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Adèle Charvet est l’une des mezzo-sopranos françaises les plus recherchées de sa génération, avec une carrière couvrant l’opéra, le concert et le récital au sein des plus grandes institutions européennes. Les saisons récentes l’ont conduite à se produire à l’Opéra Comique, à l’Opéra national du Capitole de Toulouse, à l’Opéra national du Rhin, à l’Opéra royal de Versailles, au Festival de Glyndebourne et au Verbier Festival, ainsi qu’aux BBC Proms et au Théâtre des Champs-Élysées. Son répertoire s’étend de Cherubino (Le nozze di Figaro), Charlotte (Werther) et Ascagne (Les Troyens) à des rôles-titres tels que Carmen et Ariodante, parallèlement à des collaborations régulières avec des ensembles tels que Le Poème Harmonique, Le Consort, I Gemelli et Les Musiciens du Louvre. Au cours de la saison 2025/26, elle a présenté un programme consacré à Joséphine Baker au Théâtre des Champs-Élysées. Adèle Charvet a reçu le Prix Yves Paternot en 2017.

Cette saison, Ema Nikolovska rejoint le Studio international du Staatsoper de Berlin, où elle reprendra et interprétera dans un premier temps des rôles dans Hansel and Gretel, La Flûte enchantée et Babylone (Jorg Widmann).

En concert, elle interprète le rôle de Tangia dans Le Cinesi de Gluck avec Les Musiciens du Louvre, et donne des récitals à la Pierre Boulez Saal, au Wigmore Hall, au Heidelberger-Frühling Festival, à la Salzburg Mozartwoche, à la Schubertíada Barcelona et au Konzerthaus de Berlin. Elle collabore avec Malcolm Martineau, Wolfram Rieger, Sir Andràs Schiff et Barry Shiffman, entre autres.

Née en Macédoine, Ema a grandi à Toronto où elle a étudié le chant avec Helga Tucker et le violon à la Glenn Gould School. Elle a obtenu sa maîtrise à la Guildhall School of Music & Drama et a terminé le cours d’opéra en 2020.

Nominée aux prix JUNO en 2018, Kellylee est une interprète très dynamique dont le charme naturel et le style vocal d’improvisation incarnent le jazz, la soul, la pop et le hip-hop. L’auteure-compositrice-interprète a remporté un prix JUNO en 2011, et n’a cessé de captiver le public en assurant la première partie des concerts de vedettes comme John Legend, George Benson et Willie Nelson.

Evgeny Kissin est né à Moscou. Dès deux ans, il commence à jouer du piano «d’oreille» et à improviser. À six ans, il est admis à l’Académie de Musique Gnessin auprès d’Anna Pavlovna Kantor, qui restera son seul professeur. Il gagne une reconnaissance internationale en 1984 quand, à l’âge de 12 ans, il interprète les deux concertos pour piano de Chopin dans la Grande Salle du Conservatoire avec l’Orchestre Philharmonique de Moscou sous la direction de Dmitri Kitaenko. Au bénéfice de plus d’une trentaine de prix, récompenses et titres honorifiques les plus prestigieux, il se distingue aussi en tant que compositeur, écrivain et poète, avec notamment un recueil de poèmes, histoires courtes et traductions intitulé A Yiddisher Sheygets sorti en 2019.

Jan Lisiecki’s interpretations and technique speak to a maturity beyond his age. At 25, the Canadian performs over a hundred yearly concerts worldwide, and has worked closely with conductors such as Antonio Pappano, Yannick Nézet-Séguin, Daniel Harding, and Claudio Abbado (†).

Following his acclaimed “Night Music” recitals, 2019 sees Lisiecki present both a new solo recital programme and a Beethoven Lieder programme with Matthias Goerne. Return invitations include Boston Symphony Orchestra, The Philadelphia Orchestra, Filarmonica della Scala, Santa Cecilia, Camerata Salzburg, and Orpheus Chamber Orchestra for performances at Carnegie Hall and Elbphilharmonie Hamburg.

