Julie Robard-Gendre

Mezzo-soprano

"In a few sentences, in her wide and dark mezzo voice and her physical elegance, Julie Robard-Gendre sets up a Fenena full of tragic nobility already ready for sacrifice. "

Classiquenews, Benito Pelegrin, June 2018

"The French mezzo-soprano is poignant in her expression of melancholy and she has a noble allure when love triumphs. "

Opera magazine, Jean-Luc Macia, November 2018

"Julie Robard-Gendre is a majestic Gertrude, both in voice and character. "

Forum Opera, Laurent Bury, September 2019

Download full biography

French mezzo Julie Robard-Gendre begins the 2019/2020 season as Gertrude Hamlet in a new production by Franck Van Laecke, playing at Opera de Nantes/Angers and Opera de Rennes. In Switzerland at Lausanne Opera she takes on the title role La Belle Hélène, a role she previously sang at Opera of Rennes, Opera de Vichy and in Avignon, and she returns to France for performances at Opera de Tours of Don Quichotte as Dulcinée. She appears as Meg Page Falstaff in a new staging by Denis Podalydès at Opera de Lille.

In a varied concert schedule, Julie sings the alto soloist in Beethoven’s Mass with Insula Orchestra conducted by Duncan Ward, Les nuits d’été with Orleans Symphonic Orchestra led by Marius Stieghorst, and finally, she ends the season with Le Poème de l’amour et de la mer and Il tramonto with L’orchestre Régional de Normandie.

Recent successes include her Paris Opera debut as Dame d’honneur/Bohémienne Les Huguenots and her quick return for second Lady in Robert Carsen’s Die Zauberflöte. She made her debut in the title role Carmen at Opera de Rennes in a production broadcast live across France, and she was highly acclaimed by critics and public alike as Ghita Der Zwerg at Opera de Lille, Opera de Rennes and Opera de Caen. The artist made her debut at Festival Aix-en-Provence in the role of Ramiro La finta giardiniera, which was broadcast live via ARTE, and sang the role of Prince Raphaël in Offenbach’s La Princesse de Trébizonde at Opéra de Limoges.

This biography is for information only and should not be reproduced.

Hamlet, Angers-Nantes Opéra

October 2019

The role of Gertrude, Hamlet’s mother, designed for a great French mezzo, is sung by the mezzo Julie Robard-Gendre, applauded several times on this stage: She realistically portrays this character as a mother in love with her son, with a voice of great density in the middle register, rain the low tessiture, but also striking in the high passages,which gives its full impact to the confrontation scene with Hamlet.

Opera Online, Emmanuel Andrieu, October 2019

Julie Robard-Gendre is a majestic Gertrude, both in voice and character.

Forum Opera, Laurent Bury, September 2019

Julie Robard-Gendre known for her Carmen in Rennes plays Hamlet’s mother, Queen Gertrude. Her slender silhouette, her haughty posture gives her a majestic look that suits the role perfectly. The power of her mezzo-soprano tone homogeneous over the entire tessiture, tinged with vibrant shades unfolds with ease. Invested in her character, she knows how to be royal, cajoles, worried and particularly impresses in Act III during the stormy confrontation with her son.

Olyrix, Veronique Boudier, October 2019

Cendrillon, Angers-Nantes Opera

November 2018

The French mezzo-soprano is poignant in her expression of melancholy and she has a noble allure when love triumphs.

Opera magazine, Jean-Luc Macia, November 2018

A convincing breech role singer, Julie Robard-Gendre confirms how regrettable it is to entrust the role of the Prince to a tenor. Her dark mezzo-soprano manages to carve out her own path alongside the female voices.

Forum Opéra, Christophe Rizoud, November 2018

This Cinderella is loved by Julie Robard-Gendre’s Prince, her darker mezzo, perfectly androgynous, passing through the carnal vibration outbursts a quite irresistible mixture of passion and lassitude.

Diapasonmag, Emmanuel Dupuy, December 2018

...mezzo Julie Robard-Gendre, an unforgettable Orpheus here a few seasons ago - an exceptional interpreter: her rich tone, combined with an astonishing power of emotion, ideally reflects the Prince's melancholy and first experiences of love.

Opera Online, Emmanuel Andrieu, November 2018

Nabucco, Nice Opera

June 2018

In a few sentences, in her wide and dark mezzo voice and her physical elegance, Julie Robard-Gendre sets up a Fenena full of tragic nobility already ready for sacrifice.

Classiquenews, Benito Pelegrin, June 2018

Should the opera be called 'Fenena'? The rich voice, homogeneous, flexible, full throughout the range, the musicality, the stage presence of the French mezzo Julie Robard-Gendre, calls for a reassessment of this character: a main character.

Opera Magazine, Patrice Henriot, June 2018

Der Zwerg, Theatre de Caen 2019 - Opera de Rennes 2018 - Opera de Lille 2017

2017-19

To the egocentric infant responds, with empathy her servant, Ghita, that Julie Robard-Gendre colours with all the palette of her art. Velvety, sensuality of a dark golden voice, frankness of the sound, sincerity of her embodiment, it magnificently completes the trio of the protagonists of the drama.

