Born in Albi, Gabrielle Philiponet was educated as a flutist and cellist before entering the conservatory of Valenciennes in 2003 where she was taught at the vocal class of Daniel Ottevaere who still is her teacher nowadays. Two years later, she graduated with distinctions and worked at the same time on her repertoire together with Janine Reiss in Paris and David Miller in Brussels. In 2005, she was admitted to the opera studio of the Chapelle Musciale Reine Elisabeth (CMRE) under the direction of José Van Dam and in collaboration with the Théâtre Royal de la Monnaie. She received her diploma from the CMRE with the highest distinctions.
In 2004, she was to be heard at the international singing competition in Vivonne where she received the prize for young talents and, in 2006, the first prize 'Dame'. In the same year, she was awarded the first prize at the singing competition in Béziers. At the international competition in Marmande, she was accorded the young talent prize in 2006 and the special jury prize in 2007. Also in 2007, she received the 3rd prize in the category of women at the international competition of Marseille, and in 2008, she was awarded the 6th prize at the prestigious Queen Elisabeth competition in Brussels.
She has performed the roles of Susanna (Le nozze di Figaro) at the Opera national de Lorraine, Oscar (Ballo in Maschera) at the Opera de Massy, Parasha (Mavra, Stravinsky) at Fribourg (Swissland), Musetta (La Bohème) at the Opera de Marseille, Despina (Così fan tutte) and Gabrielle (La Vie Parisienne) at the Opera de Toulon, Corinna (Il Viaggio a Reims) on tour at Reims, Vichy, Montellier, Tours, Nancy, Nice, Saint-Etienne, Marseille, Bordeaux and at the Capitole de Toulouse, Eurydice (Orphée aux Enfers) at the Opera National de Montpellier, Marie (Les Mousquetaires au Couvent) and Mi (Le Pays du Sourire) at the Tourcoing's Theater, Rosita (Un Mari à la Porte) with the Royal Philharmonic Orchestra of Liverpool and le Feu/ la Princesse/ le Rossignol (L'Enfant et les Sortilèges) with the Symphonic Orchestra of Montréal, La Fée (Cendrillon de Massenet) at the Royal Theater of La Monnaie and at the Grand Théâtre de Luxembourg and Lauretta (Gianni Schicchi) with the Belgian National Orchestra.
Her recent interpretation of Magda (La Rondine) at the National Opera de Lorraine, Violetta (La Traviata) at the Opera de Massy, Donna Anna (Don Giovanni) on tour in Spain, Antonia (Les Contes d'Hoffmann) at the Opera de Toulon and Portia (Le Marchand de Venise, Reynaldo Hahn) at the Opera de Saint-Etienne confirm her evolution to the Lyric soprano repertoire.
The 2015/2016 and 2016/2017 seasons were rich with her American debut with Violetta (La Traviata) at the New Orleans Opera, Donna Anna (Don Giovanni) at the Angers-Nantes Opera staging by Patrice Caurier and Moshe Leiser and many roles debut with Rosalinde (Die Fledermaus) at the Opera of Avignon, Desdemona (Otello) with the Györ Philharlomic directed by Jose Cura, Fiordiligi (Cosi Fan Tutte) at the Opera de Rouen, Mimi (La Bohème) in tour in Spain, Lisa (Le Pays du Sourire) at the Opera de Tours, Plautine (Le Temple de la Gloire, Rameau) with the Philharmonia Baroque Orchestra in San Francisco and Frasquita (Carmen) at the Aix-en-Provence's Festival staged by Dimitri Tcherniakov.
The 2017/2018 season ended with her debut in Marguerite (Faust) at the Saint-Etienne’s Opera. Earlier, she sang Musetta (La Bohème) in Metz and Massy Opera, her first Adina ( L’Elisir d’Amore) at the Opera de Nice and she made her debut at the Bayerische Staatsoper in Munich as Frasquita (Carmen).
In concert, she has sung the Haydn's Creation with the Orchestre d'Auvergne, with Jean-François Zygel at the Châtelet's Theater, at the 20th Anniversary Gala Night of the Aspendos Festival in Turkey with the Antalya State Opera and Ballet, Dvorak’s Stabat Mater in Seville, Essouira (Festival les Alizés), at the Festival d'Arromanches, Mozart’s Great Mass in c minor, Rossini's Petite Messe Solennelle and again the Dvorak's Stabat Mater as well as in Sémiramis by Catel (role of Azema) at the Festival de Radio-France et Montpellier. Furthermore, she sang the role of Emirène in Adrien by Méhul at the Béla Bartók National Concert Hall in Budapest, the role of Ione in Le Dernier Jour de Pompéi by Joncières and Lilia in Herculaneum by David at the Palazzetto Bru Zane in Venice. She was too Hermine (Saphir, David) again in Venice and at the Bouffes du Nord in Paris with the Cercle de l'Harmonie.
Gabrielle Philiponet has worked together with conductors such as Roberto Rizzi-Brignoli, Alain Altinoglu, Nicolas André, Karel Mark Chichon, José Cura, Paul Goodwin, Stefan Klingele, Andreas Spering, Kent Nagano, Gunter Neuhold, Hervé Niquet, Vasily Petrenko, Roberto Forés-Veses, Roland Boer, Luciano Accocella, Emmanuel Plasson, Laurent Campellone, Michel Piquemal, György Vashegyi and Pascal Verrot.
She recorded Scènes de Chasse by René Koering (une Amazone) at Universal Music, Sémiramis de Catel (Azéma) at Glossa, Un mari à la porte (Rosita) by Offenbach with the Liverpool Philharmonic Orchestra, Max d'Ollones Cantatas, Chor and Symphonies Palazzetto Bru Zane's Collection "Prix de Rome" volume 4, Marie Stuart by Gounod in Cantatas and Sacred Music Palazzetto Bru Zane's Collection "Prix de Rome" volume 6 and Dimitri by Victorin Joncière (Marina) with the Brussels Philharmonic and the Flemish Chor, Adrien by Etienne-Nicolas Méhul (Emirène) with the Purcell chor and the Orfeo Orchestra and Le Temple de la Gloire by Rameau with Philharmonia Baroque Orchestra of San Francisco.
Frasquita, Carmen de BIZET
Les 11, 14, 17, 20, 23, 26, 29 avril,
2, 5, 8, 11, 14, 17, 20 et 23 mai 2019
Sortie le 13 juin 2018! Coming soon!
Le Temple de la Gloire de Jean-Philippe RAMEAU
Philharmonia Baroque Orchestra dirigé par Nicholas McGegan