General Management
Described as a "revelation” and “breath-taking from start to finish” (NRC, Netherlands), Trinidadian soprano Jeanine De Bique is recognized as an artist of “dramatic presence and versatility” (Washington Post, USA) with a “voice full of fire and cream in equal measure” (

In 2017, Ms De Bique gave breakthrough performances in highly acclaimed debuts at the Salzburg Festival as Annio in a new production of La Clemenza di Tito by Peter Sellars, conducted by Teodor Currentzis, subsequently shown at De Nationale Opera Amsterdam, and at the BBC Proms with the Chineke! Orchestra in works by Handel.

Since then she has continued to enjoy international success in house debuts as Susanna/Le Nozze di Figaro for San Francisco Opera, as Helena in Ted Huffman’s production of A Midsummer Night’s Dream at Deutsche Oper Berlin, conducted by Donald Runnicles, in the title role of Handel’s Rodelinda at Opéra de Lille, conducted by Emmanuelle Haïm and released on DVD by Erato (winner of the Opus Klassik Award 2020), as Donna Anna in Don Giovanni for Opéra National du Rhin and as Aida in the world premiere of Caruso a Cuba by Micha Hamel in a return to De Nationale Opera Amsterdam.

Also sought-after in concert repertoire, Ms De Bique’s most recent appearances include Brahms’ Ein deutsches Requiem with Raphaël Pichon at La Seine Musicale in Paris, Mahler’s Symphony no 2 with the Orchestre National du Capitole de Toulouse under Tugan Sokhiev in Toulouse and at the Philharmonie de Paris, Handel arias and Mozart’s Requiem with the Budapest Festival Orchestra and Iván Fischer at the Hollywood Bowl and New York’s Lincoln Center, Mahler’s Symphony no 4, conducted by Teodor Currentzis, in Milan, St Petersburg, Munich and Budapest, Iphis in Handel’s Jephtha with the Scottish Chamber Orchestra and Richard Egarr at the BBC Proms, the Messiah with the Atlanta Symphony Orchestra, the Royal Liverpool Philharmonic and the Melbourne Symphony, New Year’s concerts with the Deutsches Symphonie-Orchester Berlin and Mahler’s Symphony no 8 with the Chicago Symphony Orchestra, conducted by Marin Alsop, at the Ravinia Festival.

In the season 2020/21, she will return to Theater St Gallen as Cleopatra in Giulio Cesare and will give house and role debuts as Bess/Porgy and Bess and as La Folie in Robert Carsen’s celebrated production of Rameau’s Platée at Theater an der Wien, conducted by William Christie, as Maria Reiner in The Sound of Music at Houston Grand Opera, and as Agathe in Weber’s Der Freischütz with Konzerthausorchester Berlin and Christoph Eschenbach. With Les Arts Florissants she will perform Platée in concert at the Teatre del Liceu in Barcelona.

She has also appeared with conductors and orchestras such as the late Lorin Maazel, Marco Armiliato, Adam Fischer, Kristjan Jaervi, Peter Schneider, Kevin John Edusei, Michael Boder, the Munich Philharmonic, the New York Philharmonic, the MDR Symphony Orchestra, at Teatro dell'Opera di Roma, Theater St Gallen, the Royal Danish Opera Copenhagen, Theater Basel, Cincinnati Opera, and has given recitals at the Ruovesi and Ravinia Festivals. She is a former member of Vienna State Opera.

Ms De Bique holds a Master degree from the Manhattan School of Music. Her awards include First prize at the Young Concert Artists, Inc Music Competition, the Arleen Auger Prize at the Hertogenbosch International Vocal Competition, Third Prize in the Viotti International Music Competition. She was a prize winner at the Gerda Lissner Vocal Competition (New York), a finalist and study grant award recipient of the 2011 Metropolitan Opera National Council Auditions and received a study grant from the Licia Albanese-Puccini Foundation. She is a recipient of the Youth Ambassador for Peace, awarded by the National Commission of UNESCO, Trinidad and Tobago.
BelliniI Capuleti e i MontecchiGiulietta
BizetLes Pecheures de PerlesLeila
DonizettiL'elisir d'amoreGiannetta, Adina
GershwinPorgy and BessClara
Gilbert and SullivanThe MikadoYum Yum
GounodRomeo et JulietteJuliette
HandelGiulio CesareCleopatra
HeggieDead Man WalkingSister Rose
HeggieMoby DickPip
HumperdinckHaensel und GretelGretel
LeharDie lustige WitweHanna
MonteverdiL'Incoronazione di PoppeaPoppea
MozartCosi fan tutteDespina, Fiordiligi
MozartLa Clemenza di TitoServilia
MozartDon GiovanniZerlina
MozartLe Nozze di FigaroBarbarina, Susanna, Contessa
MozartDie ZauberflötePapagena
OffenbachLes contes d'HoffmannFour heroines
PoulencDialogues des carmélitesSoeur Constance, Blanche
PucciniGianni SchicchiLauretta
PucciniLa bohemeMusetta
RavelL'Enfant et les SortilègesLa Princesse
RossiniL'italiana in AlgeriElvira