Lisiecki has appeared with the New York Philharmonic, San Francisco Symphony, Staatskapelle Dresden, Bavarian Radio Symphony and London Symphony Orchestra. Having signed an exclusive contract with Deutsche Grammophon at fifteen, Lisiecki’s sixth album for the label sees him leading the Academy of St Martin in the Fields from the piano for all five Beethoven concertos. The September 2019 release, recorded live from Konzerthaus Berlin, is the first within the label’s celebration of the Beethoven Year 2020. His earlier recordings have been awarded with the JUNO Award and ECHO Klassik.

At eighteen, Lisiecki became both the youngest ever recipient of Gramophone’s Young Artist Award and received the Leonard Bernstein Award. He was named UNICEF Ambassador to Canada in 2012.

Daniela Barcellona is a “much appreciated singer who can count on a broad phrasing, supported by a solid, robust and consistent technique. The silkiness of her voice is heightened by a fascinating timbre and her coloratura remains today unparalleled”. Daniela Barcellona was born in Trieste, where she completed her musical studies under the guidance of Alessandro Vitiello. After winning numerous prestigious international competitions like the “Adriano Belli” award in Spoleto, “Iris Adami Corradetti” in Padua, and the “Pavarotti International Voice Competition” in Philadelphia, she made her debut in the title role of Tancredi at the Rossini Opera Festival in Pesaro in 1999, establishing herself as a reference interpreter for “en travesti” roles, which have brought her to walk the most prestigious opera houses worldwide, from New York’s Metropolitan Opera to La Scala in Milan, from the Royal Opera House in London to the Théâtre des Champs Elysées in Paris, from the Bayerische Staatsoper in Munich to the Teatro Real in Madrid, from the Salzburg Festival to the Gran Teatre del Liceu in Barcelona, to name a few. 

Prized with the “Premio Abbiati”, she has worked with such conductors as Claudio Abbado, Daniel Baremboim, Riccardo Muti, Myung-whun Chung, Riccardo Chailly, James Levine, Antonio Pappano, Gianandrea Noseda, Alberto Zedda, Roberto Abbado, Valery Gergiev, Bruno Campanella, Sir Colin Davis, Gianluigi Gelmetti, Lorin Maazel, Michele Mariotti, Kent Nagano, Georges Prêtre, Wolfgang Sawallisch, Juraj Valčuha, Zubin Mehta and with such stage directors as David McVicar, Robert Carsen, Luca Ronconi, Damiano Michieletto, Pierluigi Pizzi, Mario Martone, Hugo de Ana, Paul Curran, David Alden, Yannis Kokkos, and Emilio Sagi.

In Italy she has been acclaimed numerous times at La Scala in Milan (Lucrezia Borgia, Iphigénie en Aulide, Il viaggio a Reims, La donna del lago, Luisa Miller, Falstaff, Les Troyens) where she also sang Europa Riconosciuta conducted by Riccardo Muti on 7 December 2004 for the Opera House’s historical re-opening, at the Rossini Opera Festival in Pesaro (Tancredi, La donna del lago, Semiramide, Bianca e Falliero, Adelaide di Borgogna, Maometto II, Sigismondo, Stabat Mater, Petite messe solennelle marking the 150th anniversary of the composer’s death), at the Teatro Regio di Torino (Anna Bolena, Tancredi, Don Carlo, Samson et Dalila, Verdi’s Requiem, Rossini’s Stabat Mater), at the Teatro dell’Opera di Roma (Il barbiere di Siviglia, La fiamma, Cenerentola, L’Italiana in Algeri, Tancredi, Semiramide), at the Comunale in Bologna (Giulio Cesare) and Florence (Il barbiere di Siviglia, L’Italiana in Algeri, Tancredi, Orfeo ed Euridice), at the Accademia Nazionale di Santa Cecilia (Verdi’s Requiem, Il viaggio a Reims, Petite messe solennelle), at the Festival dei Due Mondi in Spoleto, at the Sferisterio in Macerata (Norma and Verdi’s Requiem), at the Arena and Teatro Filarmonico in Verona (Verdi’s Requiem, Aida, L’Italiana in Algeri), at the Teatro Regio in Parma (Norma), at the San Carlo in Napoli (Anna Bolena, Orfeo ed Euridice), at the Carlo Felice in Genoa (Cenerentola, Verdi’s Requiem, La Favorite), at the Teatro Massimo in Palermo (Stabat Mater, Norma), at the Teatro Verdi in Trieste (Ginevra di Scozia by Simon Mayr, Tancredi, L’Italiana in Algeri), at the Teatro del Maggio Musicale Fiorentino (Paisiello’s Missa defunctorum) and she made her debut at the opening concert of the Donizetti Opera 2018 festival.

