NOted for her dark, opulent timbre and magnetic stage presence, Mezzo-soprano Aude Extrémo has emerged as a formidable force in the dramatic repertoire with a recent series of impressive debuts attracting critical acclaim for emotionally vivid portrayals and limitless vocal stamina.

 

Building her reputation as a Wagnerian voice of note, the last seasons have seen first performances as Fricka (Die Walküre) for Opéra national de Bordeaux and Opéra de Marseille, Brangäne (Tristan und Isolde) at Opéra national de Lorraine, and Erda in Siegfried for Theater Dortmund and in Das Rheingold with Guanghzhou Symphony Orchestra. Her debut as Azucena last season in Louis Désiré’s new production of Il trovatore for Opéra de Marseille under Michele Spotti was universally acclaimed as was her Judith (Bluebeard’s Castle) for Opéra de Dijon under Kristiina Poska, and her performances as Maddalena (Rigoletto) and Suzuki (Madama Butterfly) for Opéra National de Paris highlighted her capacity to deliver dramatic commitment and flawless vocal line.

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A laureate of Atelier Lyrique at Opéra national de Paris, Extrémo excels in French repertoire and was hailed ​“the Carmen of her generation” after performances at Opéra national de Bordeaux under Marc Minkowski. Further successes include Dalila (Samson et Dalila) at Opéra national de Bordeaux, Charlotte (Werther) with l’Orchestre Symphonique d’Aquitaine, Marguerite (La damnation de Faust) under Kazuki Yamada for Opéra de Monte Carlo, both Ursule (Béatrice et Bénédict) and Anna (Les Troyens) under Philippe Jordan at Opéra National de Paris, Concepcion (L’heure Espagnole) for Opéra de Tours, and Catherine in Roméo Castellucci’s staging of Jeanne d’Arc au bûcher at La Monnaie under Kazushi Ono.