Hungarian soprano Emőke Baráth quickly attracted the attention of the music world by becoming a winner of several prestigious competitions – including the First Prize of the Cesti Competition in Innsbruck, the Grand Prix of the Verbier Festival Academy, and the Prix Junio Prima Primissima in Hungary. Her career took off when she sang and recorded Sesto in Handel's Giulio Cesare under the conducting of Alan Curtis. A little later, she made a brilliant debut at the Aix-en-Provence Festival in the title role of Cavalli's Elena.

In addition to her obvious virtuosity, music lovers discovered a full colored voice capable of the most diaphanous nuances in the upper register, and an incomparable embodiment of her singing, carried by her love of words.
With theses assets, Emőke Baráth's art is deployed in a very vast repertoire under the direction of some of the most illustrious conductors. It includes La Musicà and Euridice in Monteverdi's L'Orfeo (Iván Fischer and Emiliano Gonzalez Toro); Romilda in Cavalli's Xerse (Emmanuelle Haïm); Bach's Christmas Oratorio (Laurence Equilbey); the title role in Cavalli's Hipermestra (William Christie ); Telaïre in Rameau's Castor et Pollux (Ivor Bolton); Amore in Gluck's Orfeo ed Euridice (Diego Fasolis and Gianluca Capuano); Morgana in Handel's Alcina (Ottavio Dantone and Emmanuelle Haïm), Cleopatra in Händel’s Giulio Cesare (Philippe Jaroussky); Haydn's The Creation and The Seasons (György Vashegyi and Adám Fischer); Susanna in Mozart's Le Nozze di Figaro (Marc Minkowski), the Great Mass in C minor (Nathalie Stutzmann) or Mozart's Requiem (Philippe Herreweghe). At the other end of the chronology, she sang Poulenc's Stabat Mater and Gloria (Bernard Têtu and Bertrand de Billy) or L'Ange in Messiaen's Saint François d'Assise (Sylvain Cambreling).

The most famous ensembles ask for her talent. Among tof them are Il Pomo d'Oro, Europa Galante, Le Concert d'Astrée, Les Arts Florissants, Les Musiciens du Louvre, I Gemelli, Concentus Musicus Wien, Concerto Köln, Akademie für Alte Musik Berlin, The Orchestra of the Age of Enlightenment, the Purcell Choir and Orfeo Orchestra of Budapest, Budapest Festival Orchestra. For symphonic orchestras, let's mention the Orchestres Nationaux de France, and Orchestre National of Lyon, the Concertgebouw of Amsterdam, the Detroit and Washington Symphony Orchestras, the Bergen Philharmonic, the Saõ Paulo Symphony Orchestra, the Yomiuri Symphony Orchestra…

Her upcoming engagements include two beautiful stage productions : Emőke will be Sœur Constance in Poulenc Dialogues of Carmelites at Roma Opera et Ilia in Mozart Idomeneo at Budapest Opera. In concert version, she sings at the Mozarteum Salzburg in Mozart's Il Re Pastore (role of Aminta) with Rolando Villazon. At Théâtre des Champs-Élysées in Paris, Elbphilharmonie of Hamburg, Philharmonie of Luxembourg and in Basel, she will sing Dorabella in Mozart’s Così fan tutte under the baton of Giovanini Antonini. She will join again Philippe Jaroussky and his ensemble Artaserse for a tour in Asia with the program La Storia di Orfeo.

Emőke Baráth's discography is already considerable, with several titles recorded for Erato-Warner Classics, Naïve, Alpha Classic, Cpo, Glossa or Hungaroton. In addition to Giulio Cesare with Alan Curtis, she participated in Catone in Utica by Vivaldi (Il Pomo d'Oro conducted by Riccardo Minasi). She sang Ormindo in Partenope by Handel with Il Pomo d'Oro and with Philippe Jaroussky. The latter invited her to sing the different faces of Euridice in his recording La Storia di Orfeo under the batton of Diego Fasolis. With the same partners, she recorded the role of Amore in Orfeo ed Euridice by Gluck.

Emőke Baráth is now an exclusive artist Erato-Warner Classics.
Her first solo disc Voglio Cantar was dedicated to beautiful arias of XVII century and released in January 2019. Emőke won Opus klassic awards in Germany in 2019.
Her very recent album Dualità has launched on February 2022. Emőke Baráth explores the duality of the female soul – in which sensitivity unites with power and the potential of the female voice to characterise both Händel heroines and heroes.