Philiponet, Gabrielle -

Biography

Gabrielle Philiponet was born in France and studied as a flutist and cellist before singing. Her singing teacher is Daniel Ottevaere. She was a member of the Studio of the Chapelle Musicale Reine Elisabeth in Brussels und was a prize winner of the prestigious Reine Elisabeth Competition.

Her future plans include Falstaff (Alice) at Oéra de Lille and Beethoven’s 9th with Orchestre National del Lille in 2020. During 2021/22 she will sing Desdemona (Otello) at the Opéra de Saint-Etienne and Mireille (Gounod) at Opéra de Metz.

Recently she sung Les Pêcheurs de Perles (Leïla) at Opéra de Lille, L’elisir d’amore (Adina) at Théâtre du Capitole de Toulouse. For 2018/2019, she made her debut in the role of Leïla (Les Pêcheurs de Perles) at the Opera de Nice, her debut at Paris Opera singing again Frasquita (Carmen) and her debut in the role of Micaëla (Carmen) at the Opera de Metz and with the Orchestre National de Lille.

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).

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, ) at the Opera de Saint-Etienne confirm her evolution to the Lyric soprano repertoire.

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.

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. Repertoire

Opera Symphonic/Oratorio

Bizet, G. Les Pêcheurs de Perles Leïla Beethoven, L.van 9th Symphony Carmen Frasquita Dvorák, A. Stabat Mater Micaëla Debussy, C. La Demoiselle Élue Donizetti, G. L'elisir d'amore Adina Händel, G.F. The Creation Gounod, Ch. Faust Marguerite Honneger, A. Jeanne au Bûcher Mireille Mireille Mozart, W.A. Mass in C minor Hahn, R. Le Marchand de Venice Portia Requiem Mozart, W.A. Cosi Fan Tutte Despina Rossini, G. Stabat Mater Fiordiligi Petite messe solennelle Don Giovanni Donna Anna Poulenc, F. Gloria Zerlina Sept Répons des Ténèbres Le Nozze di Figaro Susanna Offenbach, J. Les Contes d'Hoffmann Antonia La Vie Parisienne Gabrielle Puccini, G. La bohème Mimi Musetta Gianni Schicchi Lauretta La rondine Magda Rameau, J.Ph. Le Temple de la Gloire Plautine Rossini, G. Il viaggio a Reims Corinna Strauss, J. Die Fledermaus Rosalinde Stravinsky, I. Mavra Parasha Verdi, G. Un ballo in maschera Oscar Falstaff Alice Nanetta Otello Desdemona Traviata Violetta Reviews

Carmen, Opéra de Metz, 2019

Superb Marguerite in Faust in Saint-Etienne not long ago, Gabrielle Philiponet radiates her character with moving generosity, giving under the tremor of her vocal line all the sensitivity and lyricism of a character of first importance. – Emmanuel Andrieu, ConcertoNet.com

[...] the magnificent soprano by Gabrielle Philiponet, sweet Micaëla, in an old dress close to the type of the young Navarrese. In her tunes and as a duo, the brave youngster fulfills her duty of courage, delicacy, and a new demonstration of mastery and charm by the very melodious singer from Tarn, with her exquisite timbre and lovely French diction... – François Cavaillès, ANACLASE.com

Les Pêcheurs de Perles, Opéra de Nice, 2018

To give life to the young woman who capsizes the two fishermen, Gabrielle Philiponet offers a Leïla with a ductile voice with an exemplary focus and projection. The colors are vibrant, and the registers are perfectly unified. The soprano combines lightness and power imposed by the role; her most famous tune receives almost a minute of applause! – Tania Bracq, Forumopera.com

Faust, Opéra de Saint-Etienne. 2018

As Marguerite, Gabrielle Philiponet offers the freshness, the sincerity of the character, the inner evolution from her first sentence to the bedroom scene, then to the momentum of the church and the final trio. The "Song of the King of Thule" and the "Air of Jewels" form a part of this construction which marks an incarnation. – Patrice Henriot, Opera Magazine

L’Elixir d’Amore, Opéra de Nice, 2017

...After her Antonia (Les Contes d'Hoffmann) from Toulon or her Caroline (La Chauve-Souris) from Avignon, Gabrielle Philiponet confirms that she has everything in her voice to make a great career in the repertoire of lyric soprano: quality of the timbre, homogeneity of the program, ease in the treble, ease in the vocalizations… to which a particularly attractive scenic presence is added... – Emmanuel Andrieux. Opera-online.com

La Bohème, Opéra de Metz, 2017

Musette, the cheeky young woman, daring, sincere in her love for Marcel, yet frivolous, Gabrielle Philiponet, seduced Alcindor, who maintains her, but above all the public. Her vocal and scenic qualities are extraordinary. Comfortable in all registers, a sonorous, agile voice reveals itself whether in her waltz "Quando me'n vo 'soletta" where she sends herself up in the air on a swing... – Albert Dacheux, Classiquenews.com

Don Giovanni, Angers-Nantes Opéra, 2016

The soprano Gabrielle Philiponet delivers a remarkable performance in Donna Anna. Vocally, her round timbre supports a perfectly mastered vibrato. The fury expressed in grief tears hearts apart. Dramatically, she impresses with the accuracy of the feelings expressed, despite their tremendous violence. It is inhabited by her character, without over-playing, and her performance on the opening stage would alone give credibility to the situation and the universe created on stage. – Damien Dutilleul, Olyrix.com

La Traviata, New Orleans Opera (USA), 2015

The principal singers are almost always vocally reliable and, on occasion, considerably more than that. French soprano Gabrielle Philiponet's Violetta, whose defining personality evolves radically from salon to country house to deathbed, is a success if not quite an unalloyed triumph. Philiponet appreciates the idiomatic Italianate style – she can spin out a lush, evenly supported legato, and her points of expressive emphasis, regardless of dynamic, are intuitively truthful. In the totality of her interpretation, and her ability to maintain poise and shading amid the taxing final 15 minutes, Philiponet was an affecting, authentic Violetta... – Andrew Adler, pour nola.com

The NOAA production stars French soprano Gabrielle Philiponet as Violetta Valery. Philliponet is a bit of a Violetta virtuoso, playing the role in numerous productions worldwide. It shows. The soprano nailed her notes is some of the form’s most recognizable arias... – Claude Robichaux, pour noladefender.com