General management
 |
Virginie GOUET virginie@concertsparisiens.fr +331 48 24 16 97 +336 64 85 09 00 |
 |
Yutha TEP ytep@concertsparisiens.fr +331 48 24 16 97 +336 61 88 64 78 |
Emőke BARÁTH
Soprano
Winner of several prestigious competitions – First Prize at the Cesti Competition in Innsbruck, Grand Prix de l'Académie du Verbier Festival, Prix Junio Prima Primissima in Hungary, etc – Emőke Baráth revealed herself to the public when she sang Sesto in Händel's Giulio Cesare with Alan Curtis. A little later, she made a dazzling debut at the Festival d'Aix-en-Provence in the title role of Cavalli's Elena. In addition to her obvious virtuosity, music lovers discovered a full-bodied timbre capable of the most diaphanous nuances in the upper register, and a singing style of incomparable embodiment driven by her love for words.
Backed by these qualities, Emőke Baráth's art is deployed in a vast repertoire under the most illustrious conductors. We can mention La Musicà and Euridice in Monteverdi's L'Orfeo (Iván Fischer and Emiliano Gonzalez Toro); Romilda in Cavalli's Xerse (Emmanuelle Haïm); the title role in Cavalli's Hipermestra (William Christie); Morgana in Händel's Alcina (Ottavio Dantone and Emmanuelle Haïm); Haydn's The Creation and The Seasons (György Vashegyi and Ádám Fischer); Susanna in Mozart's Le Nozze di Figaro (Marc Minkowski). For the 20th century, she has sung Poulenc's Stabat Mater and Gloria (Bertrand de Billy), the Angel in Messiaen's Saint François d'Assise (Tokyo Opera, Sylvain Cambreling) and Sœur Constance in Poulenc's Dialogues des Carmélites (Rome Opera, Michele Mariotti).
The most famous ensembles compete for her talent, including baroque ensembles such as Il Pomo d'Oro, Accademia Bizantina, Europa Galante, Le Concert d'Astrée, Les Arts Florissants, Les Musiciens du Louvre, Akademie für Alte Musik Berlin, Il Giardino Armonico, The Orchestra of the Age of Enlightenment, as well as symphony orchestras such as the Orchestres Nationaux de France and de Lyon, the Amsterdam Concertgebouw Royal Orchestra, the Detroit and Washington Symphony Orchestras, the Bergen Philharmonic, the Saõ Paulo Symphony Orchestra and the Yomiuri Nippon Symphony Orchestra.
Baroque music remains important in her engagements in recent years: in addition to an extensive tour of Asia with Philippe Jaroussky and his ensemble Artaserse in La Storia di Orfeo, we should mention Minerva and Amore in Monteverdi's Il Ritorno d'Ulisse in Patria with Emiliano Gonzalez Toro throughout Europe; Armida in Händel's Rinaldo in Paris, Madrid and Barcelona.
Emőke has also established herself as an accomplished Mozartian: Ilia in Idomeneo at Budapest Opera; Sifare in Mitridate at Copenhagen and Götteborg Opera with Ádám Fischer; Dorabella in Così fan tutte with Giovanini Antonini in Paris, Hamburg, Luxembourg and Basel ; Donna Anna in Don Giovanni at the Opéra de Lille with Emmanuelle Haïm; Pamina in The Magic Flute at the Rome Opera with Michele Spotti; Aminta in Il Re Pastore at the Salzburg Mozarteum with Christina Pluhar and at the Salzburg Festival 2023 with Ádám Fischer. She made a great impression in the formidable role of Angelica in Haydn's Orlando Paladino conducted by Giovanni Antonini, in Madrid and Barcelona.
The 2024/2025 season illustrated her musical openness: Cleopatra in Giulio Cesare by Giacommelli in Innsbruck with Ottavio Dantone; Ginevra in Ariodante at the Opéra du Rhin with Christopher Moulds; Haydn's The Seasons with Ádám Fischer in Copenhagen; Händel's Dixit Dominus and Bach's Magnificat with the Los Angeles Philharmonic and Emmanuelle Haïm; a Mozart concert with the Monte-Carlo Philharmonic with Diego Ceretta; the title role in Terraladas' La Merope with the Akademie für Alte Musik Berlin and Francesco Corti on a European tour; a recital at the Wigmore Hall London with Jonathan Cohen and Arcangelo; Poulenc’s Gloria at the Maggio Fiorentino with Michele Mariotti. She was a brilliant Octavia (title-role) at the Boston Early Music Festival with Gilbert Blin as stage director.
2025/2026 confirms her musical friendship with many great conductors: The Seasons by Haydn with Ádám Fischer and the Royal Danish Chamber Orchestra in Malmö and Vienna; Mahler’s Symphony n° 2 with the Real Orquesta Sinfónica in Sevilla; Pergolesi’s Stabat Mater in Rome with Michele Mariotti directed by Romeo Castellucci; an exhaustive tour with the same work with Emmanuelle Haïm and Le Concert d’Astrée (Paris, Lyon, Aix-en-Provence, Barcelone, Madrid); Mozart’s Requiem twice, first with the Philharmonique de Monte-Carlo and Kazuki Yamada, then with Capella Cracoviensis and Christina Pluhar in Salzburg.
