“Jenny Daviet consistently provides the loveliest singing in the performance”
(MusicWeb International, November 2017)
A commanding stage presence and natural musicality have highlighted French soprano Jenny Daviet as a versatile talent. This season she continues her collaboration with Les Siècles and François-Xavier Roth in recital as well as joining Kent Nagano for Messiaen’sPoèmes pour Mi with the Symphonieorchester des Bayerischen Rundfunks.
A former member of the ensemble of Opéra de Rouen, Jenny had the opportunity to build a diverse operatic repertoire including Blonde (Die Entführung aus dem Serail), Serpetta (La finta giardiniera) under Andreas Spering, Pamina (Die Zauberflöte), Second Woman (Dido and Aeneas) and Micaëla (Carmen). A significant career highlight followed in 2016 with Jenny’s debut as Mélisande (Pelléas et Mélisande) for Malmö Opera, in a new production directed by Benjamin Lazar and conducted by Maxim Pascal. She received unanimous critical acclaim, with the performance subsequently released on DVD by BelAir Classiques.
On the concert platform highlights have included Pierrot Lunaire for Opéra de Rouen, Vivier’s Bouchara at the Kölner Philharmonie and Fauré’s Requiem at the International Rostropovich Festival in Moscow under Kazuki Hamada. In recital Jenny has performed extensively with Les Siècles and François-Xavier Roth with programmes including Stravinsky, Delage, Debussy and Satie.
Equally at home in contemporary repertoire, in recent seasons Jenny has created Fernando Fiszbein’s El hombre que amaba a los peros for Teatro Colon, Buenos Aires, as well as joining Oper Köln for Zimmermann’s Die Soldaten. In concert this season she sings the title role in Roger Assar Johansson’s new commission – Berenice – with Camerata Nordica.
Jenny Daviet began her musical studies as a pianist before joining the Conservatory Regional Influence De Paris under the mentorship of Laurence Equilbey.
“The slender, firm and flexible voice of Jenny Daviet can easily compete with the accompaniment in the Hercules Hall… With expressive gestures, which also capture her singing, she imaginatively presents the lyrics, transforms the language into music and thus creates a dreamy, ecstatic atmosphere. It is quite possible that the composer, if he could have heard that, would change his preference on the casting of this piece — and henceforth would have wished for a singer like Jenny Daviet.”
(Abendzeitung Muenchen, February 2019)
“Jenny Daviet incarnates Mélisande, a small, wounded, cold thing…Her voice is in perfect harmony with the character, as written by Debussy and displayed in this staging: she shows all the frail and fragile but with assured technique”
( Olyrix, November 2017)
“The Mélisande of Jenny Daviet is near ideal, in voice and appearance, and consistently provides the loveliest singing in the performance, including the upper reaches of her song ‘Mes longs cheveux descendent jusq’ua seuil de la tour’ that opens Act III, scene 2”
(MusicWeb International, November 2017)
“Sweet & serious, Jenny Daviet’s Mélisande, possesses two big worried blue eyes and a meaty soprano.”
(Diapason, November 2017)
“The same can be said of Jenny Daviet’s Mélisande, clean tone, vibrant timbre, teeming with teen femininity. We find here a role as adapted to her voice as her usual Mozartian repertoire”
(Classica, November 2017)
“Jenny Daviet as Mélisande is captivating in her innocence and she sings quite beautifully throughout… she is rather perfect for the role, matching the character’s often detached manner.”
(Classical Net, November 2017)
“the young soprano Jenny Daviet keeps her promise as Serpetta and her charming “Chi vuol godere il mondo” is well projected and full of delicacy.”
“The delicious Tatyana Ilyin (Mercedes) and Jenny Daviet (Frasquita) bring a breath of fresh air, especially in the card scene with Carmen.”
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