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Born in France, Christophe Dumaux took part in masterclasses with James Bowman and Noëlle Barker. He then continued his studies at the Paris Conservatoire. In 2002, aged just 22, he made a spectacular professional debut singing Eustazio in Handel’s Rinaldo at the Festival de Radio France, co-produced by the Innsbruck Festival and the Berlin Staatsoper, and released on CD by Harmonia Mundi. He has since been regularly invited for engagements by the most prestigious opera houses and festivals: Tolomeo / Giulio Cesare in New York, Paris, Salzburg, Glyndebourne, London, Vienna, Chicago and Madrid; Giulio Cesare in Versailles; Farnace / Mitridate in Drottningholms, at the Théâtre des Champs-Élysées in Paris and in Dijon, Rinaldo in Glyndebourne, Ottone / L’incoronazione di Poppea in Glyndebourne, Vienna, Paris, Geneva, and Madrid; Tamerlano at the Monnaie and at the Spoleto Festival USA; Eliogabalo at the Monnaie, Orlando at the Théâtre des Champs-Élysées in Paris, Ottone / Agrippina à Santa Fe; Unulfo / Rodelinda in New York and in Dallas; Armindo and Partenope in Copenhagen, Giasone in Anvers, and Fernando / Don Chisciotte in Sierra Morena in Amsterdam. 2012 marked his debuts at the Salzburg

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Born in France, Christophe Dumaux took part in masterclasses with James Bowman and Noëlle Barker. He then continued his studies at the Paris Conservatoire.
In 2002, aged just 22, he made a spectacular professional debut singing Eustazio in Handel’s Rinaldo at the Festival de Radio France, co-produced by the Innsbruck Festival and the Berlin Staatsoper, and released on CD by Harmonia Mundi.
He has since been regularly invited for engagements by the most prestigious opera houses and festivals: Tolomeo / Giulio Cesare in New York, Paris, Salzburg, Glyndebourne, London, Vienna, Chicago and Madrid; Giulio Cesare in Versailles; Farnace / Mitridate in Drottningholms, at the Théâtre des Champs-Élysées in Paris and in Dijon, Rinaldo in Glyndebourne, Ottone / L’incoronazione di Poppea in Glyndebourne, Vienna, Paris, Geneva, and Madrid; Tamerlano at the Monnaie and at the Spoleto Festival USA; Eliogabalo at the Monnaie, Orlando at the Théâtre des Champs-Élysées in Paris, Ottone / Agrippina à Santa Fe; Unulfo / Rodelinda in New York and in Dallas; Armindo and Partenope in Copenhagen, Giasone in Anvers, and Fernando / Don Chisciotte in Sierra Morena in Amsterdam.
2012 marked his debuts at the Salzburg festival in a new production of Guilio Cesare. 2013 saw his return to the MET where he was praised unanimously by critics and the public for his superb Tolomeo (a production directly broadcasted in the cinema) as well as in Paris and in Zurich and for his participation in Indian Queen, the production by Peter Sellars. 2014 was the year of his Mozartien debuts where he sang Farnace / Mitridate at the Drottningholms festival in Sweden.
He then returned to the Monnaie where he took on the title role of Tamerlano, and then to Zurich for a new production of Vivaldi’s La Verita In Cimento.
During the season of 2015/2016, Christophe Dumaux sang Ottone / L’Incoronazione di Poppea at the Theater an der Wien, Farnace at the Théâtre des Champs-Élysées and at the Opéra de Dijon. He made his debuts as Polinesso / Ariodante in Lausanne, a role which he will take on again this season at the Stuttgart Staatsoper, at Salzburg Whitsun and Summer Festivals. The season of 2016/2017 will also be marked by a European tour with Sol Gabetta and a reprise of Indian Queen.
Recent concerts have brought him to the Salle Pleyel for Semele and Giulio Cesare, and he also sang solo recitals with the Moscow Soloists and the Freiburger Barockorchester.
Amongst his recordings are a series of Bach arias released by Naïve, and Pergolesi’s Septem verba a Christo, conducted by René Jacobs (Harmonia Mundi) ; Guilio Cesare at the Glyndebourne at the Opéra de Paris, Il Giasone at the Vlaamse Opera as well as Partenope at the Copenhagen Opera who also released it on DVD.

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Reviews

"The French countertenor Christophe Dumaux steals every scene he is in as the calculating Ptolemy. His voice is bright, clear and strong. Tall, trim and athletic, he is a natural onstage. In one taunting aria, he executes a full body flip as easily as tossing off a trill. "

Anthony Tommasini, The New York Times

"A better name for this production might be “Tolomeo,” given Christophe Dumaux’s electrifying performance as that villain. His lean, tangy countertenor whizzed through coloratura as nimbly as he pranced though choreographer Andrew George’s martial arts moves."

James Jorden, New York Post

"Christophe Dumaux, […] plays Cleopatra’s brother Ptolemy as an uproarious early Hollywood villain, complete with waxed mustache, but sings with total commitment."

Justin Davidson, New York Magazine

"Christophe Dumaux was a hoot, a countertenor secure and audible across the vocal range, bouncing about the stage with an acrobat’s skill and a comedian’s timing."

Susan Elliott, Musical America

"He not only sang his tricky arias with fresh, even tone and immaculate technique, he also acted up a storm, making this lascivious villain into a comic delight. Dumaux managed to steal just about every scene he was in — even dashing off a somersault at one point in his exuberance."

Mike Silverman, Associated Press

"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 !
[Because he has been the best Ptolemy of the last few years, we greatly anticipated Christophe Dumaux’s debut in the title-role. His registers differ but are united, his singing is incisive and constantly expressive and he performs vocally with ease, whether he sings elegies or trills… We have most probably never heard a better-singing Cesare. With that, he has an incredible ease on stage, so much so that he could have been born on it. All in all, what he offers can be summarized in two words: brilliant and exemplary!] "

Opéra Magazine

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Discography