G.F. Händel: Rodelinda (DVD)

Le Concert d'Astrée, Opéra de Lille
Emmanuelle Haim, cond
Jean Bellorini, director
with Jeanine de Bique, Tim Mead, Benjamin Hulett, Avery Amereau, Jakub Jozef Orlinski, Andrea Mastroni,
Erato (9402426)

JEANINE DE BIQUE: F. Obradors, Al amor

Piano: Hans Eijsackers

Mozart, Kyrie - Salzburg Festival 2017

Mozart, Tu fosti tradito (La Clemenza di Tito) - De Nationale Opera, Amsterdam

Handel, Rejoyce greatly - BBC PROMS 2017

Handel, Ombre, piante (Rodelinda) - Opera de Lille

Handel, Io t'abbracio (Rodelinda) - Opera de Lille

"[...] la voix séraphique de Jeanine De Bique [...].", Philharmonie de Paris - G.Mahler, Symphony no 2 (Orchestre National du Capitole de Toulouse, T.Sokhiev), February 2020
"Die Hermia [...] kann sich gegen ihren Lysander [...] behaupten, Jeanine De Bique ihre durch all die Zauberei verunsicherte Helena mit Leidenschaft aussingen.", B.Britten, Midsummer Night's Dream - Deutsche Oper Berlin, January 2020
"Unter den 19 Solisten begeisterte allen voran der schottische Schauspieler Jami Reid-Quarrell als fliegender Puck, sowie der Countertenor James Hall als Oberon und die aus Trinidad und Tobago stammende Sopranistin Jeanine De Bique als Helena.", B.Britten, A Midsummer Night's Dream - Deutsche Oper Berlin, January 2020
"Köstlich in Spiel und Gesang die sich in ihren Leidenschaften kontrovers kreuzenden Liebespaare von Karis Tucker als Hermia, Gideon Poppe als Lysander sowie Samuel Dale Johnson als Demetrius und Jeanine De Bique als Helena.", B.Britten, A Midsummer Night's Dream - Komische Oper Berlin, January 2020
"[...] dem hinreißend lyrischen Sopran von Jeanine De Bique als Helena – die schönste der vier Stimmen im menschlichen Gesangsquartett.", B.Britten, Midsummer Night's Dream - Deutsche Oper Berlin, January 2020
"Von den GesangssolistInnen waren Jeanine De Bique (als Helena) sowie James Platt (als Bottom) ganz besonders auffällig und gut.", B.Britten, A Midsummer Night's Dream - Deutsche Oper Berlin, January 2020
"Quant aux solistes, ils illuminent cette interprétation de leur talent: [...] Jeanine de Bique, avec son timbre magnifique, susurre les inquiétudes de Brahms d’une manière prenante.", La Seine Musicale - J.Brahms, Ein deutsches Requiem (Jeune Orchestre de l'Abbaye, Raphaël Pichon), December 2019
"[...] la soprano Jeanine de Bique offre son épisode soliste [...] comme une parenthèse enchantée et céleste. [...] Jeanine de Bique est une chanteuse lyrique à l'aigu vibrionnant de lumière. Le volume est très fin et assuré, les longues lignes sont nourries en densité : dans l'appui d'un filin qui n'a pas besoin de lever la voix et le volume pour se projeter et rayonner.", La Seine Musicale - J.Brahms, Ein deutsches Requiem (Jeune Orchestre de l'Abbaye, Raphaël Pichon), December 2019
"Susanna (Jeanine De Bique) has  a bright perky tone. De Bique’s voice, full of candor and innocence, perfectly reflects her role as a young, straightforward servant in the aristocratic mansion.", W.A. Mozart, Le nozze di Figaro - San Francisco Opera, October 2019
"Susanna, sung by soprano Jeanine De Bique, was captivating. Comfortable on stage, once her opening softness was conquered, she never flagged in a part that never lacked her presence. One felt that she was stage the whole time.
Besides flexible facial expression, energetic bodily movement, action that never lacked focus and precision, De Bique seemed born to be precisely there. She hopped and skipped, singing all the way. Her voice kept an overall covered quality [...].", W.A. Mozart, Le nozze di Figaro - San Francisco Opera, October 2019
"Soprano Jeanine De Bique plays the betrothed servant Susanna with a blend of perky ebullience and watchfulness. Her singing deepens into something quietly lustrous along the way.", W.A. Mozart, Le nozze di Figaro - San Francisco Opera, October 2019, W.A. Mozart, Le nozze di Figaro - San Francisco Opera, Interview, October 2019
"Jeanine De Bique has an utterly enchanting voice [...] De Bique’s forte is with bravura material (her last Proms appearance included a breathtaking account of ‘Rejoice greatly’), and [...] all of her numbers were full of that trademark sweetness and cream [...] in her duets with Mead was [...] the sparkle and brilliance of her upper register unleashed.", G.F. Händel, Jephta - BBC Proms (Scottish Chamber Orchstra, Egarr), September 2019
