Julie Robard-Gendre
French mezzo-soprano Julie Robard-Grendre garnered accolades from public and press alike with her appearances last season as Nefertiti Akhnaten at Opera de Nice, Sesto La Clemenza di Tito at Opera de Nantes/Angers and at Opera de Rennes, and her role debut as Komponist Ariadne auf Naxos at Opera de Limoges. Future engagements include the title role La Tragédie de Carmen on tour in France, Perséphone Ariane in concert in Munich, and the role of Meg Page Falstaff in Lille and in Luxembourg.
In recent seasons, Julie appeared as Gertrude Hamlet in a new production playing at Opera de Nantes/Angers and Opera de Rennes. At Lausanne Opera she sang the title role La Belle Hélène, a role she previously performed at Opera of Rennes, Opera de Vichy and in Avignon, and a new production of Don Quichotte as Dulcinée at Opera de Tours.
” 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