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A renowned figure in the world of Baroque music, French soprano Sandrine Piau regularly performs with celebrated conductors such as William Christie, Philippe Herreweghe, Christophe Rousset, Gustav Lleonhardt, Ivor Bolton, Ton Koopman, René Jacobs, Marc Minkowski and Nikolaus Harnoncourt. Ms. Piau embraces both lyric and Baroque repertoires. The roles she has recently performed include Cleopatra (Giulio Cesare) at the Opéra national de Paris, Mélisande in Nice and at la Monnaie, Ännchen (Der Freischütz), Pamina (Die Zauberflôte) and her debut as Donna Anna (Don Giovanni) at the Théâtre des Champs-Elysées; the title role of L’Incoronazione di Poppea in Cologne; Sandrina in a new production of La Finta Giardiniera at La Monnaie, Ismène (Mitridate, Re di Ponto) at the Grand Théâtre de Genève and Sophie in Massenet’s Werther at both the Capitole de Toulouse and the Théâtre du Châtelet. Sandrine Piau regularly appears in concert. In recent years she has performed at the Salzburg Festival, Carnegie Hall, Wigmore Hall, Covent Garden Festival, Musikverein, Paris’ Salle Pleyel, Festival de Saint Denis,

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A renowned figure in the world of Baroque music, French soprano Sandrine Piau regularly performs with celebrated conductors such as William Christie, Philippe Herreweghe, Christophe Rousset, Gustav Lleonhardt, Ivor Bolton, Ton Koopman, René Jacobs, Marc Minkowski and Nikolaus Harnoncourt.

Ms. Piau embraces both lyric and Baroque repertoires. The roles she has recently performed include Cleopatra (Giulio Cesare) at the Opéra national de Paris, Mélisande in Nice and at la Monnaie, Ännchen (Der Freischütz), Pamina (Die Zauberflôte) and her debut as Donna Anna (Don Giovanni) at the Théâtre des Champs-Elysées; the title role of L’Incoronazione di Poppea in Cologne; Sandrina in a new production of La Finta Giardiniera at La Monnaie, Ismène (Mitridate, Re di Ponto) at the Grand Théâtre de Genève and Sophie in Massenet’s Werther at both the Capitole de Toulouse and the Théâtre du Châtelet.

Sandrine Piau regularly appears in concert. In recent years she has performed at the Salzburg Festival, Carnegie Hall, Wigmore Hall, Covent Garden Festival, Musikverein, Paris’ Salle Pleyel, Festival de Saint Denis, Amsterdam’s Concertgebouw, Teatro Communale in both Florence and Bologna and with the world’s most prestigious orchestras including Berlin Philharmonic Orchestra, Munich Philharmonic, Orchestre de Paris and Boston Symphony Orchestra.

Ms. Piau takes great pleasure in the art of recital.  As a singer of both French and German repertoire, she has performed with many renowned accompanists including Jos van Immerseel, Roger Vignoles Corine Durous. She has a privileged relationship with pianist Susan Manoff with whom she recently made recital tours in the USA and in Japan.

Ms. Piau is an exclusive recording artist for Naïve. Recent recordings include 2011’s Après un Rêve and 2012’s Le Triomphe de l’Amour, which was named Opera News’ CD of the Month.

Her next engagements include singing Constance in Le Dialogue des Carmélites at the Théâtre des Champs Elysées, performing in Alcina at the Paris Opera and appearing in Ariodante at Le Festival d’Aix en Provence.

Sandrine Piau was given the title of Chevalier de l’Ordre des Arts et Lettres in 2006 and was named “Lyrical Artist of the Year” in the Victoires de la Musique Classique award ceremony in 2009.

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Reviews

"Piau lives intensely each fluctuating shade of feeling, colouring the text expressively and using the ‘sighing’ appoggiaturas so characteristic of French Baroque music to heighten the emotion."

