From the very start of her career, Emmanuelle de Negri has demonstrated her talent across a wide range of repertoires, showing a broad palette of emotions and colours. After her dazzling debut as Yniold in Debussy’s Pelléas et Mélisande (Edinburgh and Glasgow, 2005: “a poignant luminosity” according to Opera magazine), and in the title role of Bernardo 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, which she has continued ever since.
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, Le Stagioni, Les Accents and Emmanuelle Haïm’s Le Concert d’Astrée.
Emmanuelle moves with ease from Monteverdi (La Musica / L’Orfeo) and Cavalli (Amastre / Serse) to Offenbach (Cupid / Orphée aux Enfers) and Dukas (Mélisande / Ariane et Barbe-Bleue), by way of Rameau (Érinice / Zoroastre, Télaïre / Castor et Pollux) and Mozart (Papagena / Die Zauberflöte and Susanna / Le nozze di Figaro). 2017 marked Emmanuelle de Negri’s debut at the Opéra National de Paris (Nedda in Gianni Schicchi). She sang a “perfectly delightful” Despina (forumopera.com) under the direction of Riccardo Muti at the Teatro San Carlo in Naples, and “delivers a stunning performance” (forumopera.com) in Charpentier’s Médée (Christie / MacVicar), presented at the Opéra Garnier and the Teatro Real in Madrid in 2024.
The most prestigious conductors, such as William Christie, Riccardo Muti, René Jacobs, Raphaël Pichon, Vincent Dumestre and Emmanuelle Haïm, appreciate her timbre of “poignant luminosity,” as Opéra magazine puts it. When she is not travelling the world’s opera stages, she gives recitals alongside Brice Sailly (Bayreuth Baroque), Romain Descharmes (Festival Ouverture!) and Sébastien Mazoyer (Midis Lyriques du Cratère in Alès).
This season is shaping up under the sign of sacred music. It begins with a Charpentier / Couperin concert with the Caravaggio ensemble, conducted by Camille Delaforge, at the Ambronay Festival, and a tour of Rameau and Mondonville’s Grands Motets with Les Arts Florissants, conducted by William Christie. It will be followed by a “Missa concertata” tour (works by Pergolesi and Bach) with Le Concert de l’Hostel Dieu, conducted by Franck-Emmanuel Comte, Scarlatti concerts with Le Stagioni in Saint-Omer, then Scarlatti’s oratorio La Colpa, il pentimento, la grazia, conducted by Emmanuel Resche-Caserta and presented at the Chapelle Royale of Versailles. In spring, Emmanuelle will take part in the major European tour of Stradella’s San Giovanni Battista with Il Pomo d’Oro, conducted by Francesco Corti.
On the secular side, she will revive the show Streams with Sébastien Mazoyer as part of the Water Days of the University of Nîmes in December, and will take part in a concert devoted to Rameau’s operas with Les Arts Florissants in April at the Philharmonie de Paris.
On record, Emmanuelle stands out for 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), and Bien que l’Amour (with Les Arts Florissants and William Christie), as well as Scarlatti’s Santa Teodosia and Stabat Mater (with Les Accents, conducted by Thibault Noailly).
Finally, she is increasingly developing her teaching side. After several masterclasses devoted to Rameau, Handel and the air de cour, at the conservatoires of Alès and Pantin, at the Cité de la Voix in Vézelay, and for Les Arts Florissants in Thiré, she joined the team of the Bateau-Atelier in Dieppe, where she gave a baroque singing workshop in August 2024. She also provided the vocal and stylistic preparation of the academists of William Christie’s most recent Jardin des Voix in August 2025.
(2026_2027. Use this CV exclusively.)
