©Photo: David Noles

©Photo: Baptiste Millot

©Photo: Gabriel Balaguera

Julie Roset

Soprano

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“Roset’s singing would melt a heart of stone, uniformly gleaming yet shaped to perfection, and inhabiting every twist and turn of Handel’s matchless vocal lines.”
Europadisc Classical, August 2022

As the Grand Winner of the 2022 Metropolitan Opera Laffont Competition, the name of French soprano Julie Roset has rapidly become one to note and her performances as Zémire (Zémire et Azor) last season at Opéra Comique garnered unanimous acclaim, Le Figarowriting “the young soprano catches the light with her singing as natural as it is intelligent”.

Performance highlights of Roset’s 2023/24 season include her debut at Opéra de Paris as Amour in a new staging by David McVicar of Charpentier’s Médée under William Christie, a European concert tour of Mendelssohn’s Elijah with Ensemble Pygmalion and Raphaël Pichon, a curated programme of baroque arias entitled Elemental with ensemble Twelfth Night at Carnegie Hall, and a staged version of Die Schöpfung at Opéra de Lorraine with Music Director Marta Gardolińska.

Already making her mark on the operatic landscape, Julie Roset recently appeared at Festival d’Aix-en-Provence as both Valletto and Amore in Ted Huffmann’s inspired staging of L’incoronazione di Poppea under the baton of Leonardo García Alarcón, joined Sasha Waltz & Guests acclaimed production of L’Orfeo at Teatro Real Madrid as Euridice and La Musica, and sang Amore in L’incoronazione di Poppea at Opéra du Rhin under Raphaël Pichon. Roset made her Paris debut as Amour in Mondonville’s Titon & l’Aurore with Les Arts Florissants and William Christie at Opéra Comique, sang Papagena in Die Zauberflöte at Opéra de Toulon, joined Les Arts Florissants and Paul Agnew as Amour in Gluck’s Orfeo ed Euridice at the Philharmonie de Paris and, at Festival d’Aix-en-Provence, sang Clorinde in Il Combattimento, la théorie du cygne noir, a musical journey through the Italian baroque conducted by Sebastien Daucé.

Julie Roset © David Noles — Julie Roset © Jean-Baptiste Millot

As a concert performer, Julie Roset is in high demand with recent debuts including concert performances of Il re pastore at the Salzburg Festival with Mozarteum Orchestra conducted by Adam Fischer, Christmas Oratorio with Stavanger Symphony Orchestra under Ottavio Dantone, Haydn’s La Création with Julie Chauvin and Le Concert de la Loge at Festival de Saint-Denis and Acis and Galatea with l’Orchestre Philharmonique de Radio France under Alarcón. Julie Roset has formed strong connections with several ensembles including Leonardo Garcia Alarcón’s Cappella Mediterranea with whom her performances include Sacrati’s La Finta Pazza at Concertgebouw Amsterdam and, during her residency at the Aix Académie, she joined Ensemble Pygmalion and Raphaël Pichon for a programme of Mozart and contemporaries and she appeared as the Philistine Woman in Handel’s Samson with CAV&MA’s Millenium Orchestra at the Beaune and Namur Festivals.

On disc Julie Roset can be heard in her solo recording of works by Handel entitled Salve Regina, with Millenium Orchestra and released on the Ricercar label. Other recent recordings include Sigismondo d’India’s Lamenti e Sospiri with Capella Mediterranea on Ricercar, Brabant with Holland Baroque released on Pentatone and Dido and Aeneas with Les Argonauts released on the Aparté label.

Julie Roset began her vocal studies at an early age joining the Conservatoire du Grand Avignon going on to graduate with honors from the Haute Ecole de Musique de Genève in 2019 and she was awarded her artist diploma in Opera Studies from the Juilliard School in 2022.

Gallery

Cendrillon © Julie Roset

L'Amour est le dieu de la paix (Jean-Philippe Rameau) © Holland Baroque

Delibes - Les filles de Cadix, Internationale Meistersinger Akademie, Neumarkt

Sophie, Werther © Julie Roset

Handel – Il trionfo del tempo e del disinganno © Internationale Meistersinger Akademie Neumarkt

“Julie Roset’s silvery soprano deepened throughout the performance: another well-judged and well-executed trajectory.”

