Emmanuelle de Negri
During this season 2016/2017, soprano Emmanuelle de Negri sings the roles of La Musica (Monteverdi’s L’orfeo) at the Opéra de Dijon and the role of Clorinda (Rossini’s La Cenerentola) at the Opéra de Limoges. We can see her too next to William Christie and Les Arts Florissants during a european tour with Haendel’s Messiah, in the role of La Natura humana (Il Diluvio Universale by Falvetti) in Geneva, Lyon and Potsdam with ensemble Cappella Mediterranena directed by Leonardo García Alarcó, in the role of Erinice (Rameau’s Zoroastre) with the ensemble Pygmalion, under the baton of Raphaël Pichon, in Versailles and Vienna, as well as in concerts besides ensembles like Pulcinella, Les Accents, the Jeune Orchestre de l’Abbaye aux Dames or the Ensemble baroque de Nice, and in a recital of Duparc’s songs, at the Festival d’Aix-en-Provence.
Among her recent engagements, let us quote the roles of La Raison and Lucile (Campra’s Les Fêtes Vénitiennes) at the Opéra-Comique de Paris, at the Téâtre de Caen and the Téâtre du Capitole de Toulouse; the role of Amastre (Cavalli’s Xerse) at the Opéra de Lille, the Téâtre de Caen and the Teater an der Wien, the role of Susanna (Mozart’s Le Nozze di Figaro) on a french tour with the CoOpérative, as well as american and european tours with Les Arts Florissants.
Winner of HSBC European Academy of Music in 2008, Emmanuelle de Negri initially studied cello before joining the Nîmes Conservatoire and afterwards the Conservatoire National Supérieur de Musique. She also followed drama courses and obtained a postgraduate degree in French literature at the Montpellier University.
Singing with talent oratorio (René Jacobs invited her to be Sant’Agnese in Pasquini’s Martirio de Sant’Agnese in Innsbruck), it is in the feld of the opera that she is outstanding, mixing vocal and drama high qualities. Hence, she sang many roles from various repertoires, including Papagena (Zauberföte at the Téâtre des Champs-Elysées and the Opéra de Nice), Susanna (Le Nozze di Figaro at the Téâtre Impérial de Compiègne and Besançon), Télaïre (Castor et Pollux at the Opéra de Dijon and Opéra de Lille), or the roles of L’Amour, Clarine and La Folie (Platée with the Early Opera Company in London) as well as Gluck’s Orfeo ed Eurydice with the ensemble Accentus, at the Philharmonie de Paris and the Grand Téâtre de Provence.
The Baroque repertoire is among her favorites. She is a faithful partner of the Arts Florissants since the 4th edition of the Jardin des Voix; we could hear her in Purcell’s Te Fairy Queen, Dido & Aeneas and Indian Queen, in Haendel’s Susanna, as Aréthuze in Actéon, Pygmalion (under stage direction of Trisha Brown), in Grands Motets programs or in Hippolyte et Aricie with les Arts Florissants in Glyndebourne and Avignon festivals. She also embodied the role of Sangaride in the revival of the mythical production of Lully’s Atys, at the Teater an der Wien, the Opéra-Comique and in New-York.
She sings with same pleasure operetta (for instance, she has been Cupid in Ofenbach’s Orphée aux Enfers in several stagings) and XXth century opera (as Miles in Te Turn of the screw ; Yniold in Pelleas et Mélissande with Nathalie Dessay, Laurent Naouri, Jean-François Lapointe and Robert Lloyd, with the Royal Scottich national Orchestra under the baton of Stéphane Denève; Mélisande in Dukas’s Ariane et Barbe-Bleue at the salle Pleyel (Paris) and Dijon. Among several conductor she worked with, let us quote Gabriel Garrido, Hervé Niquet, Vincent Dumestre, Raphaël Pichon, Emmanuelle Haïm or William Christie.
Opera Lafayette invited her for her recital L’invitation au voyage in Washington and at the Weill Recital Hall of the Carnegie Hall of New York, the Orchestre national de Lyon invited her for new year concerts around Versailles’ fairies, the ensemble Les Paladins accompanied her in a recital of Italian’s Arias in Pau and Torino, as well as the Aedes chorus for Fauré’s Requiem and Mendelssohn’s Cantatas.
She performed as well with l’Orchestre Français des Jeunes under the baton of Paul Agnew, in a program centered on the character of Armide, at the Opéra-Comique and the Grand Téâtre de Provence, and was Agilea in Handel’s Teseo with Les Folies Françoise in Caen, Orléans and Paris (Téâtre des Champs-Elysées), Amour in Dardanus with the Ensemble Pygmalion and Polixène in Royer’s Pyrrhus with Les Enfants d’Apollon.
Emmanuelle de Negri’s discography includes six recordings: Royer’s Pyrrhus with Les Enfants d’Apollon, under the baton of Michael Greenberg; Rameau’s Dardanus and Castor & Pollux, with the ensemble Pygmalion, under the baton of Raphaël Pichon; a DVD record of Lully’s Atys, and the programm « Bien que l’Amour », with Les Arts Florissants under the baton of William Christie, and Gluck’s Orfeo ed Eurydice, with Accentus and Insula Orchestra, under the baton of Laurence Equilbey.