"Jeanine De Bique made an exquisite Iphis.", G.F. Händel, Jephta - BBC Proms (Scottish Chamber Orchstra, Egarr), September 2019
"Trinidadian soprano Jeanine De Bique made a spectacular Iphis [...]. De Bique has a lovely bright soprano with some pin-sharp coloratura and an ability to make the vocal lines expressively shaped. She brought hints of sexy languor to Iphis' earlier arias, and definitely gave the impression she knew her mind. After the crucial events of Act 2, her Iphis took on a new dignity and her final aria, whilst beautiful, was also serious and profoundly dignified.", G.F. Händel, Jephta - BBC Proms (Scottish Chamber Orchstra, Egarr), September 2019
"Both Trinidadian soprano Jeanine De Bique [...] as sacrifice-to-be Iphis and Welsh-born contralto Hilary Summers as her mother Storgè have voices in a thousand, utterly distinctive of hue, [...] there were melting moments.", G.F. Händel, Jephta - BBC Proms (Scottish Chamber Orchstra, Egarr), August 2019
"Placed in the middle of the program were three arias by George Frideric Handel, sung by Jeanine De Bique. The first, “Disserratevi, o porte d’Averno,” comes from Handel’s oratorio “La resurrezione.” De Bique’s heightened soprano quickly struck the double “r” in the word “disserratevi,” using the roll to establish a dramatic momentum that lasted through the number. The short text, ripe with evocative, religious imagery was illuminated at great length thanks to De Bique’s sense of breath and sharply- executed ornamentation.
Following this was “Ritorna, o caro e dolce mio tesoro,” from Handel’s opera “Rodelinda.” The more stately atmosphere conjured by the strings and harpsichord saw De Bique take a fittingly more relaxed approach, while not lacking in delivering a highly melismatic punch.
Finally was “Da tempeste il legno infranto,” from Handel’s “Giulio Cesare,” featuring repeated runs of colors which made an excellent showcase of De Bique’s vocal agility as she either closed phrases with a soaring flourish, or bring them to a full-bodied close before the orchestra’s ritornello. Her rapid-fire ornaments crescendoed to a sonorous height before she brought the number to a triumphant end, drawing tremendous applause.", Handel Arias - Budapest Festival Orchestra, Iván Fischer (Lincoln Center, New York), August 2019
"The centerpiece was three Handel arias [...] sung by Jeanine De Bique. In a remarkable display of dramatic presence and vocal agility she delivered each number with exceptional ease, tonal clarity and panache. She began tenderly with the bittersweet ‘Ritorna, oh caro e dolce mio tesoro’ [...] Next De Bique pumped up the excitement with a sparkling rendition of the triumphant and highly ornamented ‘Da tempeste il legno infranto’ [...]. Finally – and most spectacularly – came an absolutely breathtaking interpretation of the even more elaborately decorated ‘Disseratevi, o porte d’Averno!’.", Handel Arias - Budapest Festival Orchestra, Iván Fischer (Lincoln Center, New York), August 2019
"A handful of arias by Handel followed [...] with the opulent-voiced Jeanine De Bique handling these works’ virtuosic arpeggiations and trills with all the seeming ease of a bird soaring in flight. Yet one could discern behind these Baroque characters that she incarnated momentarily a foreshadowing of a Kundry or Salome waiting to be heard, perhaps in the not too distant future.", Handel Arias - Budapest Festival Orchestra, Iván Fischer (Hollywood Bowl), August 2019
"[...]the rich theatricality of the 100-minute Eighth was captured by [...] the brief but exquisite rendering of a meditative passage by Jeanine De Bique [...].", Ravinia Festival, Mahler 8 (Chicago Symphony Orchestra/ Marin Alsop), July 2019
"De Bique started with four Goethe Lieder by Hugo Wolf, which she interpreted nuanced, discreetly empathetic in good German and with smooth collaboration with Inge Spinette at the piano. [...] Caribbean songs and some spirituals [...] were part of the program [...] she made them irresistible.
