Christophe Dumaux

Counter Tenor

Biography

French Countertenor Christophe Dumaux took part in masterclasses with James Bowman as a teenager, and continued his studies at the Paris Conservatoire. He made his spectacular professional debut as Eustazio in Handel’s Rinaldo at the Festival de Radio France. The production was co-produced by the Innsbruck Festival and the Berlin Staatsoper, and was released on CD by Harmonia Mundi. Dumaux was just 22 years old at the time.

He is frequently invited to the world’s most prestigious opera houses and festivals including the Metropolitan Opera, the Paris Opera, the Vienna and Berlin Staatsoper, La Scala and the Proms. His performance in Giulio Cesare in 2012 marked his debut at the Salzburg festival.

Into 2019/2020 he makes his debut at La Scala in a New Production of Giulio Cesare and he joins les Arts Florissants for their 40th anniversary tour.

He recently appeared in Semele at the Zurich Opera House and sang Egeo in Teseo and the title role of a new production of Orlando at the Theater an der Wien. The 2018/2019 season also saw his return to the Salzburg Festival for a series of concerts.

His 2017/2018 season engagements include his debut at the Wiener Staatsoper and at the Hamburg Opera, his return to Glyndebourne Festival and also European concert tours with the Les Arts Florissants and La Cetra Barockorchester Basel.

He took on a Mozartian role for the first time in 2014, singing Farnace (Mitridate) at the Drottningholms festival. He has since performed the role to acclaim at the Théâtre des Champs-Elysées.

As well as performing Tolomeo in cities including Vienna and Chicago, he now sings the title role of Giulio Cesare, debuting in Versailles.

Dumaux gives concerts all over the world and has worked with renowned orchestras including the Los Angeles Philharmonic and The Philadelphia Orchestra. He performs with world famous conductors such as Yannick Nézet-Séguin and William Christie. He performs solo recitals, including at Carnegie Hall, and works with ensembles such as the Moscow Soloists and the Freiburger Barockorchester.

Season 2019/2020

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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

More 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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