


Sandra Hamaoui
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“Possessing a fresh voice with a beautiful timbre, rich in colours and nuance, she stood out for her strength and the nobility of her singing.”
– Platea Magazine, February 2025
Sandra Hamaoui has captivated audiences with her glittering, agile soprano and magnetic stage presence in recent significant debuts as Sœur Constance in Robert Carsen’s iconic production of Dialogues des Carmélites for Palau de les Arts Reina Sofía conducted by Riccardo Minasi, as Sophie in Christoph Loy’s new production of Werther at Théâtre des Champs-Élysées, and as Leïla in Les Pêcheurs de Perles at Théâtre des Champs-Élysées conducted by Lorenzo Passerini. She found further critical acclaim last season for her performance in Orff’s Trionfi, staged by Calixto Bieito for Staatsoper Hamburg under Kent Nagano and as Juliette in Roméo et Juliette with Orchestre de chambre de Genève under Marc Leroy-Calatayud.
The 2025/2026 season features Susanna (Le nozze di Figaro) for Opernhaus Zürich under Pierre Dumoussaud, Adina (L’elisir d’amore) for Opera Naples, conducted by Ramón Tebar, as well as Musetta in concert performances of La bohème under Marco Armiliato at the Festivals of Gstaad and Baden-Baden. Sandra also makes her role debut as Violetta (La traviata) for Teatro Padilla de Almería, as well as returning to the role of Juliette in semi-staged performances with CulturArte de Puerto Rico.
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As a former member of the Opernhaus Zürich ensemble, French American Hamaoui has developed a broad repertoire encompassing the roles of Gilda (Rigoletto), Susanna (Le nozze di Figaro), Nanetta (Falstaff), Gretel (Hänsel und Gretel), and Lisette (La Rondine) among others. On the concert platform, her repertoire includes Fauré’s Requiem, Mozart’s Requiem, Mahler ‘s Symphony No.2 and No.4, and Orff ‘s Carmina Burana, a piece she reprises in the current season at Leipzig Gewandhaus under Michael Koehler.
With a career distinguished by bold choices and a clear artistic vision, Sandra Hamaoui stands on the cusp of a remarkable trajectory on the world’s leading stages.
Contacts
Shirley Thomson Senior Director, VOICE at HarrisonParrott | Head of CSR Szymon Cyganski Artist Coordinator/Administrator
Szymon Cyganski Artist Coordinator/Administrator
Szymon Cyganski Artist Coordinator/Administrator
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“As Sophie, Sandra Hamaoui deploys a dramatic tessitura as well as a brilliant timbre…The third act gives a glimpse of a technical agility with a remarkable naturalness.”
“Sandra Hamaoui lends her full-bodied voice and elegance to the sweet Sophie.”
“Sandra Hamaoui’s Sophie was sweet and endearing, and her light, enticing soprano glittered, singing of the joys of nature in ‘Du gai soleil, plein de flamme’.”
“Sister Constance, another novice, was sung by the Franco-American singer Sandra Hamaoui. She is Blanche’s lighter alter ego, a country girl imbued with joie de vivre. Hamaoui’s agile, bright coloratura contrasted beautifully with Marcellier’s lyric soprano.”
“Of the rest of the vocal cast, it is necessary to highlight the soprano Sandra Hamaoui for the freshness with which she introduced Sister Constance de Saint-Denis. A beautiful bell-like sound with a sufficient flow and good line.”
“Sandra Hamaoui put her light and transparent timbre at the service of Constance de Saint-Denis, achieving a solid character and perfectly in tune with her alter ego, Blanche, with whom she starred in some of the most inspiring moments of the evening.”
“The light and precise vocalism of the soprano Sandra Hamaoui shone.”
“Possessing a fresh voice, with a beautiful timbre, rich in colours and nuances, she stood out for her strength and the nobility of her singing. An excellent soprano.”
“Then Sandra Hamaoui, who was able to show off her bell-like lyric soprano perfectly even when singing headfirst, and whose “Dulcissime” sounded like a ‘greeting from heaven’…”
“In Carmina Burana, Sandra Hamaoui was particularly striking with her opulently shimmering soprano in the middle register, without neglecting the trebles.”
“Sandra Hamaoui played Lisette very well, the waitress who was also the victim of a dream, not of love, but of glory. Very good, she was able to make her character likeable, her singing and her interpretation delightful.”
“Sandra Hamaoui is extremely spirited and also very present with a great voice.”
“Also at a high level of Sandra Hamaoui as Lisette, Magda’s maid and Prunier’s lover. The agility that the score demands of her was solved with ease.”
“Her bright, silvery soprano gave life to the sparkling character; she showed beautiful high notes and great ease in the delivery.”
“Sandra Hamaoui’s Juliette acquires a real dramatic dimension that gives a striking relief to the duet with Romeo and then imbues her beautiful features with irrepressible anxiety in the confrontation with her father.”
“Juliette was none other than the exquisite Sandra Hamaoui.”
“Her appearance is an enchantment, her smile reflected in her voice, which unfolds the difficult coloratura of her entrance with ease and lightness. The soprano’s voice is particularly interesting: its coppery, sometimes somewhat dark reflections are not those of a light soprano, but rather of a lirico-leggero, which does justice to the dramatic impulses involved in the difficult – and long – role of Juliette.”
“On stage a very well-assorted cast, which has in Sandra Hamaoui perfectly cast as protagonist in the role of Alice, and very skilled in giving substance to the most lyrical and dreamy dimension.”
“Susanna, a marvellously lively and versatile Sandra Hamoui.”
“Her aria “Deh, vieni” was beautifully rendered, with smooth legato and a palpable, very effective sensuality in her delivery.”