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

Trained at the IMEP in Namur and a laureate of the Académie du Théâtre de La Monnaie in Brussels, Gwendoline then joined the Jeune Ensemble du Grand Théâtre de Genève. In 2019, she established herself as one to watch by winning First Prize at the Concours de Froville.

Gwendoline stands as a most sought-after interpreter of the music of the 17th and 18nth centuries, yet her artistry extends far beyond, embracing works as late as those of Delibes and Offenbach. This breadth is borne out by the diversity of scores she has brought to life under the baton of such esteemed conductors as William Christie (Titon et L’Aurore, Couperin’s Leçons de Ténèbres, Bach’s Magnificat…), Leonardo García Alarcón (Rossi’s Il Palazzo Incantato, Handel’s Solomon, Monteverdi’s Vespers of the Blessed Virgin…), Diego Fasolis (Vivaldi’s La Senna Festeggiante), 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 past two seasons have been especially rich: a debut at Amsterdam’s Concertgebouw with Les Arts Florissants; first performances at Berlin’s Philharmonie and Hamburg’s Elbphilharmonie with the Freiburger Barockorchester and Vox Luminis in Bach’s Saint Matthew Passion; Charpentier’s David et Jonathas with Correspondances and Sébastien Daucé, directed by Jean Bellorini, in Caen, Nancy, Paris, Luxembourg, Madrid, Lille, and Lyon. At the Opéra de Liège, she sang her first Barbarina in Le Nozze di Figaro (Christophe Rousset, Emilio Sagi), also making her United States debut with Opera Lafayette in the first modern revival of Rameau’s opera-ballet Io.
The summer of 2024 proved equally intense. At the Festival de Beaune, Gwendoline took on two major Handel roles: Morgana in Alcina (Les Épopées, Stéphane Fuget) and Almirena in Rinaldo (Les Accents, Thibault Noally). As artist-in-residence at the Festival de Wallonie, she gave no fewer than eight concerts, collaborating with Cappella Mediterranea (Leonardo García Alarcón) and the Consort of Justin Taylor. She reunited with the latter at Radio France’s Auditorium for Monteverdi’s Vespers of the Blessed Virgin, conducted by Lionel Sow.

The Opéra Royal de Versailles has become a cherished port of call for Gwendoline: beyond her concerts (Le Carnaval du Parnasse with Alexis Kossenko, Lully’s Atys with Christophe Rousset, Bach’s Christmas Oratorio with Valentin Tournet), she captivated audiences as Blondchen in Mozart’s Die Entführung aus dem Serail under Gaétan Jarry’s baton and Michel Fau’s direction, before delivering a masterful portrayal of Frasquita in Bizet’s Carmen (Hervé Niquet and Romain Gilbert). Her debut as Marie in Donizetti’s La Fille du Régiment (Jarry and Jean-Romain Vesperini) was hailed for both her vocal virtuosity and exceptional stage presence.
Gwendoline also enjoys a regular collaboration with Reinoud Van Mechelen and his ensemble A Nocte Temporis, exploring the great French repertoire.

The 2025/2026 season sees her further expand her repertoire. At Versailles, she will appear as Clorinda in a French version of Rossini’s La Cenerentola (Gaétan Jarry, directed by Julien Lubek and Cécile Roussat), then as Dalinda in Handel’s Ariodante (Stefan Plewiak and Nicolas Briançon), before performing The Messiah with the Orchestre de l’Opéra Royal and reviving Die Entführung aus dem Serail (the production will also travel to the Opéra de Tours). Notable too is her first collaboration with Philippe Herreweghe in Mendelssohn’s Symphony No. 2 “Lobgesang”, her debut at Zurich Opera in Leclair’s Scylla et Glaucus (Emmanuelle Haïm and Claus Guth), and a concert performance of Rameau’s Les Boréades with A Nocte Temporis (Toulouse, Bruges, Versailles…).

Gwendoline maintains a vibrant recording career, with recent releases including a fresh interpretation of Monteverdi’s L’Orfeo with Les Épopées; the world premiere recording of Elisabeth Jacquet de La Guerre’s Céphale et Procris with A Nocte Temporis; Philippe d’Orléans’s La Jérusalem délivrée with La Cappella Mediterranea; Mondonville’s Le Carnaval du Parnasse with Les Ambassadeurs; and Mozart’s Die Schuldigkeit des ersten Gebots with Il Caravaggio for the Versailles Château Spectacles label.
Her next album, due for release on Harmonia Mundi in autumn 2025, is eagerly awaited.