Born in Albi, France, Gabrielle Philiponet was a flutist and cellist before studying the voice with Daniel Ottevaere. As member of the Queen Elisabeth Music Chapel's Opera studio in Brussels, she was a prize winner at the prestigious Queen Elisabeth Competition.

Closely associated with the French repertoire, Gabrielle debuted at the Opéra de Paris with Frasquita (Carmen, Bizet), a role she also interpreted for the Bayerische Staatsoper and Aix-en-Provence Festival. She appeared as Micaëla in Metz, Massy and Lille, and was Leïla (Les Pêcheurs de Perles, Bizet) at the Opéra de Lille and Nice. She made her debut as the title role of Gounod's Mireille at Opéra de Metz and sings Marguerite (Faust, Gounod) at Opéra de Saint-Etienne, Limoges, Vichy and more recently in Lille in the opera-comique new version. She sang Lalla-Roukh's title-role by F. David for the Wexford Festival Opera. She performed Antonia and Stella (Les Contes d'Hoffman, Offenbach) after 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. She embodied Plautine (Le Temple de la Gloire, Rameau) with the Philharmonia Baroque Orchestra of San Francisco.

The Théâtre National du Capitole de Toulouse entrusted her with the world premiere of Amours by Bruno Mantovani, his first song cycle for voice and piano. Then in 2024, still at the Capitole she created the role of La Songeuse in Voyage d’Automne by the same composer.

Gabrielle has worked with conductors such as Louis Langrée, Kent Nagano, Lorenzo Viotti, Alain Altinoglu, Emmanuelle Haïm, José Cura, Karel Mark Chinchon, Pablo Heras-Casado, Lawrence Foster, Ingo Metzmacher, Pierre Vallet, Hervé Niquet, Victorien Vanoosten, Julien Chauvin (Concert de la Loge), David Reiland, Andreas Spering, Jose Miguel Pérez-Sierra, György Vashegyi, Marcello Panni, Steven White, Roberto Fores-Veses, Giuseppe Grazioli, Alexandre Bloch, Ben Glassberg, Thomas Rösner, Déborah Waldman…

She also have been guided by stage directors as Dénis Podalydès, Christof Loy, Éric Ruf, FC Bergman, Calixto Bieito, Dimitri Tcherniakov, Lina Wertmüller, Patrice Caurier et Moshe Leiser, Orpha Phelan, José Cura, Olivier Py, Frédéric Roels, George Lavaudant, Nicola Berloffa, Paul-Emile Fourny, Pierre-Emmanuel Rousseau, Francesco Michelli, Marie Lambert-Le Bihan, Bernard Pisani, Julien Chavez, Jean-Louis Pichon…

She regularly appears in leading roles from the romantic operatic Italian repertoire : first with Puccini in Magda (La Rondine) at Opéra de Nancy and Metz then Lauretta (Gianni Schicchi) with the Belgian National Orchestra at the Bruxelles Palais des Beaux-Art. She interpreted Mimi (La Bohème) at Opéra de Saint-Etienne and Avignon after she sang Musetta in Marseille, Metz, Massy and for “Musiques en fête” at Chorégies d’Orange.

She mastered Adina (L’Elisir d’amore, Donizetti) at Nice and the Opéra National du Capitole de Toulouse, Corinna (Il viaggio a Reims, Rossini) in Bordeaux, Toulouse, Nice, Marseille, Montpellier, Nancy and Vichy.
Faithful to the verdian roles, she embodied her signature role of Violetta (La Traviata) in Paris, New Orleans, Massy, among other cities, Oscar (Ballo in Maschera) at Massy, Desdemona (Otello) at Opera de Saint-Etienne and Györ (Hungary) then Alice Ford (Falstaff) at the Opera de Lille, Luxembourg and Caen. 

The Mozart’s roles are amongst her career’s highlights as Donna Anna (Don Giovanni) at Angers-Nantes Opera and Grand Avignon Opera, Fiordiligi (Così fan tutte) at the Opéra de Rouen and Caen, also Pamina (Die Zauberflöte) and Vittelia (La Clemenza du Tito) at Wissant Festival. Earlier she was Susanna (Le Nozze di Figaro) at Opéra de Nancy and Despina (Cosi Fan Tutte) at Opéra de Toulon.

Also on stage in the Operetta, Gabrielle starred as Rosalinde (Die Fledermaus, J. Strauss) at Opéra d’Avignon, and as Lisa ( Das Land des Lächelns, Lehar) at Opéra de Tours. Earlier in her career, she brought to life light Offenbach roles including La Princesse Hermia (Barbe-Bleue) at Angers-Nantes Opera and the Opéra de Rennes, Gabrielle (La Vie parisienne) at the Opéra de Toulon, Eurydice (Orphée aux Enfers) at the Opéra de Montpellier and Rosita (Un Mari à la porte) with the Royal Liverpool Philharmonic Orchestra.

In concert, the Hungarian National Philharmonic Orchestra invited her for Lilia in Herculanum by F. David in Budapest, and she has been Solveig and Anitra in Peer Gynt by Grieg at Cagliari Opera. In the field of sacred music, we heard her in Rossini’s Stabat Mater and Poulenc’s Sept répons des ténèbres, both with the Orchestre National de Lille, in Gabriel and Eva in The Creation by Haydn for the Clermont-Ferrand Orchestra, in Rossini's Petite Messe Solennelle at Stresa and Vezelay, in Dvorak's Stabat Mater, in Mozart's Ut Minor's Mass and finally in the Beethoven's 9th Symphony with Lyon National Orchestra. 

October 2025