Tania Bracq, Forum Opera

Her lady-in-waiting, more compassionate, is played by Julie Robard-Gendre who confirms her strength: grace and intensity on stage, warmth of the timbre and vocal ease.

Vincent Deloge, Resmusica

Much applauded, Julie Robard-Gendre is a masterful Ghita...Her sumptuous mezzo tone is a marvel for the truly human character of this Spanish court.

Laurent Bury, Forum Opera

Orpheus and Eurydice, Avignon Opera

January 2018

We have mentioned the presence of Julie Robard-Gendre all dressed in black and with beautiful scenic elegance, but this artist has also a temperament out of ordinary. Her Orpheus is neither flat nor sad, even in the aria 'I lost my Eurydice'. We are dealing here with a tortured person, served by an untamed song, harsh, savage, with vocalisations which are no way ornaments, but the expression of contained rage. The richness of Julie Robard-Gendre’s timbre is not a pure and perfect demonstration but a violent incarnation.

Opera Magazine, Christian Wasselin, January 2018

It is a dream Orpheus that Julie Robard-Gendre portrays, who plays the role with a troubling truth, knowing how to match her masculine approach to the vehement accents of her singing. With a voice that has gained in power and bite since a memorable production in her hometown (Nantes) we continue to admire moreover the frankness of her performance as much as the empathetic inflections.

Opera Online, Emmanuel Andrieu, December 2017

Carmen, Rennes Opera

June 2017

Julie Robard-Gendre embodies a Carmen that evokes the actresses of Cinecittà, imperial, sensual, obstinate in her aspiration to a liberated desire. Her interpretation benefits from a deep velvety and a chiseled implementation of the vocal line that breaks the usual rhythm of these sentences that everyone knows by heart: The mezzo has appropriated the score with great intelligence.

Forum Opera, Tania Bracq, June 2017

We must now consider the French mezzo as one of the most convincing Carmens of the moment. On stage, she is distinguished by a slender silhouette, the haughty posture, the carnivorous smile and the ease of movement; Confident of her irresistible power of seduction...The voice, perfectly homogeneous over the entire range and tinged with deep golden shades and unfolds with ease...

Resmusica, Vincent Deloge, June 2017

In a production staged in St Gallen and Tenerife, we see a good performance, well sung, including the impressive Carmen Julie Robard-Gendre in the title role...As for Julie Robard-Gendre, she immediately finds her marks in the title role and offers the character a burning vision, as credible scenically as vocally, succeeding at the same time to renew the best known arias. By a worked prosody she infuses a tragic dimension to her embodiment of the role. »


Opera Online, Laurent Vilarem, June 2017

Eugene Onegin, Nice Opera

February 2017

Of the two sisters, it is Julie Robard-Gendre’s Olga who seduces the most immediately. The voice is projected without apparent effort and what a nobility, what beauty of timbre!

Opera Magazine, Fançois Jestin, February 2017

Le nain, Opéra de Lille

November 2017

The best singing of the evening on November 18 came from Julie Robard-Gendre as Ghita, principal lady-in-waiting to the Infanta. With sure, penetrating mezzo timbre, Robard-Gendre appealed for the humiliation of the dwarf to stop. Her final confrontation with Vidal’s broken man was the most moving moment of the evening; she expressed love and respect for the character as she passed him the white rose given to him by the Infanta.

Opera News, Stephen J. Mudge, November 2017

Julie Robard-Gendre's Operatic Repertoire

Bizet

Carmen (title/Mercedes)





Bruneau

L’attaque du moulin (Marcelline)

Donizetti

La Favorite (Leonore)

Dvorak

Rusalka (Kuchtik)

Gluck

Orpée et Eurydice (Orphée)

Gounod

Faust (Siebel)

Humperdinck

Hänsel und Gretel (Hänsel)

Massenet

Cendrillon (Prince Charming)


Don Quichotte (Dulcinée)

Mozart

Die Zauberflöte (Zweite Dame/Dritte Dame)


La finta Giardiniera (Ramiro)

Offenbach

La Belle-Hélène (title)


La Périchole (title)


La princesse de Trébizonde (Prince Raphaël)


Les contes d’Hoffmann (Giulietta/Nicklauss/La muse)

Purcell

Dido and Aeneas (title)

Rossini

La Cenerentola (Tisbe)

Sauguet

Les caprices de Marianne (Hermia)

Tchaikovsky

Eugene Oneguin (Olga)

Thomas

Hamlet (Gertrude)

Verdi

Falstaff (Meg Page)

Nabucco (Fenena)

Zemlinsky

Der Zwerg (Ghita)

Julie Robard-Gendre's Concert Repertoire

Beethoven

Missa Solemnis

Mass in C


Ninth Symphony

Berlioz

Les Nuits d’été

Chausson

Poème de l’amour et de la mer

De Falla

El amor Brujo

Duruflé

Requiem

Respighi

Il tramonto

These photos are available to be downloaded.
Right click on a desired image and select the "Save Link As" option.