Disque Mélodies et Chansons Ravel avec Anna Cardona, released the 16th of october 2020

"Most of Maurice Ravel's mélodies are presented in this greatly coloured programme (locally or psychologically) and need a great caracterisation from the interpret. Needless to see Victor Sicard to understand that he is an excellent actor. He multiplies the vocal metaphors with a magical efficiency. Anna Cardona, his accompanist, manages to create matchable musical sets. In the Chanson à boire from Don Quichotte à Dulcinée, she burns the stage like a Spanish auberge table on which her partner, drunk of love, wins the piece, danced and sung. From the Chanson Madécasses to the Histoires naturelles, all is at the same level, teatrical and musical like hell."

Le Monde, Pierre Gervasoni, October 2020  ( CD of the week)

"This sense of theater, with an expressive and sharp voice, finds in Victor Sicard, the ideal interpret. If we travel with him in Europe with the Chants Populaires, on the landscapes of Ronsard and Don Quichotte, it is also thans to the versatile piano of Anna Cardona who knows how to suggest, with a fews chords and accents, the epic, the contemplative, even the animosity !"

Magazine Zibeline, Suzanne Canessa, November 2020. (CD of the Month)

"Victor Sicard is now part of the tradition of the French Signing whom he shows by many sides that he is a worthy heir. The two groups of popular mélodies work well, especially 

the Greek one, where the youth of the voice ant the natural diction match ideally withe the themes and the style. Anna Cardona also shows great talent with Ravel's sollicitations 

that never relegates the piano in the background."

Premiereloge-opéra.com, Laurent Bury, Novembre 2020. 

"The baritone Victor Sicard is the protagonist with the pianist Anna Cardona – with Aurélien Pascal at the cello, and the flute of Mathilde Caldérini in the Chansons Madécasses- 

of the beautiful recording made by the French label La Musica of the most significative cycles of the ravelian production offering an articulated way through seductions from 

floklor to exostism but all brought back to an estetic vision greatly exemplary. Sicard, thanks to his wide implication in the baroque repertoire, offers an interpration based on a 

wide range of colours, rich in dynamics, with a great attention on the word, already considered as a sound in itself. In Don Quichotte à Dulcinée, the soft Spanish echos are given 

by Sicard with accents able to always find the good balance, also like in the disruptives Chansons Madécasses where the extasy of « Nahandove » and the desesperate shout of 

« Aoua » find themselves perfectly with this terrible words « méfiez-vous des blancs » -be careful with the white people- which made a scandal. Sicard's shiny voice bends itself 

gently to the spirals of the Kaddish and vibrates with confidance in the Cinq Chants Populaires to, later on, melts in the onomatopeas in the Histoires Naturelles and in the archaic 

references of the Cinq Mélodies Populaires Grecques. The conclusion with Ronsard à son âme and Sur l'herbe, brings us back to meditation and here Sicard takes care of this with 

a great line full of intimacy. The dialog with the dreaming and very mobile piano -a Pleyel 1892- of Anna Cardona transforms immediately within an osmosis able to create a 

perfect balance betwenn the instrument and the voice. Great sound take which maintains the idea of an intimate space"

Le Salon Musical (Italy), Alessandro Cammarano, Novembre 2020


Requiem de Duruflé, Auditorium de Dijon, Orchestre Bourgogne-Franche Comté, 12/2019

"Do we need to precise how much Victor Sicard's full voice, warm and ideally projected agrees with Duruflé's Masterpiece?"


"In the “Domine Jesu” as in the “Libera Me”, the French Baritone Victor Sicard shows a full voice, with precise phrasing, and fully projected"



Platée de Rameau, Théâtres des Champs-Elysée, Les Ambassadeurs, 12/2019

"Victor Sicard (…) steps out thanks to his enchanting tone and his absolute singing elegance "

Diapason Magazine

"Victor Sicard's Momus explodes as soon as he enters during the parodic Platée's wedding parade. Even though he sometimes uses a parodic expression, the singer never loses his vocal line and honours his taille tessitura with constant and wooden mediums"



Requiem de Campra, In exitu Israel de Mondonville, In convertendo de Rameau, Opéra de Lille, Philharmonies du Luxembourg, Essen, Cologne, Berlin, Chapelle de Versailles Auditorium de Dijon, le Concert d'Astrée, 11/2019

" The basse-taille is Victor Sicard. His full tone and his powerful voice serve a mastered expression (...) The « Converte Domine » by Rameau, the « Qui convertit petram » by Mondonville, where he exchanges with the choir, his interventions in the Requiem by Campra are always moments of great happiness" 



Il Trionfo del Tempo e del Disinganno, Händel, Opéra de Tours, 10/2019

"The team f singers is above any compliments. The French singer Victor Sicard (Tempo) lends his clear tone to serve an assured vocal line and triumphs of the dangerous coloraturas that Haendel has given him, while offering a performance of Tempo efficiently dramatised, vocally and physically"

 Première loge, l'art lyrique dans un fauteuil

" You need four great singers to perform the figures and the traps laid in the score (,,,) Victor Sicard possesses an undeniable charisma and his biteful singing gives his Tempo an impressive strength. The Baritone also has a beautiiful tone and a perfect diction which gives his performance an obvious theatricality”


"Good as well the performance of Victor Sicard – Tempo- Baritenor, able to captur the nature of the character cleverly playing and singing it with a beautful variety of accents”

Le Salon Musical


Platée, Rameau, Royaumont, 09/2019

" Victor Sicard reveals his promises in thr second part : pupil from William Christie's Jardin des Voix, he deploys a well placed and natural baritone voice but especially with a strongly expressive tone”. 


