In 2021, the production of Mondoville's Titon et l'Aurore, conducted by William Christie and directed by Basil Twist, revealed the Belgian soprano Gwendoline Blondeel in the role of L’Aurore: with an admirable vocal range, an exceptionaly radiant timbre and a striking stage presence, she literally lit up the stage of the Opéra-Comique in Paris.

Trained at the IMEP in Namur and a prizewinner at the Académie du Théâtre Royal de La Monnaie in Brussels, Gwendoline Blondeel went on to join the Jeune Ensemble du Grand Théâtre de Genève. In 2019, she established herself as one of the names to watch, winning First Prize in the Froville Competition.

Gwendoline is now a highly sought-after interpreter of the music of the 17th and 18th centuries, but she explores a much wider repertoire, with roles such as the title role in Delibes' Lakmé, Olympia in Les Contes d'Hoffmann and Eurydice in Offenbach's Orphée aux enfers. This is borne out by the diversity of the scores she has taken on with renowned conductors: William Christie (Titon and L'Aurore, Couperin's Leçons de Ténèbres, Bach's Magnificat...), Leonardo García Alarcón (Luigi Rossi's Il Palazzo Incantato, Handel's Solomon, Monteverdi's Vespro della Beata Vergine... ), Diego Fasolis (Vivaldi's La Senna Festeggiante), Alexis Kossenko (Rameau's Zoroastre), Jérémie Rhorer (Mozart's The Magic Flute), Jean-Christophe Spinosi (Rossini's L'italiana in Algeri), Alejo Perez (Prokofiev's War and Peace) and Kazushi Ono (Honegger's Jeanne d’Arc au bûcher).

The last two seasons have been particularly rich: her debut at the Amsterdam Concertgebouw with William Christie; first concerts with the combined forces of the Freiburger Barockorchester and Vox Luminis at the Berlin Philharmonie and then at the Hamburg Elbphilharmonie in Bach's St Matthew Passion. Gwendoline played a splendid and emotional Jonathas in Charpentier's David et Jonathas with Correspondances and Sébastien Daucé in the new production directed by Jean Bellorini at the Théâtre de Caen, the Opéra de Nancy, the Théâtre des Champs-Élysées in Paris and the Grand Théâtre de Luxembourg.
She also made her US debut with Opera Lafayette, singing the role of La Folie in the first modern revival of Rameau's opera-ballet Io. Gwendoline Blondeel is a regular guest at the Opéra Royal de Versailles, which has become a major stop-off point for her activities: she has sung Le Carnaval du Parnasse with Alexis Kossenko, Lully's Atys with Christophe Rousset, Bach's Christmas Oratorio with Valentin Tournet, and Mozart's Die Entführung aus dem Serail (the role of Blondchen) with Gaétan Jarry.

The summer of 2025 proved to be exceptionally intense: at the Festival de Beaune, Gwendoline tackled two major Handelian roles with Morgana in Alcina (Les Épopées, Stéphane Fuget) and Almirena in Rinaldo (Les Accents, Thibault Noally). She is artist-in-residence at the Festival de Wallonie, giving no fewer than eight concerts in association with the Cappella Mediterranea (Leonardo García Alarcón) and Justin Taylor's Consort.
The 2024/2025 season is just as exciting. At the Opéra de Versailles, she will take on two roles: Frasquita in Bizet's Carmen (Orchestre de l'Opéra Royal, Hervé Niquet) and Marie in Donizetti's La Fille du Régiment (Orchestre de l'Opéra Royal, Gaétan Jarry, Jean-Romain Vesperini). The Opéra de Liège will see her as Barbarina in Le Nozze di Figaro (Christophe Rousset, Emilio Sagi). She will be reviving David and Jonathas at the Teatro Real in Madrid, the Opéra de Lille and the Auditorium de Lyon.
She will join the soloist cast in Monteverdi's Vespro della beata Vergine at the Auditorium de Radio France, with Le Consort conducted by Lionel Sow. Several projects with Reinoud Van Mechelen and his ensemble A nocte temporis will take her to Namur, Bruges and Versailles.

Gwendoline is very active on the recording front, with a number of CDs to her name, including a new version of Monteverdi's L'Orfeo (Euridice & La Musica) with the ensemble Les Épopées conducted by Stéphane Fuget, which she will perform again at the Konzerthaus in Dortmund in a concert version; the world premiere of Elisabeth Jacquet de la Guerre's opera Céphale et Procris, accompanied by Reinoud Van Mechelen's ensemble A Nocte Temporis; Philippe d'Orléans' La Jérusalem délivrée with La Cappella Mediterranea and Leonardo García Alarcón, Mondonville's Carnaval du Parnasse with Alexis Kossenko, and Mozart's Die Schuldigkeit des ersten Gebots conducted by Camille Delaforge (roles of Gerechtigkeit and Weltgeist) for the Versailles Chateau Spectacle label.