Richard Wigmore, Gramophone

"The production […] merits a return visit for the beguiling performance by Sandrine Piau, one of our most compelling sopranos active in Baroque repertoire. Although she is justly admired for her recording with René Jacobs, her seductive acting adds a whole new dimension to her portrayal. Her voice has a creaminess that allows for brilliance without harshness, as in the enchanting aria “V’adoro, pupille.” High notes have a lovely ping, and her careful management of vibrato allows for handsome coloristic effects."

George Loomis, The New York Times

"Pour notre plus grande joie, c’est la délicieuse Sandrine Piau qui lui donne la réplique en Mélisande. La soprano française gratifie l’auditoire de son timbre lumineux et de sa musicalité sans faille; elle nimbe son personnage de mystère, en lui donnant des grâces d’oiseau pris au piège, et distille une constante émotion, achevant le portrait d’une Mélisande qui ne quittera pas de sitôt notre mémoire.
[To our greatest joy, it is the delightful Sandrine Piau who sings Mélisande. The French soprano gifts her radiant timbre and faultless musicality to the audience. She envelops her character in mystery, creating the image of a bird that has been trapped and gives off constant emotion, completing the portrait of a Mélisande that we will not forget.]"

Emmanuel Andrieu, Concertonet

"…her singing has a wonderful, uncomplicated directness, utterly free of mannerisms or affectation."

Andrew Clements, The Guardian

"Sandrine Piau is one of today’s most celebrated singers in the world of early music, although her repertoire is not confined to the 17th and 18th centuries."

Johan van Veen, Music Web International

"Bonheur total [...] avec la sublime Pamina de Sandrine Piau, devant laquelle on ne peut que rendre les armes. On admire chez cette magnifique chanteuse la pureté du timbre, l’égalité de la ligne de chant, la musicalité sans faille et la touchante fragilité. Elle délivre un « Ach, ich fühl’s » d’une luminosité à pleurer !
[Sandrine Piau’s gorgeous Pamina, whom we cannot resist, gives us absolute joy. We admire this beautiful singer’s pure timbre, even singing, faultless musicality and touching fragility. Her “Ach, ich fühl’s” is bright and incredibly moving!]"

Emmanuel Andrieu, Classique Info

"La distribution est dominée par la Pamina de Sandrine Piau dont la simplicité naturelle, la grâce, le chant incarné et lumineux emportent l’adhésion.
[Sandrine Piau’s Pamina dominates the cast. Her natural simplicity, elegance and brilliant, lively singing were unanimously praised.]"

Michel Le Naour, Concert Classique

"Sandrine Piau was outstanding as the poor, put-upon Sandrina."

John McCann, Opera

"On mettra au premier plan la belle prise de rôle de Sandrine Piau, dans un personnage qui lui convient admirablement, capable d’allier la ligne raffinée de son émouvante cavatine « Geme la tortorella » aux explosions de sa tragique scène du II (« Crudeli, Oh dio !...Ah, dal pianto »).
[One of the most important performances of the evening is Sandrine Piau’s great debut in a perfectly fitting role. She easily combines her moving and refined cavatina “Germe la tortorella” with her explosive and tragic scene in Act II (“Crudeli, Oh dio! ... Ah, dal pianto”).]"

Francois Lehel, Opéra Magazine

"Superbe distribution une fois encore, bâtie autour de la très belle Sandrina de la prédestinée Sandrine Piau, capable de colorer son timbre de la fragilité du personnage sans pour autant perdre la sûreté parfaite de son chant.
[There is once again a superb cast, built around the beautiful Sandrina, perfomed by the predestined Sandrine Piau. She is capable of reflecting her character’s fragility in her timbre without losing the perfect assurance of her singing.]"

Nicolas Blanmont, La Libre

"Ms. Piau sang with a clear and deeply expressive voice, nuanced phrasing and immaculate control. "

Vivien Schweitzer, The New York Times

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Discography