"We found Momus in the second part and Victor Siccard manages to make us regret his absence in the first one. This pupil from the Jardin des Voix has the presence together with a natiiral tone."



Amour et Psyché, Mondonville. Avec Le Concert d'Astrée - Emmanuelle Haïm : 01/2019, Opéra de Lille:

" In the Second part, Victor Sicard steals the show with an undeniable Conchita Wust like fury and an incarnation constantly punhy from the bottom to the top of his vocal range "

Forumopera.com, Laurent Bury

"The Punching stage presence and the warm nice voice of this young baritone is undoubtedly one of the strong points of this casting"

 BaroquiadeS, Bruno Maury

"In the hilarious rôle of Tisiphone, the baritone from la Rochelle, Victor Sicard, explodes in the evil Goddess with a voice as solid as articulated."

Classiquenews, Emmanuel Andrieu


Il Terremoto, Draghi. Avec Le Poème Harmonique - Vincent Dumestre, 08/2018, Festival de Sablé-sur-Sarthe:

"We already knew Victor Sicard for having heard him here and there with William Christie : once again, he has shined tonight playing an extremely touching Centurion, whose state of mind drive him throughout the story to doubt, and then to become a believer. His singing, benefiiting from a beautiful projection and an extremely nice tone, made him one of the most remarquable characters of the evening”
ConcertoNet.com, Sébastien Gauthier

"Victor Sicard lends to Centurion his clear and sounding baritone voice, well projected, with energetic accents and warm high notes”
Ôlyrix, Véronique Boudier


Amour et Psyché, Opéra de Dijon, 05/2018

"How can we not speak about the thunderous performance of Tisiphone by Victor Sicard. Naked legs, High heels, little tight black dress, long golden hair, but with his beard , he plays and sing perfectly the spiteful Fury, even his sadism in the entanglement scene”

Ôlyrix par Paula Gaubert

"Victor Sicard in Tisiphone's dress, pencils his caracter with as much intensity as his make up. His excellent breath, voice and diction is constantly brilliantly shining.”
Opera Online, Thibault Vicq

" Victor Sicard shines in his incarnation of Tisiphone. With a full and assured voice, the baritone deploys a true sense of play and vibrant intentions equally exhilarating”
ResMusica.com par Charlotte Saulneron

« (We) rapidly forget his outfit and this does not discturb us from tasting the singing qualities of Victor Sicard. The voice is full, solid, warm and perfectly articulated. It is a constant joy to listen the evil Goddess”
Forumopera.com, Yvan Beuvard


Visitors to Versailles, Kennedy Center, Washington, 04/2018

Baritone Victor Sicard made a good case for a revival of the Belgian composer’s Richard, Cœur de Lion with a forthright rendition of the aria “Ô Richard, ô mon Roi,” his robust voice matched by two ethereal flutes. Sicard blustered with god-like anger as the offended Neptune in “Je sors de mes grottes profondes.”

Washington Classical Review, Charles T.Downey


Saint John's Passion, Opéra de Massy, Théâtre imprérial (Compiègne), Théâtre de Suresnes, Festival de l'Epau, Festival de Vézelay, Opéra de Vichy, Festival Sinfonia en Périgord, 2016

"...Jesus and the basse solo are played by the same singer: It is a shame that the principal actor of the passion cannot be differentiated from the one that comments it. However, Victor Sicard simply needs to open his mouth in any of both roles and all our regrets get evaporated. He is not even 30 yet and has an impressiove and eclectic CV. Trained at the Jardin des Voix de William Christie, possesing a rich metal in the voice, warm and bighty sound, this French singer gives, in an exemplary German, an extreme attention to the word (without falling in the trap of word analysis). Therefore he composes a Savior all modeled and inflected, deeply human ; while his arias – Eilt, ihr angefocht'nen Seelen especially – shows off an accomplished technic."

Jacques Duffourg Müller, BaroquiadeS

"... the moving performance of the basse, Victor Sicard, impressive of precision and with a round voice in the Golgatha aria."

Suzanne Gervais, la lettre du musicien

"...And the character of Jesus (Victor Sicard, who also sings the arias) manages to escape from the usual religious tradition too live his lines, well served by a noble and ample voice." 

Jacques Bonnaure, La lettre du musicien

"... Memorable interpretation from the baritone Victor Sicard who offers an all touchy singing, spiritoso."

Sabino Pena Arcia, Classique News

"Solid and totally idiomatic, Victor Sicard's Christ reveals himself at ease also in the bass arias."