Seen and Heard International, August 2023

“In the role of Love, Julie Roset stands out for the lightness of her range, the brilliance of her tone as well as her deeply baroque attacks.”

Axel Driffort Olyrix, August 23

“In the role of Zémire, [Julie Roset] reaches great heights with her singing which is as natural as it is intelligent, light in the high register, strong in the middle register, with agility and luminous legato. Her technique paves the way for expression: the future is at her feet.”

Christian Merlin (Le Figaro), July 2023

“Julie Roset (Zémire), fresh as a rose, a coloratura with strength in her tone, plays with vocal pyrotechnics and astounding ambition in the ‘air de la fauvette.”

Emmanuel Dupuy (Diapason), July 2023

“The queen of the performance is without question Julie Roset. […] Her high notes are rounded and full of tender harmonies, her vocalises have a liquid agility, the middle register is strong and she portrays Zémire with sincerity. All these qualities are present in the aria ‘La Fauvette avec ses petits’ where her voice never seems forced, even in the highest register which flows with ease, the canto di sbalzo is splendid, […], and the trills have the precision of the beating wings of a colibri bird. All that is already remarkable, but what’s more is that she succeeds in tainting the first part of the aria with a hint of fear, while the second part shines with a melancholy delivered with stunning simplicity, and the reprise of the first part explodes with courage, as if she is already certain that Azor has been convinced to set her free.”

Guillaume Saintagne (ForumOpera), July 2023

“Having already performing in various projects with Leonardo García Alarcón, Julie Roset (Ange, Gabriel et Eve), makes herself known through the beauty of her voice and her incredible ease in the top register[…] the young soprano demonstrates art at the highest level, musically and poetically — every note counts. A revelation for lots of listeners and an artist worth following very closely.”

Concert Classique, June 2023

“Julie Roset is quite simply astounding! She has everything: beautiful tone, vocal flexibility, sensitivity, virtuosity… Her first appearance is splendid, the ‘air de printemps’ is full of freshness and joyfulness, and bird-like in its agility.”

Première Loge, June 2023

“The French soprano Julie Roset was the gentle Euridice and La Musica, performing with vocal and physical suppleness.”

Opera Magazine, February 2023

“Roset sings with crystalline beauty and heartfelt sincerity; the technical élan and exuberance of the ‘Quonaim’ finale have irresistible conviviality.”

Grammophone, Awards 2022 edition

“Vocally, we must highlight the magnificent work of Julie Roset, one of the countless emerging talents of the French Baroque”

scherzo.es, November 2022

“The young French soprano Julie Roset is a Euridice to consider for the next decades, both musically and vocally, to which is added her versatility to dance alongside the virtuosos of the company Sasha Waltz.”

news.dayfr.com, November 2022

“This voice, so moving in its simplicity, brings to these pieces a real aura of sincerity: a little gem”

OnMag, October 2022

“Unquestionably, Julie Roset’s star shines with an increasingly assertive brilliance. The qualities are obvious: technical solidity, supple and precise agility, freshness of a delightful timbre. It dwells with touching simplicity in the relatively well-known motets of Händel.”

Cadences, September 2022

“We can only salute the judicious choice of Leonardo Garcia Alarcon to assign the soprano Julie Roset the role of Galatea. Her voice works wonders in this complex role requiring perfect vocal mastery.”

(ON-mag.fr, May 2022)

“To embody the charming Galatea, an almost idealized paragon of love, the young Julie Roset deploys the freshness and lightness of her voice, particularly in the subtle vocalizations “

(Olyrix, May 2022)

“The angelic sweetness of Julie Roset’s soprano suited the gentle Euridice of the first two acts, and in Act III, when she visited the suicidal Aristeo as an avenging wraith, she summoned an unexpected vehemence of declaration.”

(Opera News, November 2021)

“Julie Roset (Amour) has both superb timbre and supple agility.”

(Bachtrack, January 2021)

“Julie Roset’s sharp and mischievous Amour demonstrates beautiful high notes and a very pure line.”

(Forum Opéra, January 2021)

“Julie Roset ….. the sparkling and lively soprano brilliantly performs her victory duet with Prometheus.”

(Classiquenews.com, January 2021)

“In the role of the Philistine, the young Julie Roset is quite simply flawless. Gentle without being naive, she imbues each of her passages with solid vocals and psychological insight.”

(Concerto-net, December 2020)