Backed by these qualities, Emőke Baráth's art is deployed in a vast repertoire under the most illustrious conductors. We can mention La Musicà and Euridice in Monteverdi's L'Orfeo (Iván Fischer and Emiliano Gonzalez Toro); Romilda in Cavalli's Xerse (Emmanuelle Haïm); the title role in Cavalli's Hipermestra (William Christie); Morgana in Händel's Alcina (Ottavio Dantone and Emmanuelle Haïm); Haydn's The Creation and The Seasons (György Vashegyi and Ádám Fischer); Susanna in Mozart's Le Nozze di Figaro (Marc Minkowski). For the 20th century, she has sung Poulenc's Stabat Mater and Gloria (Bertrand de Billy), the Angel in Messiaen's Saint François d'Assise (Tokyo Opera, Sylvain Cambreling) and Sœur Constance in Poulenc's Dialogues des Carmélites (Rome Opera, Michele Mariotti).
The most famous ensembles compete for her talent, including baroque ensembles such as Il Pomo d'Oro, Accademia Bizantina, Europa Galante, Le Concert d'Astrée, Les Arts Florissants, Les Musiciens du Louvre, Akademie für Alte Musik Berlin, Il Giardino Armonico, The Orchestra of the Age of Enlightenment, as well as symphony orchestras such as the Orchestres Nationaux de France and de Lyon, the Amsterdam Concertgebouw Royal Orchestra, the Detroit and Washington Symphony Orchestras, the Bergen Philharmonic, the Saõ Paulo Symphony Orchestra and the Yomiuri Nippon Symphony Orchestra.
Baroque music remains important in her engagements in recent years: in addition to an extensive tour of Asia with Philippe Jaroussky and his ensemble Artaserse in La Storia di Orfeo, we should mention Minerva and Amore in Monteverdi's Il Ritorno d'Ulisse in Patria with Emiliano Gonzalez Toro throughout Europe; Armida in Händel's Rinaldo in Paris, Madrid and Barcelona.
Emőke has also established herself as an accomplished Mozartian: Ilia in Idomeneo at Budapest Opera; Sifare in Mitridate at Copenhagen and Götteborg Opera with Ádám Fischer; Dorabella in Così fan tutte with Giovanini Antonini in Paris, Hamburg, Luxembourg and Basel ; Donna Anna in Don Giovanni at the Opéra de Lille with Emmanuelle Haïm; Pamina in The Magic Flute at the Rome Opera with Michele Spotti; Aminta in Il Re Pastore at the Salzburg Mozarteum with Christina Pluhar and at the Salzburg Festival 2023 with Ádám Fischer. She made a great impression in the formidable role of Angelica in Haydn's Orlando Paladino conducted by Giovanni Antonini, in Madrid and Barcelona.
The 2024/2025 season illustrated her musical openness: Cleopatra in Giulio Cesare by Giacommelli in Innsbruck with Ottavio Dantone; Ginevra in Ariodante at the Opéra du Rhin with Christopher Moulds; Haydn's The Seasons with Ádám Fischer in Copenhagen; Händel's Dixit Dominus and Bach's Magnificat with the Los Angeles Philharmonic and Emmanuelle Haïm; a Mozart concert with the Monte-Carlo Philharmonic with Diego Ceretta; the title role in Terraladas' La Merope with the Akademie für Alte Musik Berlin and Francesco Corti on a European tour; a recital at the Wigmore Hall London with Jonathan Cohen and Arcangelo; Poulenc’s Gloria at the Maggio Fiorentino with Michele Mariotti. She was a brilliant Octavia (title-role) at the Boston Early Music Festival with Gilbert Blin as stage director.
2025/2026 confirms her musical friendship with many great conductors: The Seasons by Haydn with Ádám Fischer and the Royal Danish Chamber Orchestra in Malmö and Vienna; Mahler’s Symphony n° 2 with the Real Orquesta Sinfónica in Sevilla; Pergolesi’s Stabat Mater in Rome with Michele Mariotti directed by Romeo Castellucci; an exhaustive tour with the same work with Emmanuelle Haïm and Le Concert d’Astrée (Paris, Lyon, Aix-en-Provence, Barcelone, Madrid); Mozart’s Requiem twice, first with the Philharmonique de Monte-Carlo and Kazuki Yamada, then with Capella Cracoviensis and Christina Pluhar in Salzburg.
General management
|
Virginie GOUET virginie@concertsparisiens.fr +331 48 24 16 97 +336 64 85 09 00 |
|
Yutha TEP ytep@concertsparisiens.fr +331 48 24 16 97 +336 61 88 64 78 |
