige Partie mit grossem Tonumfang. Sie, die die konzertante Urauffühurng in London sang, hat vor zehn Tagen die Partie übernommen und in der deutschen Fassung new eistudiert: eine grandiose Leistung." - "...Rayanne Dupuis sings and acts the enormously difficult and vocally demanding role of Petra von Kant phenomenally and with great intensity. She, who had sung the concert premiere of the opera in London, took over the role and had 10 days to learn the German translation: a grand achievement." (Christian Fluri, Basellandschaftliche Zeitung, 6 Mai 2008)
"Wie überhaupt, das Basler Ensemble bei der Interpretation der sperrigen, undankbaren Partien glänzt. Rayanne Dupuis macht aus Petra von Kant eine leidende Frau, die stimmlich wie darstellerisch Contenance bewahrt - ehe sie am Ende alles Maskenhafte verliert und ihren genau geführten Sopran zum Kreischen bringt." - "Above all, the ensemble in Basel shines with its performances of heavy, ungrateful roles. Petra von Kant, as played by Rayanne Dupuis, is a woman in pain, who vocally and dramatically maintains a bold front, until, ultimately, all masks fall away, and she allows her perfectly controlled voice to wail." (Georg Rudiger, Frankfurter Rundschau, 8 Mai 2008)
"Rayanne Dupuis als Petra von Kant bewältigt die sängerisch teilweise äusserst schwierig gesetzte riesige Textmenge vortrefflich und brilliert auch darstellerisch." - "As Petra von Kant, Rayanne Dupuis masters the extremely vocally challenging setting of the colossal amount of text, and is brilliant as well in her portrayal." (Alfred Zimmerlin, Neue Zürcher Zeitung, 6 Mai 2008)
"Die Goldene Palme des Abends jedoch gebührt der Darstellerin der immensen Titelpartie, der Kanadierin Rayanne Dupuis. Wie sie die Petra bis zur Selbstentblössung darstellte und dazu diese Tour de force auch musikalisch grandios meisterte, war schlicht atemberaubend. In Anbetracht der Tatsache, dass ihr nur zehn Tage Probenzeit vergönnt war, ist diese Leistung nicht hoch genug einzuschätzen. Bleibt zu hoffen, dass man die junge Sängerin nach diesem gewaltigen Schweizer Debüt noch öfter auf hiesigen Bühnen bewundern können wird." - "However, the Palme d’Or of the evening belongs to Canadian Rayanne Dupuis who plays the enormous title role. It was simply breathtaking to watch her lead Petra through to self-revelation, all the while mastering this musical tour de force. Given the fact that she had only 10 days of rehearsal, the achievement cannot be praised highly enough. Hopefully, after this powerful Swiss debut, one will have the opportunity to admire this young singer more often on this country’s stages." (Kaspar Sannemann, Art-tv .ch, 5 Mai 2008)
"La Lulu de Rayanne Dupuis est tout simplement éblouissante; l’écriture acrobatique exigerait parfois un véritable soprano colorature qui ne pourrait chanter le reste... Il faut donc une voix longue, souple, capable d’alléger dans l’aigu, avec assez de résistance physique pour tenir la scène pendant trois heures. Musicienne consommée, cette jeune Canadienne fait des merveilles..." - "Rayanne Dupuis, Lulu is simply dazzling; the acrobatic writing seems, at times, to require a true coloratura, who then couldn’t sing the rest of the role... One must have a wide, flexible range, the ability to lighten up in the high register, and enough physical stamina to hold the stage fro three hours." (Gérard Condé, Opéra International, juillet/août 2000)
"...interprète admirablement ce personage multiple, sorte de Lola Montès au look féminine des années 30, plus victime que pécheresse, à la sensibilité humaine. Son soprano, souple, non trenchant, monte dans les aigus jamais acidulés et portés souvent sur la mezzo-voce d’une grande pureté." - "...a kind of Lola Montès with a 1930"s feminine look, more victim than sinner, with human sensibility. Her flexible, soft-edged voice climbs to high notes which are never harsh and which are often carried on a mezza-voce of great purity." (G. Masson, Le républicain lorrain, 28 mai, 2000)"Dupuis’ Lavinia was near perfection...her portrayal demanded attention every minute she was on the stage, singing or not." - "La Lavinia de Dupuis approchait la perfection...qu’elle chante ou non, sa présence sur scène exigeait l’attention du spectateur à tout moment." (Rod Parke, Opera Canada, Winter 2003)
"Rayanne Dupuis managed a terrifyingly effective gradation : from a mezzo-like shadow to convey the essential harshness of her character to rare moments of a luxurious bloom in her voice as she lets go, her Lavinia was both chilling and visceral." (Thomas May, andante.com, November 2003)
"...la Frau Fluth rayonnante de Rayanne Dupuis..." - "...radiant Frau Fluth..." (José Pons, Opéra International, février 2004)
"...remarquable performance vocale....campe une Frau Fluth leste et fine mouche..." - "...remarkable vocal performance...soprano Rayanne Dupuis offers a nimble and cunning Frau Fluth..." (Ouest-France, 30 décembre 2003)