Outside Italy she has been invited by the Berliner Philharmoniker (Verdi’s Requiem), Munich’s Rundfunkorchester (Orfeo ed Euridice by Gluck), the London Symphony Orchestra (Roméo et Juliette by Berlioz, Verdi’s Requiem), the Deutsche Oper in Berlino (Les Troyens by Berlioz, La Gioconda), New York’s Metropolitan (Norma, La donna del lago), the Royal Opera House of London (La donna del lago, Semiramide), Staatsoper Unter den Linden (Falstaff conducted by Daniel Barenboim and directed by Mario Martone), the Opéra National de Paris, the Théâtre des Champs Elysées in Paris (I Capuleti e i Montecchi, La donna del lago, Don Carlo), the Bayerische Staatsoper in Munich (L’Italiana in Algeri, Semiramide), the Teatro Real in Madrid (Semiramide, Tancredi, The Rake’s Progress, Aida, Falstaff, Un ballo in maschera), the Gran Teatre del Liceu in Barcelona (Semiramide, La favorite), the Palau de les Arts in Valencia (Les Troyens, Aida), the Palacio Euskalduna in Bilbao (I Capuleti e i Montecchi, L’Italiana in Algeri, Cavalleria rusticana), the Staatsoper in Vienna (Il barbiere di Siviglia, L’Italiana in Algeri), the Grand Théatre in Ginevra (Semiramide), the Concertgebouw in Amsterdam (Puccini’s Triptych, Beethoven’s Missa Solemnis), the Semperoper in Dresden (Verdi’s Requiem, L’Italiana in Algeri, La Favorite), the Tel Aviv Opera (Norma), the Oviedo Opera (L’Italiana in Algeri, Tancredi), the Salzburg Festival (Verdi’s Requiem, Romeo et Juliette by Gounod, La donna del lago, I Capuleti e i Montecchi, I pellegrini al sepolcro di Nostro Signore, Aida), the Sydney Opera House (Verdi’s Requiem, Rossini’s Stabat Mater), the Festival Radio France Occitanie Montpellier (La donna del lago), Las Palmas’ Opera Season (Il barbiere di Siviglia, I Capuleti ed i Montecchi, La Favorite) and the Opéra de Wallonie in Liege (La donna del lago), in Tokyo (Tancredi, Il barbiere di Siviglia, Stabat Mater, Bajazet by Vivaldi), ABAO Olbe (Don Carlos, Semiramide), the NCPA Opera in Beijing and the Festival Verdi in Tbilisi (Aida). She also performed in Verdi’s Requiem with Konzerthausorchester Berlin led by Juraj Valčuha and with the Chicago Symphony Orchestra conducted by Riccardo Muti, in Heroic Bel Canto recital with works by Bellini, Donizetti, Rossini in Melbourne and in Rossini’s Stabat mater at the Baalbeck International Festival in Lebanon with the Bucharest radio chamber Orchestra conducted by Toufic Maatouk.

Recently, Daniela Barcellona sang Mrs Quickly in Falstaff at the Staatsoper Berlin conducted by Zubin Mehta and directed by Mario Martone, at the Festival d’Aix-en-Provence and at the Opéra de Lyon directed by Barry Kosky; Duchess Federica in Luisa Miller conducted by Michele Mariotti at the Teatro dell’Opera di Roma; Madame de la Haltière in Cendrillon at the Opéra National de Paris and Laura in Gioconda at the Teatro alla Scala. She performed Verdi’s Messa da Requiem conducted by Myung-Whun Chung at Circo Massimo and Beethoven’s Ninth Symphony at the Arena di Verona.

