Soprano
CROUSAUD Jeanne
After studying at the Paris Conservatoire (CNSM), where she graduated with the highest distinction (mention Très Bien unanimously), Jeanne Crousaud was entrusted with two major roles: Ciboulette in Mesdames de la Halle by Jacques Offenbach at the Opéra Studio de Lyon, and the Little Prince in the eponymous opera by Michael Levinas (Théâtre du Châtelet, Opéras de Lausanne, Geneva, Lille…), both of which earned her great acclaim.
Over the course of her young career, she has performed the roles of Blondchen (Die Entführung aus dem Serail), Aspasia (Mitridate), Elvira (L’Italiana in Algeri), Clorinde (Isouard’s Cendrillon), Zerlina (Auber’s La Sirène), Musetta (La Bohème), Ernestine (Monsieur Choufleuri), the First Nymph (Rusalka), the Princess (V. Cruz’s La Princesse légère), Amour (Orfeo ed Euridice), Flavie (Hervé’s L’Elixir), Najade (Ariadne auf Naxos), and Athéna and Circé (J. Matton’s L’Odyssée).
She has notably appeared alongside Felicity Lott at the Festival Européen Jeunes Talents, and with Michael Spyres in the role of Nicette in Ferdinand Hérold’s Le Pré aux Clercs at the Gulbenkian Foundation in Lisbon, a production by the Opéra Comique and recorded by the Palazzetto Bru Zane.
The young soprano has worked with conductors such as Arie van Beek, Paul McCreesh, Raphaël Pichon, David Reiland, and Giuseppe Grazioli; stage directors including Joël Pommerat, André Engel, Benjamin Lazar, Lilo Baur, Dieter Kaegi, Vincent Vittoz, and Nicola Berloffa; as well as composers Francesco Filidei, Benjamin Attahir, Jean-Luc Hervé, Violeta Cruz, Raphaël Cendo, and Jules Matton.
She also performs regularly with the baroque ensemble Desmarest, with whom she recorded the role of Enone in Marc-Antoine Charpentier’s La Descente d’Orphée aux Enfers in 2018.
The following year, she recorded Auber’s rare La Sirène with Les Frivolités Parisiennes, singing the leading role of Zerlina. The album, released by Naxos, was highly praised by critics.
In 2020, she reprised Clorinde (Isouard’s Cendrillon) and performed the role of Princess Fantasia (Le Voyage dans la Lune) in Montpellier.
During the 2021–2022 season, she sang her first Donna Anna (Don Giovanni) at the Nuits Lyriques de Marmande, and achieved great success with her debut as Ophélie (Hamlet) in Saint-Étienne.
More recently, she appeared as Princess Fantasia in Metz and Reims, and as Arthur (La Nonne Sanglante) in Saint-Étienne.
Among her upcoming projects is the Italian premiere of Francesco Filidei’s Cantico delle Creature at the Teatro Carlo Felice in Genoa.
Adagio Artists
« A fresh, airy, luminous, and noble voice: our Ophelia, fragile yet emotionally sensitive, with a natural stage presence, possesses clarity of diction, temperament, and power. The mad scene—often caricatured as a mere display of vocal acrobatics—is rendered with such truth that one forgets its impossible coloratura and impalpable pianissimi. The infinitely tender, aching softness of “Doubt thou the light” seizes us. Finesse and emotion are both present. A truly great Ophelia. » (Forumopera)
« As for the young coloratura soprano Jeanne Crousaud, she reaches the same heights with an Ophelia of remarkable stature. Watching her on stage, one cannot help but think of Natalie Dessay in the late 1990s: the vocal similarities—as well as the physical ones, in her build and stage manner—are striking. The character imagined by Shakespeare suits her artistic personality perfectly, full of grace and fragility. Yet she also delivers full, supple high notes, which work wonders in her major aria, “À vos jeux, mes amis,” performed here in its extended version, where she negotiates the coloratura and chromatic runs without the slightest faltering. Her death scene, moreover, brings tears to the eyes. » (Opera Online)
CROUSAUD Jeanne
Médias
