Aude Extrémo

Mezzo-soprano

Biography

Hailed by ADAMI as a “révélation classique,” French mezzo Aude Extrémo is now one of the leading interpreters of French repertoire.  She began her vocal studies at the Bordeaux conservatory, followed by two years at the prestigious Atelier Lyrique at the Opéra de Paris.

Aude won first prize at the ‘Amis du Grand Théâtre de Bordeaux’ competition in March 2007, as well as the first prize at the ‘Jeunes talents lyriques’ competition in April 2009, chaired by Michel Plasson.

Her first stage appearances saw her sing Carmen at the Opéra Bastide, Bordeaux, Suzuki (Madama Butterfly) at the Festival d’Antibes, Olga (Eugene Onegin) in Vichy and the Page (Salomé) at the Opéra de Monte­-Carlo, a role she later sang at Opéra de Bordeaux. She then went on to sing Maddalena (Rigoletto) at Opéra de Tours and Opéra de Reims, appearing the same season as Ursule (Béatrice et Bénédict) at the “Festival Berlioz”.

Her repertoire in the 2014/15 season developed to include Lucretia (The Rape of Lucretia), which she sang at the Athénée Théâtre in Paris, Charlotte (Werther) with the Orchestre National de Bordeaux Aquitaine, Orlowsky (Die Fledermaus) and Concepcion (L’heure espagnole) in her return to Opéra de Reims and Opéra de Tours. The end of the season saw her role debut as Dalila (Samson et Dalila) at Opéra de Bordeaux.

The 2016/17 season began with Isabella (L’Italiana in Algeri) at Opéra de St-Etienne and Opéra de Massy, where she also performed Amneris (Aïda); a role for which she received acclaim as “the revelation of the evening” in Opera Magazine.  She returned to Opéra de Monte-Carlo as Venus (Tannhaüser), and Opéra de Paris as Ursule (Béatrice et Bénédict), and sang Verdi’s Messa di Requiem at the Grand Théâtre de Bordeaux.

Aude is an active concert singer and recitalist; with François­-Xavier Roth she performed Schostakovitch’s Cycle of Mélodies from Traditional Jewish Poems at the Festival d’Aix­-en­-Provence. At the Auditori de Barcelona, she was mezzo soloist in Dvorak’s Stabat Mater and sang Verdi’s Messa di Requiem with the Orchestre National de Lorraine, conducted by Jacques Mercier.  Her most recent recital work includes Mahler’s Kindertotenlieder at the Grand Théâtre de Tours and Mussorgsky’s Songs and Dances of Death at the Festival d’Aix-en-Provence.

During the 2017/2018 season Aude returned to Bordeaux in a new production of La Vie Parisienne (Offenbach), St-Etienne in Semiramide (Rossini) and Ravenna in Petite messe solennelle (Rossini). She also sang Jocasta in Oedipus Rex at the Salzburger Landestheater. Spring 2018 saw her perform her debut in the title role of Offenbach’s La Périchole with Marc Minkowski at the Salzburg Whitsun Festival.

Last season, her projects included a production of Les Troyens (Anna) by Dimitri Tchemiakov at the Opéra Bastille under Philippe Jordan and Die Walküre (Fricka) at the Opéra de Bordeaux. Aude also performed with the Orchestre National de Lille in Carmen for her debut in the role title, the Sao Paulo Symphony Orchestra in Saint Matthew’s Passion and at the Opéra de Rouen in Handel’s Louées soient-elles.

 The 2019/20 season will see her perform at La Monnaie/De Munt National Opera in Jeanne d’Arc au bûcher (Catherine), with Les Musiciens du Louvre for her return to La Périchole, at the Opéra Comique as Marguerite in Dame Blanche and she will appear again as Maddalena in Rigoletto at the Opéra Bastille.

Season 2019/20

Please note that all modifications made to this biography MUST be confirmed with IMG Artists before it is printed

 

Reviews

“Quel bonheur d’entendre enfin un des plus grands rôles du répertoire français reconquis par une interprète qui chante dans sa langue natale ! “

[What a pleasure to finally hear one of the greatest roles of the French repertoire (Dalila) reconquered by an singer in her native language!]

Laurent Bury

Forum Opéra, 2015

“…ineffable d’intelligence musicale vocale, déploie les séductions les plus langoureuses…”

[She displays the most languishing seductions with an ineffable musical and vocal intelligence]

Christian Colombeau

Podcast Journal, February 2017