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Born in 1979, Christophe Dumaux took masterclasses with Noëlle Barker and James Bowman during in his teens and went on to study at the Conservatoire National Supérieur de Musique in Paris.
Aged just 22, July 2002 marked Christophe Dumaux’s professional debut singing the role of Eustazio in Handel’s Rinaldo at the Festival de Radio France, Montpellier. The production, conducted by René Jacobs, went on to the Innsbruck Festival and the Berlin Staatsoper. A recording with Harmonia Mundi was released in 2003. Since this date, he has been invited internationally for both opera and concert engagements at the major houses and festivals - the Metropolitan New York, Glyndebourne Festival , Paris Opera , Theater an der Wien, Chicago, the Santa Fe Festival, the Berlin Staatsoper and he soon makes his debut in both Munich and Zurich.
His repertoire includes Tamerlano (Spoleto Festival USA); La Calisto (Luxembourg); Eliogabalo (La Monnaie Brussels ); Sosarme (Saint Gallen); Orlando ( Theatre Champs-Elysées Paris), and Ottone, L’incoronazione di Poppea (Glyndebourne, Paris, Geneva); Ottone, Agrippina (Santa Fe); Unulfo, Rodelinda (Metropolitan Opera, Dallas); Tolomeo (Paris, Glyndebourne, Pittsburg, Barbican, Vienna, Chicago, Madrid...);
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Born in 1979, Christophe Dumaux took masterclasses with Noëlle Barker and James Bowman during in his teens and went on to study at the Conservatoire National Supérieur de Musique in Paris.
Aged just 22, July 2002 marked Christophe Dumaux’s professional debut singing the role of Eustazio in Handel’s Rinaldo at the Festival de Radio France, Montpellier. The production, conducted by René Jacobs, went on to the Innsbruck Festival and the Berlin Staatsoper. A recording with Harmonia Mundi was released in 2003. Since this date, he has been invited internationally for both opera and concert engagements at the major houses and festivals - the Metropolitan New York, Glyndebourne Festival , Paris Opera , Theater an der Wien, Chicago, the Santa Fe Festival, the Berlin Staatsoper and he soon makes his debut in both Munich and Zurich.
His repertoire includes Tamerlano (Spoleto Festival USA); La Calisto (Luxembourg); Eliogabalo (La Monnaie Brussels ); Sosarme (Saint Gallen); Orlando ( Theatre Champs-Elysées Paris), and Ottone, L’incoronazione di Poppea (Glyndebourne, Paris, Geneva); Ottone, Agrippina (Santa Fe); Unulfo, Rodelinda (Metropolitan Opera, Dallas); Tolomeo (Paris, Glyndebourne, Pittsburg, Barbican, Vienna, Chicago, Madrid...); Armindo, Agrippina (Copenhagen).
Recent engagements have included a new production of Jephta (Hamor) under Ivor Bolton and at the Theater an der Wien in a new production of Britten’s Death in Venice. In 2010, he made his debut at the Amsterdam Opera in a new production of Don Chisciotte in Sierra Morena as well as at the Vlaamse Opera in the title role of Giasone.
In 2011, Christophe Dumaux returned to the Opéra de Paris for two new productions, Akhmatova by Bruno Mantovani and Giulio Cesare (Tolomeo). This same year marked his debut in the title role of both Giulio Cesare at Château de Versailles and of Rinaldo for Glyndebourne. The critics were outstanding for both productions.
2012 marks his debut at the Salzburg Festival in a new production of Giulio Cesare and his debuts at the Opernhaus Zurich. In 2013, he returns to the Metropolitan Opera.
Recent concerts have seen him at the Salle Pleyel on two occasions, for Semele and Giulio Cesare, both with Cecila Bartoli. He gave a solo recital with the Moscow Soloists and with the famous Freiburger Barockorchester, as well as making his debut at the renowned Concertgebouw Hall in Amsterdam.
Season 2011-2012
Last updated 1st March 2012
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Reviews
"Top class counter-tenor"
The New York Times
"Nous attendions avec gourmandise les débuts de Christophe Dumaux dans le rôle-tire, lui qui est déjà le meilleur Tolomeo de ces dernières années. Registres contrastés mais unis, chant incisif et constamment expressif, aisance dans la vocalise comme dans l’élégie, trilles…voici peut-être le Cesare le mieux chantant que nous ayons jamais entendu. Ajoutez à cela une aisance scénique telle qu’on le croirait né sur les planches, et ce qu’il nous offre se résume en deux mots : admirable et exemplaire ! "
Opéra Magazine
