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LA VOIX HUMAINE


"Poulenc's heartbreaking opera, La Voix Humaine, with text from Jean Cocteau's play of the same name, seems to present a situation in which a woman (Elle) is having a painful and final conversation with her ex-lover, in which we only hear her words, not his. This one-sided conversation is absolutely full of contradictions, lies, fantasy and desire. What I am most interested in, is the power, control, weakness and the ever-changing equilibrium of all of these aspects of "Elle". I find myself asking if there even is an ex-lover? What and who really exists within these deep and true emotions of love, loss and loneliness?"

- Barbara Hannigan

 
“ The chameleonic, alluring, Canadian singer and conductor gave proof of her truly extraordinary skill
in a revelatory performance of La Voix Humaine “
— Seen and Heard (UK)

Performances

Barbara Hannigan, conductor and soprano
Created by Barbara Hannigan with video artists Denis Guéguin and Clemens Malinowski

2021

Orchestre Philharmonique de Radio France
Danish Radio Symphony Orchestra

2022

London Symphony Orchestra
Münchner Philharmoniker
Orchestra dell’Accademia Nazionale di Santa Cecilia
Gothenburg Symphony Orchestra
LUDWIG Orchestra

2023

Musikkollegium Winterthur

Ludwigsburger Schlossfestspiele

2024

Montréal, Canada - Maison symphonique de Montréal

Iceland Symphony

2025

Orchestre Philharmonique de Radio France (Paris and Dortmund)

Teatro alla Scala

Boursan Sanat (Istanbul)

2026

New York Philharmonic

 
“ Her physical commitment is total. She plays, lives and inhabits the music as much as her role. Her body and face are remarkably adaptable and expressive. The pirouettes, pranks and emotions follow each another with fluidity. The high points are overwhelming, and at the same time, she fulfils her role as conductor with panache. ”
— Télérama (France)
“ We know the many skills of Barbara Hannigan, a soprano with a vast and varied repertoire, with a focus mainly on music of the last century. A complete actress with a very physical stage presence, and also a conductor - and has always been so since her very remarkable debut. ”
— Resmusica (France)
“ ...won over by the immediacy, commitment, and technical excellence of the performance. Simple, yet startlingly effective. “
— Seen and Heard (UK)
“The Canadian soprano does not act, but literally lives through Francis Poulenc’s monodrama “La voix humaine”. …a whole orchestra becomes the direct expression of the emotional world of an existentially injured woman.”
— Abendzeitung (Germany)
“...from beginning to end, immerses us in ... an all-encompassing and unprecedented musical and expressive control...an utopia of voice, sound and gesture which - far from being a mere acrobatics - re-proposes and updates the ancient suggestion of the Gesamtkunstwerk as performance.”
— Classical Voice (UK)
“Her conducting is never purely technical: it is a corporeal projection of the musical energy, a natural extension of the singing. This physical and theatrical approach makes her a profoundly communicative figure, capable of conveying music as an immediate and direct emotional experience.”
— Operaclick (Italy)
“A force of nature. And of personality, of commitment, of intelligence, of the desire to get to the bottom of things.”
— Musicpaper (Italy)

La Voix Humaine at Teatro alla Scala, October 2025

photos: Andrea Veroni


“ Hannigan is a phenomenon of our time “
— Politiken (Denmark)
The result is impressive, intense and enveloping. ”
— Olyrix (France)
“Here, Hannigan turns herself into a bird, gymnast, dancer and boxer as she also organically incorporates her conducting into her choreography....an incomparable performance”

— Dagens Nyheter (Sweden)
“Hannigan resembles a sorceress, with curling movements of her fingers, wrists, forearms and finally her entire arms, long and sinewy, she stirs the thick, plaintive mush from voice to voice, layer upon layer.”
— Volkskrant (Netherlands)
“An orchestra applauding and stamping its feet, a delirious audience on its feet: this was the well-deserved reaction reserved for Barbara Hannigan after her incredible performance of Francis Poulenc’s La voix humaine.
This is undoubtedly the most astonishing element: how can this singer, actress, and conductor move so energetically on the podium, give directions to the orchestra, respond to the stage design, stay within the camera’s frame, and simultaneously manage the breath required for her vocal performance… not to mention memorizing the text and the precision of her portrayal?
The word is rarely used in a review, but all of this, at such a level of mastery, clearly stems from relentless work, but also from a spark of genius.”
— Le Devoir (Canada)

Interview in Elle:

Hannigan discusses La Voix Humaine on Turkish TV: