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: “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), 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 (Aix-en-Provence and Glyndebourne) and Platée (Theater an der Wien, Opéra Comique and New York), Lully’s Atys (Sangaride – “a sensation” according to Opéra magazine), Campra’s Les Fêtes vénitiennes (Opéra Comique, Caen and Toulouse) and Palès in Mondonville’s Titon et l’Aurore staged by Basil Twist (Opéra Comique).

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 (Lille, Dijon, Montpellier and Beaune), and recently, in a new production of Rameau‘s Les Boréades staged by Barrie Kosky (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) and Cavalli (Amastre Serse), to Offenbach (Cupidon Orphée aux Enfers) and Dukas (Mélisande Ariane et Barbe-Bleue) through Rameau (Erinice Zoroastre), and Mozart (Papagena Die Zauberflöte and Susanna Le nozze di Figaro). 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. She recently sang the role of Bircenna in Hasses’s Cajo Fabricio with {oh!} Orkiestra Historyczna under the direction of Martyna Pastuszka (Gliwice and Theater an der Wien).

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.

The soprano recently sang Cephise in Schürmann’s Die Getreue Alceste under Christina Pluhar (Rokokotheater Schwetzingen), the revival of Les Indes galantes and Sémiramis (Versailles), Il Trionfo del Tempo e del Disinganno with Accademia Bizantina (Cremona, Dortmund Beaune and Halle), and, again with les Arts Florissants, Messiah on tour (Europe, Japan, Korea, and Taiwan).

This season, Emmanuelle will sing once more the role of Almirena in Rinaldo at l’Opéra de Rennes along with Damien Guillon and his Le Banquet Céleste. With William Christie and Les Arts Florsissants, she will sing a new chapter of Airs Serieux et à Boire (Paris, Épernay, London and Metz), a new production celebrating the work of Molière (Asia and Versailles), and a revival of Titon et l'Aurore (Versailles). She will also tour Handel's Israel in Egypt alongside René Jacobs and the Freiburger Barockorchester (Paris, Freiburg, and Berlin).

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.

(2022_01_16. Please only use this biography.)



Pressphoto A, © Clémence Demesme
Pressphoto B, © Clémence Demesme
Pressphoto C, © Clémence Demesme
Pressphoto D, © Clémence Demesme
Pressphoto E, © Clémence Demesme
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Pressphoto H, © Clémence Demesme
Pressphoto I, © Clémence Demesme
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18 08 2021
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