"...enfin, Rayanne Dupuis est idéale dans Frau Fluth; l’étendue des moyens, la tenue de la voix, le phrasé qui rend justice au texte donnent au personnage de la femme manoeuvrière une dimension inouïe." - "...finally, Rayanne Dupuis is an ideal Frau Fluth. Her range, vocal colour and musical phrasing, in addition to serving the text so well, give suprising depth to this manipulative character." (Didier Roumilhac, Opérette, No. 130 - 15 janvier-15 avril, 2004)
"...Blanche ardente, à la voix large et facile..." - "...a full-voiced, fervent Blanche..." (José Pons, Opéra International, décembre 2002)
"Cette jeune femme a tout pour elle, le physique qui permet la légèreté du costume, un vrai talent de tragédienne, que ce soit dans le jeu ou dans le timbre. C´est une voix qui nous prend et qui sait nous tenir, nous retenir." - "This young woman has everything going for her: a physical appearance which permits the scant costume, a real tragedienne’s talent, be it in her acting or her vocal timbre. Hers is a voice that grabs us, and knows how to hold us, captivate us." (J.P. Govignaux, Est Républicain, 16 décembre, 1999)
"Canadian Rayanne Dupuis (...) was the perfect singing actress for a part which shifts from kittenish innocence to destitute pathos." - " La canadienne Rayanne Dupuis (...) était la comédienne parfaite pour un rôle qui passe de l´innocence ingénue à la misère pathétique." (Francis Carlin, Opera Now, May/June 2002)
"Marie, l’héroine qui va inéluctablement vers sa déchéance, c’est Rayanne Dupuis, fine musicienne, émouvante, qui sait, en habile portraitiste, oser un subtil mélange d’innocence et de perversité." - "Marie, the heroine who goes ineluctably to her ruin, is played by Rayanne Dupuis, a fine musician and moving performer whose skilled portrayal dares a subtle blend of innocence and perversity." (Michel Parouty, Diapason, mars 2002)
"...très à l'aise dans ce rôle exigeant." - "...very comfortable in this demanding role..." (Jacques Doucelin, Le Figaro, 18 janvier, 2002)
" En Marie, Rayanne Dupuis fait preuve d’un vrai tempérament et d’une grande agilité vocale..." - "...real dramatic flair and great vocal agility..." (Bertand Simon, Opéra International, March 2002)
"Le quatuor de solistes est dominé...par l’intense humanité de Rayanne Dupuis..." - "The quartet of soloists is dominated...by Rayanne Dupuis’ intense humanity" (Pierre Gervasoni, Le monde, 23 mars, 2006)
" Avec leurs timbres qui se répondent, la nouvelle et l’ancienne gouvernantes forment un duo en miroir poignant d´intensité." - "The new and former governesses - Orla Boylan and Rayanne Dupuis - with their complimentary vocal timbres, created a mirror-like duet of poignant intensity," (Bruno Villien, Opéra International, mai 2003)
"...élégante Miss Jessel..." - "...an elegant Miss Jessel..." (Bruno Serrou, La Croix, 14 mars, 2003)
"John Hurst et Rayanne Dupuis forment un couple de fantömes à donner des frissons." - "John Hurst and Rayanne Dupuis form a chilling ghostly couple." (Ouest France, 2 mars, 2004)
"Du sol grave au contre-ut , Rayanne Dupuis déploie avec passion une ligne de chant aussi complexe que son personnage d'épouse libérée..." - "From low G to high C, Rayanne Dupuis passionately displays a vocal line as complex as is her portrayal of an emancipated wife." (Pierre Gervasoni 2000, Le Monde, Jeudi 16 mars)
"On n’oubliera pas la pathétique composition de Rayanne Dupuis, voix sensuelle, souvent située dans les les aigus..." - "We will not soon forget Rayanne Dupuis’ moving characterization, nor her sensual voice..." (Claude Glayman, Opéra International, avril 2000)
"Rayanne Dupuis sait projeter royalement sa voix, elle possède un fort tempérament de tragédienne qui devrait la mener loin." - "Rayanne Dupuis knows how to project her voice magnificently; she possesses a strong dramatic temperament, which should take her far in her career." (Claude Glayman, La Lettre du Musicien, 1ère quinzaine de mars 2002)
"...scéniquement et vocalement remarquable..." - "...vocally and dramatically remarkable in the title role." (G Masson, Le républicain Lorrain, 3 février, 2002
"...qui voit la soprano nager en eaux troubles avec beaucoup de classe." - " ...swims very elegantly through troubled waters..." (Pierre Gervasoni, Le Monde, 11 novembre, 2003)
"Les parties vocales, souvent très difficiles, furent chantées avec beaucoup de maîtrise et d’intelligence par Rayanne Dupuis. Justesse du style, sens inné de l’intensité dramatique..." - "The very challenging vocal part was sung with great mastery and intelligence by Rayanne Dupuis. A Strong sense of style, innate sense of dramatic intensity..." (Press Océan, 9 octobre 2000)
"Dupuis was totally convincing in her pants role." - "Dupuis était complètement convaincante dans son röle de jeune homme." (Mike Greenberg, San Antonio Times, May 1, 2005)
"There’s room only to mention Rayanne Dupuis’ nicely hermaphroditic Cherubino among the supporting roles..." - "Parmi les röles secondaires, il n’y a la place que pour saluer le Chérubin joliment hermaphrodite de Rayanne Dupuis" (David Mead, The Austin Statesman, May 2, 2005)