Frédéric Norac, Musicologie.org


Partenope, Théâtre des Champs-Elysées, Théâtre Carré (Amsterdam), Baluarte (Pamplune), Philharmonie (Essen), Auditorio Nacional (Madrid) Il Pomo d'Oro, Maxim Emelyanychev, 01/2016

"… his baritone voice is fantastic. His ornements sounded masterfully well. Also, he was firm in his character."

Rudolf Hunnik, Opéra Magazine (Hollandais), Janvier 2016

"...And Victor Sicard makes from the baritone part of Ormonte, an experience of first class singing"

Werner Häußner, Der Westen

"...Every so often when attending an opera one comes across a young artist who shows immense promise and those are the moments that really make opera-going worthwhile.  That happened today with Victor Sicard’s Ormonte.  His is a bright, youthful baritone with a fabulous technique.  In his Act 1 aria he gave us some exhilarating gravity-defying ornamentation.  His diction is impeccable and there’s that rare musicality to his singing that cannot be taught.  He is undoubtedly one to watch.”



La nuit de Louis XIV, Chateau de Versailles, Les Arts Florissants, W. Christie, 06/2015

"...In la Galerie des Glaces, la Cérémonie des turcs, animated par Victor Sicard, singer with an incredible enthusiasm, is a moment of antology."

Thierry Hillériteau, Le Figaro

"...the best part was certainly during the «Cérémonie des Turcs» from the Bourgeois Gentilhomme, where Victor Sicard and the male voices from the choir of the Arts Florissants were superb, playing ononomatopeias, shouts, gestures, throwing some terrifying Ioc!"

Sébastien Gautier, ConcertoNet.com


M-A. Charpentier: La Descente d'Orphée aux enfers, Opéra de Lille, Opéra de Dijon, Concert d'Astrée, E.Haïm, 03/2015

"...Victor Sicard gives us a beautiful Apollon with a full and rich voice, always understandable" 

Yvan Beuvard, Forumopera.com


J. Strauss: Die Fledermaus, Linz Landestheater, 12/2013

"...Dr Falke's revenge well worked out finds in Victor Sicard an exceptionnal interpret who does not only possess something touching, a beautiful baritone voice, but also inside him a continuous boiling anger that develops throughout the whole piece with a climax on his "friend liiiieber" Gabriel. Falke was carefully controlled, cleverly executed, well played and in all serenity but also with full sense - can shine."

H & P Huber, Online Merker


Le Jardin de Monsieur Rameau: Jardin des Voix/Les Arts Florissants, William Christie, 2013

"... Of The six interprets, the one that gave the best impression was the French baritone Victor Sicard, with a bellissim and noble voice for an outstanding performance of the aria "Monstre Affreux" from Dardanus, creating one of the most magical moments of the evening. We wish him a good career that we will follow attentively"

Hugo Cachero, Codalario.com

"...Victor Sicard delighted us with sad meditation. The most impressive aria was the last of a series of melodramatic baritone  arias, "Monstre Affreux", harmonically expressive and demanding modern bel canto singing"

P. Pospelov, Vedomosti

"...Ms Renard and Mr Sicard were particularly outstanding"

Corinna da Fonseca-Wollheim, The New York Times

"... Full of character, I found the warm baritone of Victor Sicard arresting in Anténor’s aria “Monstre affreux, monstre redoutable” from Rameau’s Dardanus"

Nicolas Nguyen, Bachtrack

"...But it is the two low male voices, maybe for the fact that French is their mother tongue, who gave the biggest impression of all. Cyril Costanzo and  Victor Sicard will be without any doubt among the big performers of the future."  

Pierre Degott, resmusica.com

"...Victor Sicard earned bravos for his performance of "Monstre affreux", from Rameau's Dardanus, and was an engaging Silvandre in André Campra's "l'Europe Gallante"

Stephen Raskauskas, Bachtrack

"His Campra gets our attention and his Rameau awakes our curiosity: we expect doubtlessly more anguished accents, another urgency from Antenor, but, beyond his enveloping and warm baritone voice, Victor Sicard masters this intrisically French eloquence"

Bernard Schreuders, forumopera.com,

Britten: A Midsummer Night's Dream, Barbican Theatre, 05/2012

"...Victor Sicard was an impressive and secure Demetrius"

Opera Magazine


Nicolai: Die Lustigen Weiber von Windsor, Guildhall School 11/2011

"...Jealousy plays a large role and Fluth's rants were impressively sung by Victor Sicard on the first night."

Michael Tanner, Spectator,  


Donizetti: Rita/ Tchaikovsky: Iolanta, Guildhall School, 06/2011

"Warm-voiced baritone Victor Sicard was suitably scheming as the returning first husband and stirred up trouble to great effect."

Hilary Fisher, Bachtrack

"... his pleasant baritone voice was immediately apparent in his opening cantilena ‘La mia casa per modello’"

Mark Pullinger, Opera Britannia


Kathleen Ferrier Competition Final, Wigmore Hall, 05/2011

"Three baritones were first class...Victor Sicard, 23, radiated a naturalness and sense of fun that I found most engaging."

Rupert Christiansen, The Telegraph