Some of the awards she has been granted include the “Lucia Valentini-Terrani” award, the “Aureliano Pertile” award, the “International Opera Award”, the “CD Classica”, the “Rossini d’oro”, the “San Giusto d’Oro”, the “Sigillo trecentesco di Trieste”, the “Oscar della lirica” award, and the “Laurence Olivier Award” and the “Pesaro Music Award”. 

She has made numerous recordings, including albums dedicated to Scarlatti and Pergolesi (released by Sony); works by Rossini including Stabat Mater, Petite messe solennelle, Giovanna D’Arco, two editions of Tancredi, Bianca e Falliero, Adelaide di Borgogna, Sigismondo, and Il viaggio a Reims; Bellini (two editions of Norma); Mayr and Meyerbeer (respectively Ginevra di Scozia and Margherita d’Anjou); as well as Verdi’s Requiem (a celebrated recording with Claudio Abbado and the Berliner Philharmoniker) and the monumental Les Troyens by Berlioz, conducted by Valery Gergiev. 

A complete studio recording of Rossini’s last and one of his greatest Italian operas, Semiramide, starring Albina Shagimuratova, conducted by Sir Mark Elder, has been released by Opera Rara in 2018. The album was awarded the Recording of the Month by Opera, Gramophone & BBC Music Magazine and was chosen as one of the Gramophone, IClassical & Sunday Times 2018 Recordings of the Year. It also received the Opera Award 2019 as “Best Recording Complete Opera”.

Two DVDs of Falstaff have recently been released, one recorded at the Teatro Real in Madrid in a new production by Laurent Pelly, the second, a production by Mario Martone, released by C Major Entertainment and recorded at the Staatsoper Unter den Linden. This year, moreover, the recordings of Verdi’s Requiem conducted by Gianandrea Noseda at the Verbier Festival and of the Stabat Mater conducted by Gustavo Gimeno on the podium of the Orchestre Philharmonique du Luxembourg have been released.

Piotr Beczala is one of the most sought-after tenors of our time and a constant guest in the world’s leading opera houses. The Polish-born artist is acclaimed by audiences and critics alike not only for the beauty of his voice, but also for his ardent commitment to each character he portrays.

Piotr Beczala´s 2016-17 season will feature returns to Chicago, New York, Berlin, Barcelona, Vienna, Zürich, and beyond. Following a recital with San Diego Opera, Piotr encores his signature portrayal of Edgardo in a new-to-Chicago production of Lucia di Lammermoor at the Lyric Opera of Chicago. From there, he heads to New York for a revival of La Bohème at the Metropolitan Opera. He also joins a star-studded lineup of colleagues on the Met stage to celebrate the company’s 50th anniversary at Lincoln Center. Rodolfo in Puccini’s bohemian masterwork is also the vehicle for Piotr’s return to the Deutsche Oper Berlin. Furthermore Piotr Beczala can be heard in Barcelona with a revival of Massenet’s Werther at the Gran Teatre del Liceu paired with a recital at the city’s Palau de la Música. The recitals continue with stops in Frankfurt, Graz, Berlin, and Hamburg. Returning to the Wiener Staatsoper stage, Piotr headlines a revival of Un ballo in maschera before joining Opernhaus Zürich for a new production of Léhar’s Das Land des Lächelns in the role of Prince Sou-Chong.

Since his debut as Duca in Rigoletto in 2006, Piotr Beczala is a regular guest at the Metropolitan Opera New York. Here he has performed in a new production of Tchaikovsky’s Eugene Onegin opposite Anna Netrebko, Prince in Dvorak’s Rusalka, Edgardo in Donizetti’s Lucia di Lammermoor, Rodolfo (La Bohème), as well as in the title roles of Gounod’s Roméo et Juliette and Faust. In 2011 he accompanied the MET on a tour to Japan, singing Rodolfo and Edgardo. 2012 saw Piotr Beczala make his role debut as Chevalier des Grieux in Laurent Pelly’s new production of Manon, alongside Anna Netrebko as the eponymous heroine, conducted by Fabio Luisi. The production was part of the “HD live” series by the MET and was broadcast live in cinemas throughout the US and over 50 countries world-wide. It was released on DVD, as was his interpretation of the Duke in a new production of Rigoletto, alongside Diana Damrau in January 2013, for which he received the ECHO Klassik Award “Singer of the Year” in 2014. In the 2015/16 season he was making his highly acclaimed debut in the title role of Wagner´s Lohengrin opposite Anna Netrebko at the Semperoper Dresden.

