©Photo: Julien ROUSSEAU

Jenny Daviet

Soprano

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“Jenny Daviet consistently provides the loveliest singing in the performance”
(MusicWeb International, November 2017)

The compelling stage presence and exceptional musicality of French soprano Jenny Daviet have highlighted her as a strong emerging talent of broad and versatile repertoire.

The current season brings collaborations with Opéra Grand Avignon in Hervé’s Les Chevaliers de la table ronde (Angelique), with Palazetto Bru Zane and Les Siècles in Saint-Saëns’ La Princess jaune (Léna) and with Oper Köln as Héro in Berlioz’s Béatrice et Bénédict under Music Director François-Xavier Roth

In the 2019/20 season, Jenny expanded her experience in the field of contemporary repertoire with performances of George Benjamin’s Into the Little Hill at Madrid’s Teatro del Canal in collaboration with Teatro Real, having already created Fernando Fiszbein’s El hombre que amaba a los peros for Teatro Colon, Buenos Aires and appeared as Marie in Zimmermann’s Die Soldaten for Oper Köln. Jenny Daviet’s debut as Mélisande (Pelléas et Mélisande) for Malmö Opera, in a new production directed by Benjamin Lazar and conducted by Maxime Pascal, was met with unanimous critical acclaim, with the performance subsequently released on DVD by BelAir Classiques.

On the concert platform Daviet recently joined Kent Nagano and the Bayerischer Rundfunk in Messiaen’s Poèmes pour Mi, due for release this October on the BR-KLASSIK label, and performed Schoenberg’s Pierrot Lunaire at Opéra de Rouen. With the Paris Mozart Orchestra under Claire Gibault she sang Mozart’s Mass in C Minor, at Kölner Philharmonie she performed Vivier’s Bouchara and at the International Rostropovich Festival in Moscow under Kazuki Hamada, Fauré’s Requiem. In recital Jenny Daviet has performed extensively with Les Siècles and Francois-Xavier Roth in a diverse array of programmes including works by Stravinsky, Delage, Debussy and Satie.

Jenny Daviet began her musical studies as a pianist before joining the Conservatory Regional Influence De Paris under the mentorship of Laurence Equilbey, and started her career as a member of Opéra de Rouen where she debuts many key operatic roles including Blonde (Die Entführung aus dem Serail), Serpetta (La finta giardiniera), Pamina (Die Zauberflöte), Second Woman (Dido and Aeneas) and Micaëla (Carmen).

Gallery

Mélisande | "Mes longs cheveux" | Malmö Opera 2016 © BelAirClassiques

Claude Vivier’s Enlightened Child © Ein Tanztheater von Natalia Horecna

“The soprano Jenny Daviet shone with flawless ease…”

(Kӧlner Stadt-Anzeiger Kӧln, June 2019)

“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.”

(Forum Opera)

“The delicious Tatyana Ilyin (Mercedes) and Jenny Daviet (Frasquita) bring a breath of fresh air, especially in the card scene with Carmen.”

(Forum Opera)