©Photo: Julien ROUSSEAU

Jenny Daviet

Soprano

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

French soprano Jenny Daviet’s already established reputation in 20^th Century and contemporary works were further enhanced by recent unanimous acclaim for her performance of Messiaen, Poèmes pour Mi, recorded with Kent Nagano and Bayerischer Rundfunk and released on the BR-KLASSIK label. Noted for her compelling stage presence, exceptional musicality and a versatile repertoire, Daviet stars on DVD as Mélisande (Pelléas et Mélisande), recorded in Benjamin Lazar’s new production at Malmö Opera, with conductor Maxime Pascal, by BelAir Classiques.

The 2022/23 season includes Daviet’s first performances of Ligeti’s Requiem with Orquesta y Coro Nacionales de España under David Afkham, and as Eva in Stockhausen Freitag aus Licht with Maxime Pascal and Le Balcon with performances at Opéra national de Lille and Philharmonie de Paris.

Recent highlights of Daviet’s diverse opera credits include Héro in Berlioz Béatrice et Bénédict at Oper Köln under Music Director François-Xavier Roth, George Benjamin Into the Little Hill at Madrid’s Teatro del Canal in collaboration with Teatro Real, and Léna in Saint-Saëns, La Princess jaune with Palazetto Bru Zane and Les Siècles at Opéra de Tours and Atélier Lyrique de Tourcoing. Further appearances include as Angelique in Hervé, Les Chevaliers de la table ronde for Opéra Grand Avignon, the world-premiere of Fernando Fiszbein El hombre que amaba a los peros for Teatro Colon, Buenos Aires and Marie in Zimmermann Die Soldaten at Oper Köln.

Daviet recently appeared on the concert platform with Thomas Hengelbrock and his Balthasar-Neumann-Chor und ‑Ensemble in Brahms Ein deutsches Requiem, and with Claire Gibault and the Paris Mozart Orchestra in Mozart Mass in C Minor. She has performed Schoenberg Pierrot Lunaire at Opéra de Rouen, Vivier Bouchara at Kölner Philharmonie and Fauré Requiem at Moscow’s International Rostropovich Festival under Kazuki Hamada. She has enjoyed a long collaboration with Les Siècles and François-Xavier Roth performing a diverse array of programmes including works by Stravinsky, Delage, Debussy and Satie.

Daviet began her musical studies as a pianist before joining the Conservatory Regional Influence de Paris under the mentorship of Laurence Equilbey, and commenced her soprano career as a member of Opéra de Rouen where she debuted numerous 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

“Moved by a sacred fire, soprano Jenny Daviet sings Eva ensuring length and fragmentation. She knows both how to hold back her sound as well as throw it in javelins…”

Opera Online, November 2022

“extraordinary in vocal range, diction, expression [Jenny Daviet’s Eva]”

BR-KLASSIK, November 22

“A loyal collaborator of Le Balcon, Jenny Daviet lends Eva a stratospheric register with delicate and brilliant contours.”

Altamusica, November 2022

“Soprano Jenny Daviet was a brisk Héro, but she shone most in the more intimate, vulnerable moments, especially in “Nuit paisible et sereine” with Ursule”

Bachtrack, May 2022

“Jenny Daviet is tremendous, capturing the strange blend of eroticism and Catholic mysticism in the words which were written by Messiaen himself.”

(The Telegraph, December 2021)

“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)