At Teatro alla Scala in Milan Piotr Beczala made his debut in 2006 singing Duca in Rigoletto, returning later as Rodolfo in La Bohème. The tenor also opened the 13/14 season for the first time, singing Alfredo in a new production of Verdi’s La Traviata. Piotr Beczala also regularly sings at the State Operas in Munich and in Vienna. On the stage of the National Theatre in Munich, he interpreted the Prince, Alfredo, the Italian Singer in Der Rosenkavalier, and the title role of Massenet’s Werther. During the Munich Opera Festival, Piotr Beczala was heard as Alfredo in La Traviata. In Vienna he performed Roméo in Jürgen Flimm’s production of Roméo et Juliette, under the baton of Plácido Domingo. Since his Die Zauberflöte and Rodolfo in La Bohème. Piotr Beczala sang guest performances at the Nederlandse Opera, Théâtre de la Monnaie/de Munt, Staatsoper Hamburg, Deutsche Oper Berlin, Staatsoper Berlin, Grand Théâtre de Genève, Teatro Comunale di Bologna, Teatr Wielki (Warsaw), and the Mariinsky Theatre, amongst many others.

Piotr Beczala is a regular guest at the Salzburg Festival. Since his debut as Tamino in 1997 he has sung the cantata Rinaldo by Johannes Brahms under the baton of Sir Elliott Gardiner at the Whitsun Festival as well as Prince in Rusalka, Roméo in Roméo et Juliette, the title role in Gounod´s Faust and Rodolfo in Damiano Michieletto’s new production of La Bohème opposite Anna Netrebko during the Summer Festival. This production was broadcasted on TV and released on DVD by Deutsche Grammophon. Piotr Beczala also sang with Anna Netrebko in concert performances of Tchaikovsky’s Iolanta in 2011. In 2013 he was heard in Verdi’s Requiem with the Wiener Philharmoniker and Riccardo Muti conducting.

In addition to his operatic work, he has sung many of the great choral and orchestral vocal works with the world’s most distinguished orchestras and maestri. Celebrating his 20th stage anniversary Piotr Beczala gave a concert at Theatre Wielki in Warsaw in 2012. Also in 2012 he sang the New Year’s Eve concerts at the Semperoper Dresden for the second consecutive year. The concerts, which were led by Christian Thielemann, were broadcast on TV and released on CD and DVD by Deutsche Grammophon. In 2014 he joined a spectacular group of colleagues for Le Concert de Paris, an annual concert event and celebration at the Eiffel Tower with an estimated live audience of more than half a million people.

Piotr Beczala was born in Czechowice-Dziedzice in Southern Poland and received his initial vocal training at the Katowice Academy of Music, where he was given instruction by such illustrious singers as Pavel Lisitsian and Sena Jurinac. His first engagement was at the Landestheater Linz and in 1997 he became a company member of the Zürich Opera. The Zurich audience could hear him as Alfredo in La traviata, Edgardo in Lucia di Lammermoor, the title role of Faust, Tamino in Die Zauberflöte, Elvino in La Sonnambula, and also as the soloist in orchestral songs by Richard Strauss, Riccardo in Un Ballo in maschera as well as Rodolfo in La Bohème.

Piotr Beczala’s is represented on dozens of CDs in a vast array of works, ranging from staples of the repertory, including Faust live from Vienna (Orfeo) and La Traviata from Munich (Farao), which was nominated for a 2008 Grammy Award, to such rarely-heard works as Szymanowski’s Król Roger and Offenbach’s Rheinnixen (Accord) and Johann Strauss II’s Simplicius (EMI). In addition, Piotr Beczala sings on a recording of Lucia di Lammermoor with Natalie Dessay in the title role and Valery Gergiev leading the Mariinsky Opera on the Company’s own label.

