In the space of a few years, Nicolas Brooymans has undeniably carved out a place for himself on the music scene: the beauty and technical ease of the voice, the intensity of his singing and his obvious stage presence have earned him an ever-increasing number of engagements on prestigious stages.

His career has flourished in the music of the seventeenth and eighteenth centuries, and Nicolas Brooymans is an indispensable guest with leading specialist ensembles, with whom he performs throughout Europe. He sings very regularly with Correspondances (Sébastien Daucé), particularly in the French repertoire. He has taken part in many of the ensemble's recordings, all of which have been acclaimed by the critics (motets by Moulinié; Le Concert Royal de la Nuit; motets and elevations by Dumont; Litanies à la Vierge, Pastorales de Noël, Histoires Sacrées and Descente d'Orphée aux enfers by Charpentier, Perpetual Night).

Other collaborations have followed, confirming a growing reputation with leading ensembles: Pygmalion (Raphaël Pichon), Collegium 1704 (Vaclav Luks), Les Surprises (Louis-Noël Bestion de Camboulas), Les Arts Florissants (William Christie), I Gemelli (Emiliano Gonzalez-Toro and Mathilde Etienne), Ensemble Jupiter (Thomas Dunford), Le Banquet Céleste (Damien Guillon), etc…

Nicolas is also a keen chamber musician, working with the Ensemble Près de votre oreille (Robin Pharo) on the CD Come Sorrow, devoted to English music of the Elizabethan period.

The later repertoire forms a very important part of his activity. Nicolas is regularly engaged as a soloist in the masterpieces of the sacred repertoire, such as Mozart's Requiem and the Great Mass in C minor, Bach's Passions, Handel's The Messiah, Haydn's The Seven Last Words of Christ and The Creation, as well as the more lyrical repertoire (Berlioz's Les Nuits d'été, Puccini's Missa di Gloria, Verdi's Requiem, Rossini's Stabat Mater). Opera is not to be outdone, with Sarastro in The Magic Flute, the Commander in Mozart's Don Giovanni and Colline in Puccini's La Bohème.

The 2022/2023 season has seen him deploy his talent in a number of exciting projects: the revival of the Aix-en-Provence production of Il Combattimento at the Théâtre de Caen; The Magic Flute at the Opéra Royal de Versailles; Rossini's La Cenerentola at the Théâtre des Champs-Élysées, the Opéra de Bordeaux and the Opéra de Rouen; Bizet's Carmen at the Opéra de Toulon; L'Incoronazione di Poppea at the Arsenal de Metz, the Victoria Hall in Geneva and the Théâtre des Champs-Élysées.
2023/2024 saw an undeniable acceleration: Carmen at the Opéra de Rouen, Mozart's Requiem with the Orchestre des Pays de la Loire, a grand tour with Monteverdi's Il Ritorno d'Ulisse alongside I Gemelli in the great European halls, from Toulouse to Madrid, via Brussels and Amsterdam, and Mozart's The Abduction from the Seraglio at the Opéra Royal de Versailles, directed by Michel Fau. Next came Lully's Armide at Drottningholm, conducted by Francesco Corti and directed by Florent Siaud.

2024/2025 will once again offer a tremendous diversity of repertoires: a revival of Mozart's The Magic Flute at the Opéra de Versailles; a major tour of Caccini's La Liberazione dall'isola d'Alcina with I Gemelli (Ambronay, Toulouse, Versailles); Monteverdi's Il Vespro della Beata Vergine with Pygmalion (Paris, Ver-sailles) and then I Gemelli (Amsterdam, Barcelona, Seville); and Schumann's Das Paradis und die Peri with Le Concert des Nations (Barcelona, Paris).