JEANINE DE BIQUE
General Management
Hailing from Trinidad and Tobago, soprano Jeanine De Bique holds a Masters degree from the Manhattan School of Music. Awards include the Arleen Auger Prize at the Hertogenbosch International Vocal Competition, Third Prize in the Viotti International Music Competition and the Gerda Lissner Vocal Competition in New York. She was a finalist and a study grant award recipient of the 2011 Metropolitan Opera National Council Auditions and received a study grant from the Licia Albanese-Puccini Foundation.

Jeanine is a former member of the Wiener Staatsoper, where she appeared as Gianetta in L’elisir d’amore, Barbarina in Le nozze di Figaro, Kate Pinkerton in Madama Butterfly, Eine Modistin in Der Rosenkavalier and Ada in Wagner’s Die Feen.

Last season, she gave highly acclaimed debuts at the Salzburg Festival as Annio in a new production of La Clemenza di Tito by Peter Sellars and at the BBC PROMS with the Chineke! Orchestra in works by Handel, followed by concerts of La Clemenza di Tito throughout Europe with Musica Aeterna, conducted by Teodor Currentzis. She also gave her Berlin debut in Arvo Pärt's Como cierva sedienta with the Konzerthausorchester under Iván Fischer, performed Handel's Messiah with the Atlanta Symphony Orchestra, appeared in recital at the Ravinia Festival in the US and, in a house debut, reprised the role of Annio in Peter Sellar’s production at De Nationale Opera Amsterdam.

Other recent engagements include Consuelo in John Adams’ I Was Looking at the Ceiling and Then I Saw the Sky at the Teatro dell'Opera di Roma, Sophie in Werther at Theater Basel, the role of Pearl in Morning Star at Cincinnati Opera, Barbarina in Le Nozze di Figaro for Opéra national de Montpellier, Climene in Fetonte by Jommelli at the Schwetzinger Festspiele, Juliette in Roméo et Juliette with the St. Petersburg Opera Florida, Clara in Porgy and Bess with the Royal Danish Opera as well as the Russian Philharmonic on European tour, Sister Rose in Jake Heggie’s Dead Man Walking with Central City Opera, and Musetta in La Boheme at Scottish Opera and Theater St Gallen.

In concert, Jeanine has performed Mozart’s Exultate Jubilate with Sinfonia Rotterdam at the Concertgebouw Amsterdam, the Messiah at Boston Baroque, Rachel in Kurt Weill's Die Verheissung with the MDR Symphony Orchestra under Kristjan Jaervi, Brahms’s Ein deutsches Requiem with the Munich Philharmonic under the baton of Lorin Maazel, with whom she also made her New York Philharmonic debut in Mahler’s Symphony No. 8 at Avery Fisher Hall.

Highlights in the season 2018/19 include the title role in Handel’s Rodelinda at Opéra de Lille and the Théâtre des Champs-Elysées, conducted by Emmanuelle Haïm, the Messiah with the Melbourne Symphony Orchestra, Mahler's Symphony no 4 with Teodor Currentzis and MusicAeterna in Munich, Milan and Budapest, her debut with the Deutsches Symphonieorchester Berlin in New Year’s concerts with Kevin John Edusei, her role debut as Donna Anna in Don Giovanni for the Opera national du Rhin in Strasbourg and a return to De Nationale Opera Amsterdam for the role of Aida in the world premiere of Micha Hamel’s opera Caruso in Cuba.

 
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AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.
Opera
ComposerWork
BeethovenFidelioMarzelline
BelliniI Capuleti e i MontecchiGiulietta
BizetCarmenMicaela
BizetLes Pecheures de PerlesLeila
DonizettiL'elisir d'amoreGiannetta, Adina
GershwinPorgy and BessClara
Gilbert and SullivanThe MikadoYum Yum
GounodRomeo et JulietteJuliette
GounodFaustMarguerite
HandelAlcinaAlcina
HandelGiulio CesareCleopatra
HändelSemeleSemele
HeggieDead Man WalkingSister Rose
HeggieMoby DickPip
HumperdinckHaensel und GretelGretel
JommelliFetonteClimene
LeharDie lustige WitweHanna
MassenetManonManon
MassenetWertherSophie
MonteverdiL'Incoronazione di PoppeaPoppea
MozartWertherSophie
MozartIdomeneoIlia
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
PucciniTurandotLiu
PucciniLa bohemeMusetta
RavelL'Enfant et les SortilègesLa Princesse
RossiniL'italiana in AlgeriElvira
VerdiRigolettoGilda
VerdiFalstaffNannetta

JEANINE DE BIQUE: F. Obradors, Al amor

Piano: Hans Eijsackers

JEANINE DE BIQUE: G.F. Händel, Messiah, Rejoice Greatly

Live recording with Boston Baroque 2015, © Kathy Wittman at Ball Square Films

JEANINE DE BIQUE: G.F. Händel, Messiah, If God be for us

Live recording with Boston Baroque 2015, © Kathy Wittman at Ball Square Films

"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."
forumopera.com, Opéra de Lille, G.F. Händel - Rodelinda, 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."
 
bachtrack.com, 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."
 
musicomh.com, 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."


classicalsource.com, 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."
 
bachtrack.com, Scottish Opera - La boheme, May 2017
"There was delicious singing from Jeanine De Bique’s outrageous minx Musetta..."
The Herald, Scottish Opera - La boheme, 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, Handel, Messiah - Boston Baroque, December 2015
“Jeanine De Bique profiliert diese Figur mit messerscharf geführtem Sopran und herrisch attraktiver Geste.”
Opernnetz, Jommelli, Fetonte - Theater Heidelberg, Schwetzinger Rokokotheater, December 2014
“Königin des Gesangs indes war die Sopranistin Jeanine de Bique aus Trinidad als Gast, die mit überzeugender Bühnenpräsenz eine sehr facettenreiche Climene spielte und sang und ihren reichen Sopran von gekonnten Koloraturen bis hin zum Dramatischen einsetzte.”
Der Opernfreund, Jommelli, Fetonte - Theater Heidelberg, Schwetzinger Rokokotheater, December 2014
“Die Damenriege führte die aus Trinidad stammende Sopranistin Jeanine De Bique an, die als Climene, Königin von Nubien, mit höchst flexibler und dabei gut geführter Stimme brillierte. Ein Genuss!”
Rhein-Neckar-Zeitung, Jommelli, Fetonte - Theater Heidelberg, Schwetzinger Rokokotheater, December 2014

“De Bique was not only convincing as Juliette, but resplendent in bringing to life the teenaged star-crossed lover. Her powerful coloratura soprano voice poured forth passion and angst, sweetness and sorrow, seemingly soaring beyond the walls of the venue. The actress in De Bique eloquently conveyed emotions even without her sublime voice.”

Weekly Challenger, Gounod, Roméo et Juliette - St Petersburg Opera, October 2013

Jeanine De Bique

Bio English

Jeanine De Bique

Photo Credit: Marco Borggreve

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