Three solo aria CDs have been released on the Orfeo label. “Salut”, featuring French and Italian arias (2008), was followed by “Slavic Opera Arias”, with repertoire by Borodin, Tchaikovsky, Rimsky-Korsakov, Rachmaninoff, Moniuszko, Źeleński, Nowowiejski, Smetana and Dvořák. Opera News declared it #1 on its list of 2011’s “Twelve Best Recital Discs” & it received Classica’s coveted “Choc de l’année 2011”. In 2013 a Verdi album was released. Since 2012 Piotr Beczala is an exclusive artist of Deutsche Grammophon and released his second album “The French Collection” with the yellow label in February, 2015.

Recital appearances this season include a return to Carnegie Hall’s Stern Auditorium/Perelman Stage on the Great Artists Series. He also performs at Wigmore Hall, the George Enescu Festival, Ascona (Switzerland), Prague, Munich, Alte Oper Frankfurt, Stuttgart, Moscow State Philharmonic, at the Elbphilharmonie for the Husum Rarities of Piano Music Festival, Monte Carlo, and the Heidelberg Festival, among other dates.

Mr. Hamelin is the inaugural guest curator for Portland Piano International, where he opens the season with two solo recitals. He returns to San Francisco Performances – a series with whom he has a long and deeply supportive artistic relationship – as a Perspectives Artist for their 40th Anniversary Season, performing a solo recital; Die Winterreise with tenor Mark Padmore; and the world premiere of his own Piano Quintet, commissioned by SFP and performed by himself and the Alexander String Quartet.

An exclusive recording artist for Hyperion Records, in 19/20, Hyperion releases two albums by Mr. Hamelin – one a solo disc and the other with the Takács Quartet. He recently released a disc of Schubert’s Piano Sonata in B-Flat Major and Four Impromptus; a landmark disc of Stravinsky’s The Rite of Spring and Concerto for Two Pianos with Leif Ove Andsnes; Morton Feldman’s For Bunita Marcus; and Medtner’s Piano Concerto No. 2 and Rachmaninov’s Piano Concerto No. 3 with the London Philharmonic Orchestra and Vladimir Jurowski. His impressive Hyperion discography of more than 60 recordings includes concertos and works for solo piano by such composers as Alkan, Godowsky, and Medtner, as well as brilliantly received performances of Brahms, Chopin, Liszt, Schumann, and Shostakovich.

He was honored with the 2014 ECHO Klassik Instrumentalist of Year (Piano) and Disc of the Year by Diapason Magazine and Classica Magazine for his three-disc set of Busoni: Late Piano Music and an album of his own compositions, Hamelin: Études, which received a 2010 Grammy nomination and a first prize from the German Record Critics’ Association.

Mr. Hamelin was a distinguished member of the jury of the 15 th Van Cliburn International Piano Competition in 2017 where each of the 30 competitors in the preliminary round performed Hamelin’s Toccata on L’Homme armé; this was the first time the composer of the commissioned work was also a member of the jury. Mr. Hamelin has composed music throughout his career, with nearly 30 compositions to his name. The majority of those works – including the Études and Toccata on L’Homme armé – are published by Edition Peters.

Mr. Hamelin makes his home in the Boston area with his wife, Cathy Fuller. Born in Montreal, Marc-André Hamelin is the recipient of a lifetime achievement award from the German Record Critics’ Association and has received seven Juno Awards and eleven GRAMMY nominations. He is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada.

Multi-Grammy Award winner and 2018 Olivier Award winner for Outstanding Achievement in Opera, Kansas-born Joyce DiDonato entrances audiences across the globe, and has been proclaimed “perhaps the most potent female singer of her generation” by the New Yorker. With a voice “nothing less than 24-carat gold” according to the Times, Joyce has soared to the top of the industry both as a performer and a fierce advocate for the arts, gaining international prominence in operas by Handel and Mozart, as well as through her wide-ranging, acclaimed discography. She is also widely acclaimed for the bel canto roles of Rossini and Donizetti.

