Emmanuelle de Negri
“Emmanuelle de Negri demonstrates masterly accomplishment, overcoming, with exquisite sensitivity, all aesthetic demands … her phrasing, with perfect declamation and projection, conceals aristocratic refinement behind a façade of simplicity …” Diapason
“My heart skipped a beat at the Sangaride of Emmanuelle de Negri, a wounded angel with a voice of honey.” Le Figaro
From its very beginning Emmanuelle de Negri’s career demonstrated remarkable breadth of repertoire and emotional range. After a flying start as Yniold in Debussy’s Pelléas et Mélisande (Edinburgh and Glasgow 2005: “poignant brightness” wrote Opera magazine), and as “a real revelation” (Il Giornale della Musica) in the title-role of Bernardo Pasquini’s oratorio Sant’ Agnese (Innsbruck Festival 2008), she established an enduring performing relationship with William Christie and les Arts Florissants, for whom outstanding performances have included Purcell’s The Fairy Queen, The Indian Queen, and Dido and Aeneas, Handel's Susanna and Silete venti, Monteverdi’s Selva morale e spirituale, and numerous roles in French Baroque operas including Rameau’s Hippolyte et Aricie (at Aix-en-Provence and Glyndebourne) and Platée (at the Theater an der Wien, the Opéra Comique and in New York), Lully’s Atys (Sangaride – “a sensation” according to Opéra magazine), and Campra’s Les Fêtes vénitiennes (at the Opéra Comique, Caen and Toulouse).
Emmanuelle has made regular performances with other prominent French ensembles such as Pulcinella, Les Folies Françoises, Les Enfants d'Apollo, Raphaël Pichon’s Pygmalion, Vincent Dumestre's Le Poème Harmonique, Le Banquet Céleste, Les Paladins, and Les Accents. For Emmanuelle Haïm and her Concert d’Astrée, Emmanuelle also sung in Rameau’s Castor et Pollux (in Lille, Dijon, Montpellier and Beaune), and recently, in a new production of Rameau‘s Les Boréades staged by Barrie Kosky (at the Opéra de Dijon), leading to unanimous praise from the press: “we kneel before Emmanuelle de Negri... she enchants us with her tone, the control of the accent, and her vocal reliefs” (Diapason).
Further opera roles have ranged from Monteverdi (La Musica L’Orfeo), Cavalli (Amastre Serse), through more Rameau (Erinice Zoroastre), and Mozart (Papagena Die Zauberflöte and Susanna Le nozze di Figaro), to Offenbach (Cupidon Orphée aux Enfers), and Dukas (Mélisande Ariane et Barbe-Bleue). Emmanuelle de Negri’s 2017 season was notable for her debut at the Opéra National de Paris (Nedda Gianni Schicchi), and for performing Almirena in a new touring production of Handel’s Rinaldo.
2018/19 began at the Teatro San Carlo, Naples, performing a “perfectly delicious” (forumopera.com) Despina (Cosi fan tutte) for Riccardo Muti, and continued with Amestris in Destouches’ Sémiramis (Ensemble Les Ombres, Festival d’Ambronay), the title-role of Caldara’s Maddalena ai piedi di Cristo (Le Banquet Céleste, Bruges Concertgebouw), the Third Volume of Rameau’s Airs sérieux et à boire with les Art Florissants (Philharmonie de Paris, Martigny, Switzerland, and London’s Wigmore Hall), Les Indes galantes at the Festival de Beaune, and Scarlatti’s Santa Teodosia at the Festival de la Chaise-Dieu.
Future engagements include Cephise in Schürmann’s Die Getreue Alceste under Christina Pluhar at Rokokotheater Schwetzingen, revivals of Les Indes galantes and Sémiramis in Versailles, Il Trionfo del Tempo e del Disinganno with Accademia Bizantina in Cremona, Dortmund and Halle, and, again with les Arts Florissants, Messiah on tour to Europe, Japan, Korea, and Taiwan, as well as Le Salon de la Duchesse, a new concert programme on tour to Europe and the USA.
Her discography includes Caldara’s Maddalena ai piedi di Cristo, (with Le Banquet Céleste and Damien Guillon), Rameau's Dardanus and Castor et Pollux, a DVD of Lully's Atys, a recital disc Bien que l'Amour (for William Christie), and Gluck's Orfeo ed Euridice under Laurence Equilbey.
Maddalena ai piedi di Christo
Le Banquet Céleste / Damien Guillon
Pygmalion / Raphaël Pichon
Le Poème Harmonique / Vincent Dumestre