Gabrielle PhiliponetSoprano

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Highlights

  • Bizet: Les Pêcheurs de perles (Leïla) – Nice Opera, Lille Opera
  • Verdi: La Traviata (Violetta) – Paris, New Orleans Opera
  • Puccini: La Rondine (Magda) – Nancy Opera
  • Gounod: Faust (Marguerite) – Saint-Etienne Opera
  • Donizetti: L’Elisir d’amore (Adina) – Toulouse Capitole Theatre, Nice Opera
  • Bizet: Carmen (Micaëla, Frasquita) – Paris, Munich, Aix-en-Provence Festival, Lille, Metz
  • Mozart: Don Giovanni (Donna Anna) – Angers Nantes Opera
  • Puccini: La Bohème (Mimi, Musetta) – Marseille Opera, Metz Opera, Chorégies d’Orange, Spain tour
  • J. Strauss: Die Fledermaus (Rosalinde) – Avignon Opera
  • Rameau: Le Temple de la Gloire (Plautine) – with the Philharmonia Baroque Orchestra of San Francisco
  • Ravel: L’Enfant et les sortilèges (La Princesse) – with the Symphonic Orchestra of Montréal

Vocalement, c'est Gabrielle Philiponet qui domine, Leïla à l'aplomb sidérant, autant dans les passages lyriques que dans les pyrotechnies du rôle, avec un timbre au grain vibratile des plus délectables. (Diapason)

Biography

Born in Albi, France, Gabrielle Philiponet was a flutist and cellist before studying the voice with Daniel Ottevaere. As a member of the Opera Studio of the Chapelle Musicale Reine Elisabeth in Brussels, she was a prize winner at the prestigious Reine Elisabeth Competition.

Often acclaimed as one of the finest French lyric sopranos of the moment, her wide-ranging repertoire spans from Mozart to contemporary music.

Closely associated with the French repertoire, Gabrielle debuted at the Opéra de Paris with Frasquita (Bizet, Carmen), a role she also interpreted for the Bayerische Staatsoper and Aix-en-Provence Festival. She appeared as Micaëla in Metz and Lille, and was Leïla (Bizet, Les Pêcheurs de perles) at the Opéra de Lille and Opéra de Nice. She made her debut as Marguerite (Gounod, Faust) at Opéra de Saint-Etienne and sang Plautine (Rameau, Le Temple de la Gloire) with the Philharmonia Baroque Orchestra of San Francisco. She performed Massenet’s Cendrillon for both La Monnaie in Bruxelles and Gand Théâtre de Luxembourg, and L’Enfant et les sortilèges by Ravel with the Symphonic Orchestra of Montréal.

Gabriella has worked with conductors such as Kent Nagano, Roberto Rizzi-Brignoli, Alain Altinoglu, Karel Mark Chichon, Andreas Spering, Hervé Niquet, Roland Böer, Laurent Campellone, Pascal Verrot, Roberto Forés-Veses and Paul Goodwin.

She regularly appears in leading roles from the romantic operatic repertoire, singing Magda in Puccini’s Rondine for the Nancy Opéra and Lauretta in Gianni Schicchi with the Belgian National Orchestra at the Bruxelles Palais des Beaux-Art. She performed Mimi in La Bohème in Spain and was Musetta in the same opera in Marseille, Metz, Massy and for “Musiques en fête” at Chorégies d’Orange which was broadcast live on France 3 (TV) and on France Musique (radio). She embodied her signature role of Violetta in Verdi’s Traviata in Paris, New Orleans, Massy, among other cities.

Other career highlights include the Mozart roles of Donna Anna (Don Giovanni) at Angers-Nantes Opéra, Fiordiligi (Così fan tutte) at the Opéra de Rouen and Susanna (Le Nozze di Figaro) at the Opéra de Nancy. She mastered Adina (Donizetti, L’Elisir d’amore) at the Toulouse and Nice Operas, Corinna (Rossini, Il viaggio a Reims) in Bordeaux, Toulouse, Nice, Marseille, Montpellier, Nancy and Vichy.

Also on stage as an interpreter of operetta, Gabrielle starred as Antonia and Stella in Offenbach’s Contes d’Hoffmann at Opéra de Toulon, as Rosalinde in J. Strauss’ Fledermaus at Opéra Grand Avignon, and as Lisa in Lehár’s Pays du sourire at Opéra de Tours. Earlier in her career, she brought to life light Offenbach roles including La Princesse Hermia in Barbe-Bleue (Angers-Nantes Opéra, Opéra de Rennes), Gabrielle in La Vie parisienne (Opéra de Toulon), Eurydice in Orphée aux Enfers (Opéra de Montpellier) and Rosita in Un Mari à la porte with the Royal Liverpool Philharmonic Orchestra.

In the field of sacred music, she sang, among other works, Rossini’s Stabat Mater and Poulenc’s Sept répons des ténèbres, both with the Orchestre National de Lille, and was Gabriel and Eva in The Creation by Haydn for the Clermont-Ferrand Opera.

Recent and future engagements include Donna Anna (Mozart, Don Giovanni) at Opéra Grand Avignon, Desdemona (Verdi, Otello) at Opéra de Saint-Etienne and Beethoven’s Symphony No. 9 with both the Orchestre National de Lille and Orchestre National de Lyon.

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Gabrielle Philiponet