Joyce’s 2020/21 season began with performances of her baroque-inspired programme My Favourite Things with Il Pomo d’Oro in Bayreuth and Valencia, as well as a breathtaking recital for the Met Stars Live in Concert series. Further season highlights will include performances of Joyce’s Songplay programme with Craig Terry in Oviedo, Madrid and Barcelona, and Werther in concert under Donald Runnicles at the Deutsche Oper Berlin. This year Joyce is also delighted to be an Artist Ambassador in partnership with the classical music streaming service, Primephonic.

Joyce was Carnegie Hall’s 19/20 Perspectives Artist with appearances including the Chicago Symphony Orchestra under Muti and Schubert’s Winterreise in recital with Nézet-Séguin and a. The season also held the final tour of her album In War & Peace with Il Pomo d’Oro to South America culminating in Washington DC, and a tour with the Orchestre Métropolitain under Nézet-Séguin.

Après avoir dominé la scène baroque pendant plus d’une décennie, Véronique Gens s’est établie une solide réputation à l’international et est aujourd’hui considérée comme l’une des meilleures interprètes de Mozart. L’un des rôles phares de sa carrière, Donna Elvira dans Don Giovanni, présenté par Peter Brook et Claudio Abbado au Festival d’Aix en Provence, lui a permis de se faire connaitre dans le monde entier.

Son répertoire est composé des plus grands rôles mozartiens (Donna Elvira, Contessa Almaviva, Vitellia, Fiordiligi…) des grands rôles de la Tragédie Lyrique (Iphigénie en Tauride, Iphigénie en Aulide, Alceste…) mais aussi de rôles plus tardifs comme Alice Ford (Falstaff), Eva (Meistersinger von Nürnberg), Madame Lidoine (Dialogues des Carmélites), Hélène (La Belle Hélène), Missia Palmeri (La Veuve joyeuse).

En plus d’un large répertoire de pièces classiques, Véronique Gens donne de nombreux concerts et récitals de mélodies françaises dans le monde entier, notamment à Paris, Dresde, Berlin, Pékin, Vienne, Prague, Londres, Tanglewood, Stockholm, Moscou, Genève ou Édimbourg.

Elle s’est produite sur les plus grandes scènes lyriques du monde : Royal Opera House de Covent Garden, Staatsoper de Vienne, Opéra de Paris, Bayerische Staatsoper, La Monnaie de Bruxelles, Liceu de Barcelone, Teatro Real de Madrid, La Scala de Milan, Nederlandse Opera d’Amsterdam ainsi qu’aux festivals d’Aix-en-Provence, de Salzbourg, de Glyndebourne…

Elle a ainsi chanté sous la direction de prestigieux chefs d’orchestre tels Claudio Abbado, Alain Altinoglu, Bertrand de Billy, Ivor Bolton, William Christie, Myung-Whun Chung, Charles Dutoit, Daniel Harding, Thomas Hengelbrock, Marek Janowski, Philippe Jordan, Louis Langrée, Jean-Claude Malgoire, Sir Neville Marriner, Marc Minkowski, Jérémie Rhorer, Christophe Rousset, Michel Plasson… Elle a également collaboré avec des metteurs en scène de renom : Pierre Audi, Calixto Bieito, Peter Brook, Willy Decker, Jurgen Flimm, Claus Guth, Michael Haneke, Christof Loy, Olivier Py, Graham Vick, Krzysztof Warlikowski, Dmitri Tcherniakov…

