In superb vocal form, Perrine Madoeuf makes only one bite of the role of Adina. The voice is of unexpected power and opulence for the role, but the singer nevertheless preserves the lightness and coquetry of the character, of which she best translates, vocally and scenically, all the facets, from the "pimbêche" of the first scenes to the young woman who finally agrees to give in to love in the second act. The voice, richly colored throughout the tessiture, remains endowed with a superlative technique (the vocalizations of the cabalette in which she confesses her love to Nemorino are child's play for her!): which opera director will finally offer this soprano the opportunity to sing one of the Donizettian queens, in which she should excel?