The soprano of Lyon origins has a mischievous face, the slaughter (essential to make the household scene of the second act credible) and especially the fluted timbre that allows her tomake "Quando men vo" a moment of introspection suspended in the heart of a large, noisier painting. The way she dreamily repeats " felice mi fa" testifies to an undeniable deepening of the character's psyche and it takes all the talent of Perrine Madoeuf to make credible the transformation of the cabaret artist as a lady of good society.