Plus récemment, Véronique Gens a chanté Alceste au Staatsoper de Vienne, La Belle Hélène au Grand Théâtre de Genève, Don Giovanni à Amsterdam, au Bayerische Staatsoper de Munich, au Wiener Staatsoper et au Liceu de Barcelone, Falstaff au Bayerische Staatsoper de Munich, La Clemenza di Tito à Dresden et au Staatsoper de Vienne, Les Indes galantes à Budapest, Alceste, Iphigénie en Tauride, La Veuve Joyeuse, Les Troyens et Les Contes d’Hoffmann (Giulietta) à l’Opéra de Paris, Dialogues des Carmélites à la Monnaie de Bruxelles, au Théâtre des Champs-Elysées et au Théâtre de Caen, Faust dans une version inédite de 1859 revisitée par Christophe Rousset, Maître Péronilla (Leona), La Fille de Madame au Théâtre des Champs-Élysées, Hulda de César Franck à Liège et au Théâtre des Champs-Elysées, Armide avec le Concert Spirituel au Théâtre des Champs-Elysées, à Metz et à Bruxelles, La Calisto (Giunone) à La Scala… Elle s’est également produite en concert dans un programme consacré à Henri Duparc avec le Berliner Philharmoniker, elle a chanté le Poème de l’Amour et de la Mer d’Ernest Chausson avec l’Orchestre National de Lille et le Mitteldeutscher Sinfonieorchester, Les Nuits d’été d’Hector Berlioz avec le Stavanger Symphony Orchestra, l’Iceland Symphony Orchestra, l’Orchestre national des Pays de Loire et l’Orchestre Philharmonique de Monte Carlo, La Voix humaine de Francis Poulenc à l’Atelier Lyrique de Tourcoing, Shéhérazade avec l’Orchestre de l’Opéra de Lyon, au Festival Estoril de Lisbonne, avec l’Orchestre philharmonique d’Oslo et le Wiener Symphoniker, les Wesendonck Lieder avec l’Orchestre des Champs-Elysées sous la baguette de Philippe Herreweghe, La Nonne sanglante de Berlioz au Festival de la Côte-Saint-André, La Mort de Cléopâtre de Berlioz avec le NHK Symphony Orchestra de Tokyo, un programme consacré à Berlioz avec l’Orchestre de Picardie, les Rückert-Lieder de Mahler à Nancy et avec l’Orchestre National de Belgique, le Requiem de Saint-Saëns avec l’Orchestre National de France, Circé (rôle-titre) de Desmarets à l’Opéra royal de Versailles, Le Poème de l’Amour et de la mer avec l’Orchestre national de Lyon et l’Orchestre de Cannes, Ariane et Bacchus de Marin Marais avec le Concert Spirituel, Scylla et Glaucus (Circé) à Budapest, le programme Rivales avec le Concert de la loge à Metz, Massy et au Théâtre des Champs-Elysées, Zoroastre (Erinice) en tournée avec Les Ambassadeurs.

Parmi ses projets, citons Armide de Gluck à l’Opéra Comique, Dialogues des Carmélites (Madame Lidoine) à Munich, La Fille de Madame Angot à l’Opéra Comique, Iphigénie en Aulide au Festival d’Aix-en-Provence… En concert, elle chantera Iphigénie en Tauride (Clytemnestre) de Campra avec le Concert Spirituel, Castor et Pollux (Phébée) et Werther (Charlotte) à Budapest, Les Nuits d’été avec l’Orquesta Sinfónica de Galicia, Faust et Hélène de Lili Boulanger au Festival d’Edimbourg ainsi que La Mort de Cléopâtre à la Philharmonie de Cologne avec Les Siècles, La Voix humaine avec l’Orchestre national de Lille, le rôle-titre de Médée de Charpentier avec le Concert Spirituel. On l’entendra aussi en récital avec piano, avec l’ensemble Les Surprises ou avec I Giardini à Paris, Bordeaux, Bruxelles, Lyon, Reims, Londres…

Très investie dans le travail du Palazzetto Bru Zane – Centre de musique romantique française, Véronique Gens a participé à de nombreux enregistrements de la collection « Opéra français » dont Herculanum de David, Cinq-Mars de Gounod, La Jacquerie de Lalo et Coquard, Proserpine de Saint-Saëns, Dante de Godard, La Reine de Chypre d’Halévy, Faust de Gounod, Passionnément de Messager, Ô mon bel inconnu de Hahn, Maître Péronilla d’Offenbach, La Fille de Madame Angot de Charles Lecocq…

En 1999, Véronique Gens est élue Artiste Lyrique de l’année aux Victoires de la Musique Classique. Ses nombreux enregistrements (plus de 80 CD et DVD) ont reçu plusieurs récompenses internationales, ainsi Néère, album consacré aux mélodies françaises, reçoit-il en 2016 un Gramophone Award et Visions, un International Classic Music Awards et un International Opera Awards en 2018.

Véronique Gens est Chevalier dans l’Ordre de La Légion d’Honneur et Commandeur dans l’Ordre des Arts et des Lettres.