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 Handel'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 Adám 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 Sister Constance in Poulenc's Dialogues des Carmélites (Rome Opera, Michele Mariotti).

The most famous ensembles compete for his talent, including baroque ensembles such as Il Pomo d'Oro, Europa Galante, Le Concert d'Astrée, Les Arts Florissants, Les Musiciens du Louvre, Concerto Köln, 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 Lyon, the Amsterdam Concertgebouw, the Detroit and Washington Symphony Orchestras, the Bergen Philharmonic, the Saõ Paulo Symphony Orchestra and the Yomiuri 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 I Gemelli throughout Europe; Armida in Handel'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, Re di Ponte at Copenhagen and Götteborg Opera with Adám 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 illustrates 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; at the Théâtre des Champs-Élysées, Maria Maddalena in La Resurrezione with Julien Chauvin and Le Concert de la Loge, then Handel's The Messiah with Hervé Niquet and Le Concert Spirituel; Händel's Dixit Dominus and Bach's Magnificat with the Los Angeles Philharmonic and Emmanuelle Haïm; a Mozart concert with the Monte-Carlo Philharmonic; the title role in Terraladas' La Merope with the Akademie für Alte Musik Berlin and Francesco Corti on a European tour.

Although she has produced a considerable discography for Naïve, Alpha Classic, Cpo, Glossa and Hungaroton, Emőke Baráth is an exclusive artist for Erato-Warner Classics, making several recordings for the label: Ormindo in Handel's Partenope with Il Pomo d'Oro and alongside Philippe Jaroussky; at the latter's invitation, La Storia di Orfeo with Diego Fasolis; Amore in Gluck's Orfeo ed Euridice; two recital discs, the first of which, Voglio Cantar dedicated to the finest pages of the Seicento was released in 2019, and the second, Dualità devoted to Handel's arias and with Philippe Jaroussky conducting, was published in 2022.