- Stéphane Fuget, Léo Vermot-Desroches, Juliette Mey, Geoffroy Buffière, Camille Poul, Chœur de l'Opéra Royal, Cécile Achille, Claire Lefilliâtre, Véronique Gens, Nathan Berg, Les Epopées, Cyril Auvity, Guilhem Worms
- Nicholas Scott, David Witczak, Cyrille Dubois, Gwendoline Blondeel, Fabien Hyon, Chœur de Chambre de Namur, Marie Lys, Véronique Gens, Cappella Mediterranea, Victor Sicard, Leonardo García Alarcón
- Hervé Niquet, Thomas Dolié, Olivia Doray, David Witczak, Floriane Hasler, Le Concert Spirituel, Tomislav Lavoie, Reinoud Van Mechelen, Véronique Gens
- Orchestre National du Capitole de Toulouse, Anne-Catherine Gillet, Chœur de l’Opéra national du Capitole de Toulouse, Sandrine Buendia, Pierre Derhet, Marc Mauillon, Artavazd Sargsyan, Jérôme Boutillier, Romain Dumas, Véronique Gens
- Thomas Dolié, Matthieu Lécroart, Tassis Christoyannis, György Vashegyi, Artavazd Sargsyan, Hélène Carpentier, Children's Choir of the Zoltán Kodály Hungarian Choir School, Hungarian National Philharmonic, Véronique Gens
- Les Nouveaux Caractères, Caroline Mutel, Mathias Vidal, Sébastien d'Hérin, Cécile Achille, Véronique Gens
Véronique Gens
Biography
In the earlier part of her career, the French soprano Véronique Gens both benefited from and soon helped to spearhead the growing interest in the Baroque repertoire in her native country and elsewhere. She has since widened her repertoire to take in a variety of music, especially from the Classical and Romantic eras, developing a reputation both in the theatre and on disc as one of the great tragediennes of our time. Gens hails from Orléans, where she was born in 1966. She studied at the Paris Conservatoire, where she won first prize. Her advocacy of Baroque music started with her 1986 debut with William Christie and his ensemble Les Arts Florissants, soon followed by regular dates with such specialist conductors as Marc Minkowski, René Jacobs, Christophe Rousset and Jean-Claude Malgoire. Later, her specialisation widened into accounts of music by a greater range of figures: notably Mozart, but also Gluck, Tchaikovsky, Offenbach, Berlioz and even Verdi (Alice in Falstaff) and Wagner (Eva in Die Meistersinger von Nürnberg). In parallel, her career as a leading recitalist has shown her focusing on her native genre of the mélodie (French art song) while performing song from various traditions at the world’s leading concert halls. Her developing artistry has been amply displayed in her substantial discography, which covers many rarities on the Palazzetto Bru Zane label and a series of recordings exemplifying opera’s tragic heroines.