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]
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 Messiah and Susanna, 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). She also sung in Rameau’s Castor et Pollux for Emmanuelle Haïm and her Concert d’Astrée (in Lille, Dijon, Montpellier and Beaune: “Emmanuelle de Negri sings Telaïre, a role that could have been written for her – she seems irreplaceable”, Forumopera).
Further opera roles have ranged from Monteverdi (La Musica L’Orfeo), Cavalli (Amastre Serse), through more Rameau (Erinice Zoroastre), and Mozart (Papagena Die Zauberflöte et Susanna Le nozze di Figaro), to Offenbach (Cupidon Orphée aux Enfers), and Dukas (Mélisande Ariane et Barbe-Bleue). Another rare oratorio role was that of La natura humana (Falvetti’s Il diluvio universale) in Geneva, Lyon and Potsdam, and Emmanuelle has also 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.
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). December saw her at the Bruges Concertgebouw in the title-role of Caldara’s Maddalena ai piedi di Cristo, and at the Philharmonie de Paris for the Third Volume of Rameau’s Airs sérieux et à boire with les Art Florissants (with further performances in Martigny, Switzerland, and at London’s Wigmore Hall).
Future engagements include more Rameau (Les Boréades for Emmanuelle Haïm at the Opéra de Dijon, and Les Indes galantes at the Festival de Beaune and in Versailles), Scarlatti’s Santa Teodosia at the Festival de la Chaise-Dieu, and, again with les Arts Florissants, Handel’s Silete venti for the Festival de Printemps, Luçon, and Messiah on tour to Japan, Korea, and Taiwan.
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