From the very beginning of her career, Emmanuelle de Negri has demonstrated her talent across diverse repertoires, displaying a wide range of emotions and colors. Following her brilliant debut as Yniold in Debussy’s Pelléas et Mélisande (Edinburgh and Glasgow 2005: “a poignant luminosity” according to Opera magazine), as well as in the title role of Pasquini’s oratorio Sant’Agnese at the Innsbruck Festival in 2008 – “a true revelation” (Il Giornale della Musica) – she established a close collaboration with William Christie and Les Arts Florissants.
Emmanuelle also performs with major French ensembles such as Pulcinella, Raphaël Pichon’s Pygmalion, Vincent Dumestre’s Le Poème Harmonique, Le Banquet Céleste, Les Paladins, Le Caravanserail, I Stagioni, and Les Accents. With Emmanuelle Haïm and Le Concert d’Astrée, she also sings Castor et Pollux.
Emmanuelle moves effortlessly from Monteverdi (La Musica, L’Orfeo) and Cavalli (Amastre, Serse), to Offenbach (Cupidon, Orphée aux Enfers) and Dukas (Mélisande, Ariane et Barbe-Bleue), by way of Rameau (Erinice, Zoroastre) and Mozart (Papagena, Die Zauberflöte; Susanna, Le nozze di Figaro). In 2017 she made her debut at the Opéra National de Paris (Nedda in Gianni Schicchi). She sang a “perfectly delightful” Despina (forumopera.com) under Riccardo Muti at the Teatro San Carlo in Naples and “offered a moving performance” (forumopera.com), with a “voice, projected with a luminous core, responding to her mistress’s despair or fury with no less engaged vehemence, caring as much for the text as for its effects” (olyrix.com) in Charpentier’s Médée (Christie/MacVicar), presented at the Opéra Garnier and Madrid’s Teatro Real last season.
The most prestigious conductors such as William Christie, Riccardo Muti, René Jacobs, Raphaël Pichon, Vincent Dumestre, and Emmanuelle Haïm praise her timbre of “poignant luminosity,” as highlighted by Opera magazine.
When not on opera stages around the world, Emmanuelle performs in recital alongside Brice Sailly (Bayreuth Baroque), Romain Descharmes (Festival Ouverture!), and Sébastien Mazoyer (Midis Lyriques du Cratère in Alès).
She begins this season with the re-creation of sacred works by De Nebra with Los Elementos conducted by Alberto Rouco, and the revival of the recital An Evening with Mme Storace dedicated to Mozart’s concert arias with Daniel Isoir’s La Petite Symphonie. Emmanuelle then joins Thibault Noailly and Paul Figuier’s Les Accents for Alessandro Scarlatti’s Stabat Mater in Paris, sings Bellezza in Handel’s Il Trionfo del Tempo in Stockholm for Jonas Nordberg, and reunites in December with Les Arts Florissants for a sacred Charpentier program in New York. Later, she will be heard in Bach’s St. Matthew Passion at the Théâtre des Champs-Élysées in Paris, as Amore in Gluck’s Orfeo ed Euridice at the Opéra de Limoges, before ending the season with Handel’s Aminata e Filide in recital with Bruno de Sá, and Purcell’s Orpheus Britannicus alongside Brice Sailly.
On disc, Emmanuelle stands out with her interpretations of Caldara’s Maddalena ai piedi di Cristo (with Le Banquet Céleste and Damien Guillon), Rameau’s Dardanus and Castor et Pollux (with Pygmalion), Lully’s Atys (DVD), Bien que l’Amour (with Les Arts Florissants and William Christie), as well as Scarlatti’s Santa Teodosia (with Les Accents and Thibault Noailly).
Finally, she is increasingly developing her pedagogical side: after several masterclasses dedicated to baroque music interpretation – at the conservatories of Alès and Pantin, at the Cité de la Voix in Vézelay, and for Les Arts Florissants in Thiré – she joined the Bateau-Atelier team in Dieppe, where she led a baroque singing workshop in August 2024. She also prepared the vocal and stylistic training of the academy members of William Christie’s most recent Jardin des Voix in August 2025.
(2025/26_Please use this biography only.)