De Biques final numbers were the Exultate Jubilate of Mozart which she sang with dense and intense voice, good singing and infectious joy. The high tones have high resonance and the middle register is full of colors. With her lyrical elegance and dramatic presence, she has a promising future [...].", Recital, Musiikia Ruovesi Festival (Wolf, Mozart, Carribean Songs), July 2019
"Timbre corsé, aigus tranchants et art de la vocalise accompli, Jeanine De Bique est une splendide et altière Donna Anna.", W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Jeanine De Bique est une prodigieuse Donna Anna, complexe, équivoque, servie par des moyens indéniables. Voix ample, épanouie, sensuelle comme on en rencontre rarement dans cet emploi.", W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Jeanine de Bique prête à Donna Anna son timbre capiteux, mordoré dans les graves, qui manque de tranchant dans le trio introductif, mais fait merveille dans son dernier air, où elle offre un jeu de nuance et une agilité exceptionnels.", W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"[...] Jeanine de Bique ist eine im Dramatischen ebenso wie im Lyrischen überzeugende, koloraturensichere Donna Anna."
Badische Zeitung, W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Mention particulière pour Jeanine De Bique, Donna Anna d’une grande intensité dramatique, à laquelle les vocalises traîtreuses de « Non mi dir » ne font pas peur non plus. Difficile de ne pas penser à la jeune Leontyne Price en l’écoutant [...].", W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Donna Anna, Jeanine De Bique, personnalité riche et complexe, prend une voix lumineuse et ronde, épanouie.", W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Jeanine De Bique was a charismatic, appealing Susanna for whom the role seemed relatively easy. [...] De Bique dominated most of the ensembles even though her voice was not among the largest in the cast.  She sang her final aria, “Deh vieni, non tardar O gioia bella” (“Come, don’t tarry Oh beautiful joy”) with exquisite, silver-tinged high tones [...] De Bique’s rendition had a fine sense of style and line. It pleased the Phoenix audience immensely.", W.A. Mozart, Le nozze di Figaro - Arizona Opera , April 2019
"Aida is a challenging role, requiring technical and stylistic virtuosity. Soprano Jeanine De Bique inhabited it with tenacious passion, vocal deftness and a beguiling stage presence.[...] Aida’s piercing monologue, delivered by De Bique with a glass-like fragility, was the best thing about the finale.", Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"Soprano Jeanine De Bique from Trinidad (Aida) is a revelation. [...] she was breathtaking from beginning to end."
NRC Handelsblad, Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"The soprano, Jeanine De Bique, made an equally successful impression in the role of Aida, whom she presented as compassionate, loving, sympathetic, and at times feisty. It was, however, the beauty of De Bique’s singing that really caught the attention. The voice has an attractive, young, fresh quality, burnished with a silvery coating, which she used to deliver a sparkling performance.
Her singing was full of well-crafted phrase, subtly allied to the meaning of the text, which in the more lyrical passages allowed her to develop long arching lines of exquisite beauty. Moreover, the voice is agile and supple, and lost none of its radiance as it soared gracefully upwards.", Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"Jeanine De Bique brings wonderful empathy and a fabulous sound to the role of his lover Aida."
Trouw, Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"The Aida, sensational Trinidadian soprano Jeanine De Bique [...]."
De Volkskrant, Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"Jeanine De Bique was extremely successful in her prise de rôle as Rodelinda. Her bright top was supported by a bronzed middle voice, which gave depth to her display of emotions. She cut a truly tragic figure, and one could hear Mozart and Italian bel canto in her future. She judiciously lightened her voice for melancholy effect in the lamentation arias, while still being forceful in the interpretation of the outraged queen, mistress of her own destiny.", G.F. Händel, Rodelinda - Opéra de Lille, October 2018
