From the very beginning of her career, Emmanuelle de Negri has demonstrated her talent across a wide range of repertoires, displaying an exceptional palette of emotions and vocal colours. Following her dazzling debut as Yniold in Pelléas et Mélisande by Debussy (Edinburgh and Glasgow, 2005 — “a poignant luminosity,” according to Opera magazine), and in the title role of Bernardo Pasquini’s oratorio Sant’ Agnese at the Innsbruck Festival in 2008 — “a true revelation” (Il Giornale della Musica) — she established a close collaboration with William Christie and Les Arts Florissants.

Emmanuelle also performs regularly with leading French ensembles such as Pulcinella, Raphaël Pichon’s Pygmalion, Vincent Dumestre’s Le Poème Harmonique, Le Banquet Céleste, Les Paladins, Le Caravanserail, Le Stagioni and Les Accents. With Emmanuelle Haïm and Le Concert d’Astrée, she has sung Castor et Pollux.

She moves effortlessly from Monteverdi (La Musica, L’Orfeo) and Cavalli (Amastre, Serse), to Offenbach (Cupidon, Orphée aux Enfers) and Dukas (Mélisande, Ariane et Barbe-Bleue), via Rameau (Erinice, Zoroastre) and Mozart (Papagena, Die Zauberflöte and Susanna, Le nozze di Figaro). In 2017, Emmanuelle de Negri made her debut at the Opéra National de Paris as Nedda in Gianni Schicchi. She sang a Despina described as “perfectly delightful” (forumopera.com) under the direction of Riccardo Muti at the Teatro San Carlo in Naples, and delivered a “deeply moving performance” (forumopera.com) — with a “voice projected with a luminous core, responding to her mistress’s plaintive or furious accents with equal vehemence, shaping the text as carefully as its effects” (olyrix.com) — in Charpentier’s Médée (Christie/MacVicar), presented last season at the Opéra Garnier and the Teatro Real in Madrid.

The most prestigious conductors — including William Christie, Riccardo Muti, René Jacobs, Raphaël Pichon, Vincent Dumestre and Emmanuelle Haïm — value her timbre of “poignant luminosity,” as highlighted by Opéra magazine.

When Emmanuelle is not travelling the world’s opera stages, she appears in recital alongside Brice Sailly (Bayreuth Baroque), Romain Descharmes (Festival Ouverture!), and Sébastien Mazoyer (Midis Lyriques du Cratère in Alès).

She begins this season with the revival of sacred works by De Nebra with the orchestra Los Elementos conducted by Alberto Rouco, followed by the reprise of the recital An Evening with Mme Storace, devoted to Mozart concert arias, with La Petite Symphonie under Daniel Isoir. Emmanuelle will then join Les Accents, directed by Thibault Noailly and Paul Figuier, for Alessandro Scarlatti’s Stabat Mater in Paris, perform the role of Bellezza in Handel’s Il Trionfo del Tempo in Stockholm under Jonas Nordberg, and reunite in December with Les Arts Florissants for a programme of sacred Charpentier in New York. She will subsequently be heard in Bach’s St Matthew Passion at the Théâtre des Champs-Élysées in Paris, appear on stage as Amour in Gluck’s Orphée et Eurydice at the Opéra de Limoges, and conclude the season with a recital of Handel’s Aminata e Filide with Bruno de Sá, followed by a programme of Purcell’s Orpheus Britannicus alongside Brice Sailly.

On disc, Emmanuelle has distinguished herself in Caldara’s Maddalena ai piedi di Cristo (with Le Banquet Céleste and Damien Guillon), Rameau’s Dardanus and Castor et Pollux (with Pygmalion), Lully’s Atys (DVD), Bien que l’Amour (with Les Arts Florissants under William Christie), and Scarlatti’s Santa Teodosia (with Les Accents directed by Thibault Noailly).

Finally, she is increasingly developing her pedagogical work. Following several masterclasses dedicated to the interpretation of Baroque music — at the conservatories of Alès and Pantin, at the Cité de la Voix in Vézelay, and for Les Arts Florissants in Thiré — she joined the team of the Bateau-Atelier in Dieppe, where she led a Baroque vocal workshop in August 2024. She also provided vocal and stylistic coaching for the participants of William Christie’s most recent Jardin des Voix academy in August 2025.