Julie Robard-Gendre
French mezzo Julie Robard-Gendre appeared in the title role La Belle Hélène with great success last season in Rennes, Vichy, Avignon and Lausanne. She brings a new role into her repertoire in Limoges in 2022: Komponist Ariadne auf Naxos. This season’s highlights include her acclaimed performances of Sesto La Clemenza di Tito at Opera de Nantes.
Other recent highlights include the role of Gertrude Hamlet in a new production by Franck Van Laecke, playing at Opera de Nantes/Angers and Opera de Rennes. In a varied concert schedule, the artist sang the alto soloist in Beethoven’s Mass with Insula Orchestra, and Les nuits d’été with Orleans Symphonic Orchestra.
” Julie Robard-Gendre was a triumph in the role of Sesto, choosing to play him not as a puppet in Vitellia’s hands but as a fully rounded individual. She employs cascades of passagework and perfect musical rhetoric to portray an exciting and complex character. Her vocal placement is complemented by her depth of tone and the imperturbable flow of her vibrato. This mezzo from Nantes depicts the lover and the repentant traitor with both steady conviction and – above all – an unsinkably sound instrument.” Yvan Beuvard, ForumOpera.com, December 2021
“The role of Gertrude, Hamlet’s mother, designed for a great French mezzo, is sung by the mezzo Julie Robard-Gendre, applauded several times on this stage: She realistically portrays this character as a mother in love with her son, with a voice of great density in the middle register, rain the low tessiture, but also striking in the high passages, which gives its full impact to the confrontation scene with Hamlet.” Opera Online, Emmanuel Andrieu, October 2019
“Julie Robard-Gendre is an astonishing Sesto, navigating with consummate ease this music which requires enormous vocal and dramatic ability. Her rendition of the great aria “Parto, ma tu ben mio”, was a perfect example of this.” Romaric Hubert, Premiereloge.com, December 2021
“In a few sentences, in her wide and dark mezzo voice and her physical elegance, Julie Robard-Gendre sets up a Fenena full of tragic nobility already ready for sacrifice.” Classiquenews, Benito Pelegrin, June 2018
*target roles
Bizet Carmen (title)
Djamileh (title)
Donizetti La Favorite (Leonore)
Dvorak Rusalka (Kitchen Maid, Jesibaba*)
Gluck Orphée et Eurydice (Orphée)
Gounod Faust (Siebel)
Humperdinck Hänsel und Gretel (Hänsel)
Massenet Cendrillon (Prince Charming)
Don Quichotte (Dulcinée)
Werther (Charlotte*)
Mozart Die Zauberflöte (Zweite Dame/Dritte Dame)
La finta Giardiniera (Ramiro)
La Clemenza di Tito (Sesto)
Offenbach La Belle Hélène (title)
La Périchole (title)
Les contes d’Hoffmann (Giulietta/Nicklauss)
Purcell Dido and Aeneas (title)
Rossini La Cenerentola (Tisbe, Angelina*)
L’italiana in Algeri (Isabella*)
Strauss Ariadne auf Naxos (Komponist)
Der Rosenkavalier (Octavian*)
Tchaikovsky Eugene Onegin (Olga)
Thomas Hamlet (Gertrude)
Verdi Falstaff (Meg Page)
Nabucco (Fenena)
Aida (Amneris*)
Wagner Tristan und Isolde (Brangane)
Götterdämmerung (Waltraute*)
Zemlinsky Der Zwerg (Ghita)
| Beethoven | Missa Solemnis
Mass in C Ninth Symphony |
|---|---|
| Berlioz | Les Nuits d’été |
| Chausson | Poème de l’amour et de la mer |
| De Falla | El amor Brujo |
| Duruflé | Requiem |
| Respighi | Il tramonto |
Contact
Deborah Sanders
Founder and Director
deborah@arbourartists.com