"Ce n’est pas tous les jours que Rodelinda hérite d’un timbre aussi opulent, au médium fauve et charnu. Prudente dans les coloratures, l’artiste sait, par contre, alléger l’émission et doser la lumière de l’aigu au gré, notamment, d’une interprétation déjà très personnelle et poignante des lamenti de Rodelinda. De la détermination farouche à la jubilation, de la douleur ravivée du deuil à l’attendrissement, son chant demeure constamment incarné, vibrant et embrasse toute la gamme d’affects qui chamboulent la mère de Flavio et compagne de Bertarido.", G.F. Händel, Rodelinda - Opéra de Lille, October 2018
"As a Proms debut artist, Jeanine De Bique is the name to remember from this Late Night Prom. The Trinidadian soprano had an electric onstage presence from the moment she started bobbing along to the opening of “Da tempesta” from Handel’s Giulio Cesare with a great big grin. De Bique’s voice was soft but powerful, careful in its release of notes to a confident vibrato. As an expressive singer, she understood where to release and where to hold suspense. A particularly memorable moment of De Bique’s performance was in Joseph Bologne, Chevalier de Saint-Georges’ Au penchant qui nous entraîne, in which the suspension in her voice on the phrase “et si je puis guérir” (“but if I can be healed”) created a stillness in the hall in its raw emotion. De Bique had an elegance to her voice that coupled well with her personality and sentiment in the songs. Her final performance of the evening was “Rejoice Greatly” from Handel’s Messiah often overindulged in coloratura and sung too slowly, De Bique’s rendition was fresh and light, glossing effortlessly over complex scales.", Chineke! Orchestra - BBC PROMS 2017, August 2017
"Jeanine de Bique threw off two Handel arias and one by the Chevalier de Saint-Georges with winning panache."
The Guardian, Chineke! Orchestra - BBC PROMS 2017, August 2017
"Three pieces from the 18th century[...] sat oddly with the rest of the programme, but missing them out would have denied us the opportunity of hearing the young soprano Jeanine de Bique, whose tremendous voice is full of fire and cream in equal measure. Her account of Bologne’s mannered song was delivered with gentle soulfulness, and her performances of the two Handel numbers – particularly Rejoice, which was taken at breakneck speed with da capo ornamentation set to max – were full of pyrotechnic agility.", Chineke! Orchestra - BBC PROMS 2017, August 2017
"There’s no doubt that the Proms should make room for such short pieces, especially when played with such relish and genuine enthusiasm[...] as Kanneh-Mason did here; there seems little doubt that he’ll be back and often.
So too the second soloist, Jeanine De Bique, who dazzled in two Handel offcuts contrasting sacred (Rejoice Greatly) and profane (Cleopatra’s triumphant ‘Da tempeste’), yet similarly exuberant in their respective demeanour. The real contrast came with the languor of the “black Mozart” – Joseph Bologne, Chevalier de Saint-Georges’s song (beautifully orchestrated by Mauricio J. Rodríguez) ‘Au penchant qui nous entraîne’ (Attraction that beguiles), in which De Bique’s silky soprano did exactly that, while Handel showed her prowess at ornamentation.", Chineke! Orchestra - BBC PROMS 2017, August 2017
"Jeanine De Bique’s Musetta was an exotic, Josephine Baker-like character, complete with pet cheetah (on wheels), ruling the roost in Momus and completely nailing her famous aria from atop a merry-go-round horse.", G. Puccini, La Bohème - Scottish Opera, May 2017
"There was delicious singing from Jeanine De Bique’s outrageous minx Musetta..."
The Herald, G. Puccini, La Bohème - Scottish Opera, May 2017
"Trinidadian soprano Jeanine de Bique, making her Boston Baroque debut, soared through the fleet melismas of “Rejoice greatly,” and her “I know that my Redeemer liveth” was luminescent and gorgeously phrased."
Boston Globe, G.F. Händel, Messiah - Boston Baroque, December 2015

Jeanine De Bique

Bio English

Jeanine De Bique

Photo Credit: Marco Borggreve

Jeanine De Bique

Photo Credit Marco Borggreve

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