JEANINE DE BIQUE
General Management
Recently 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) and possessing “genuine star quality” (New York Amsterdam News).

Appearances in the 2018/19 season included the title role of Handel’s Rodelinda at Opéra de Lille, role debuts 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 at Dutch National Opera, Mahler’s Symphony no 4, conducted by Teodor Currentzis, in Milan, St Petersburg, Munich and Budapest, Handel’s Messiah with the Melbourne Symphony, New Year’s concerts with the Deutsches Symphonie-Orchester Berlin, Handel arias and Mozart’s Requiem with the Budapest Festival Orchestra, conducted by Iván Fischer, at the Hollywood Bowl and Lincoln Center. Ms De Bique concluded the season with returns to the BBC Proms in the role of Iphis in Handel’s Jephtha with the Scottish Chamber Orchestra, conducted by Richard Egarr and to the Ravinia Festival for Mahler’s Symphony no 8 with the Chicago Symphony Orchestra, conducted by Marin Alsop.

In 2017, Ms De Bique 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 and the Aldeburgh Festival with the Chineke! Orchestra in works by Handel. This was followed by concerts of La Clemenza di Tito throughout Europe with Musica Aeterna, conducted by Teodor Currentzis, Handel's Messiah with the Stavanger Symphony Orchestra and Atlanta Symphony Orchestra, her house debut at Dutch National Opera as Annio in Peter Sellars’ Salzburg production, Musetta in La Bohème at Theater St. Gallen, her Berlin debut in Arvo Pärt's Como la cierva sedienta with the Konzerthausorchester under Iván Fischer and a recital at the Ravinia Festival.

The season 2019/20 will see further important 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, and as Micaëla in Calixto Bieto’s acclaimed production of Carmen at the Gran Teatre del Liceu in Barcelona. Ms De Bique will also return to Theater St Gallen for her role debut as Cleopatra in Giulio Cesare, to the Atlanta Symphony Orchestra for Mozart’s Exultate Jubilate and Handel’s Messiah, which she will also perform with the Royal Liverpool Philharmonic. She will appear at La Seine Musicale in Paris in Brahms’ Ein Deutsches Requiem with Raphaël Pichon and sing Mahler’s Symphony no 2 with the Orchestre national du Capitole de Toulouse under the baton of Tugan Sokhiev in Toulouse and at the Philharmonie de Paris.

Concert appearences and opera highlights include Brahms’ Ein deutsches Requiem with the Munich Philharmonic and L’Orchestra della Svizzera Italiana 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, Rachel in Kurt Weill's Die Verheissung with the MDR Symphony Orchestra under the baton of Kristjan Jaervi, Consuelo in John Adams’ I Was Looking at the Ceiling and Then I Saw the Sky at Teatro dell' Opera di Roma, Sophie in Werther at Theater Basel, Pearl in Morning Star at Cincinnati Opera, Clara in Porgy and Bess for the Royal Danish Opera, Sister Rose in Jake Heggie’s Dead Man Walking with Central City Opera, Messiah with Boston Baroque and Mozart’s Coronation Mass with the Atlanta Symphony Orchestra.

Ms De Bique is a former member of the Vienna State Opera, 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.

She 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 ambassador for peace, awarded by the National Commission of UNESCO, Trinidad and Tobago.
 
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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

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

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

"[...] 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."
olyrix.com, La Seine Muiscale - 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."
theatrius.com, 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 [...]."
operawire.com, 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."
sfcv.org, W.A. Mozart, Le nozze di Figaro - San Francisco Opera, October 2019
sfoperablog.com, 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."
musicomh.com, G.F. Händel, Jephta - BBC Proms (Scottish Chamber Orchstra, Egarr), September 2019
"Jeanine De Bique made an exquisite Iphis."
theguardian.com, 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."
planethugill.com, 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."
theartsdesk.com, 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."
operawire.com, 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!’."
classicalsource.com, 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."
bachtrack.com, 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 [...]."
wttw.com, 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 [...]."
hbl.fi, 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."
resmusica.com, 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."
forumopera.com, 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."
olyrix.com, 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 [...]."
concertonet.com, 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."
classiquenews.com, 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."
operawire.com, 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."
www.operatoday.com, 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."
operawire.com, 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."
bachtrack.com, 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."
forumopera.com, 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."
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, 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

“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

Jeanine De Bique

Photo Credit Marco Borggreve

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