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Comala - M-A Henry



BRITTEN-The Rape of Lucretia-Female Chorus

BRITTEN-Midsummer Night’s Dream-Helena

BRITTEN-Turn of the Screw-The Governess


DEBUSSY-Pelléas et Mélisande-Mélisande

MARTIN-Le Vin Herbé-Branghien

GLUCK-Orphée et Eurydice-Eurydice





MONTEVERDI-Incoronazione di Poppea-Poppea

MOZART-Nozze di Figaro-La Contessa

MOZART-Cosi fan tutte-Fiordiligi

MOZART-Don Giovanni-Elvira

MOZART-La Clemenza di Tito-Vitellia

MOZART-La Finta Giardiniera-Arminda

OFFENBACH-Vie Parisienne-Metella

POULENC-Dialogues des Carmélites-Madame Lidoine

TCHAÏKOVSKI-Eugen Oneguin-Tatiana




Marie-Adeline Henry began studying voice at 16 years old before perfecting her craft under Irène Jarsky and Maryse Castets and then joining the Paris Opera’s Atelier lyrique. There, she sang the roles of Fiordiligi (Cosi fan Tutte), Female Chorus (Rape of Lucretia), and Helena (A Midsummer Night’s Dream).

She has taken master classes with R.Yakar, C.Eda-Pierre, N.Dessay, Jose Cura, and F. Le Roux.

She has played Mélisande (Pelléas et Mélisande) at the Montpellier and Rennes Operas, Euridice (Orfeo ed Euridice) at the Rennes Opera, Fiordiligi at the Capitole in Toulouse, at the Nancy Opera and in Toulon, Diane (Hippolyte et Aricie) with the Nederlandse Reisopera, Branghien (Le Vin Herbé) at the Lyon Opera, Lisa (La Sonnambula), La Femme du Forgeron/la Princesse (P. Fénelon’s Faust), a Coryphaeus (Alceste) and Valletto (L’Incoronazione di Poppea)  at the Paris Opera, Polissena (Gesualdo) at the Zurich Opera, the Governess (Turn of the Screw) at the Rennes Opera and the Spoleto Festival, the Contessa (Le Nozze di Figaro) in Avignon and Massy, Micaela (Carmen) in Santiago de Chili, Brünnhilde (Siegfried et l’Anneau Maudit) at the Saint-Étienne and Paris Operas, Poppea (Poppea e Nerone) at the Montpellier Opera, Métella (La Vie Parisienne) at the Toulon Opera, Arminda (La Finta Giardiniera) at the Lille Opera, in Dijon and in Rennes, Anna (Nabucco) at the Chorégies d’Orange, Vitellia (La Clemenza de Tito) in Montpellier,  Metella (La Vie Parisienne) at the Avignon Opera.

She also performed the title role of Massenet’s Chérubin at the Montpellier Opera, as well as that of Lully’s Armide in Nancy and in a concert version at the Beaune Festival, at the Paris Philharmonic and at the Theater an der Wien and the roles of Tatiana (Eugene Onegin), Elvira (Don Giovanni), in Montpellier,  at the Paris National Opera, the Drottningholm Festival and in Versailles, Angiola (Saint-Saëns's Proserpine) in München, and in Versailles.

Also very fond of the concert repertoire, she regularly sings contemporary works, such as Carter’s Tempo e Tempi, Philippe Fénelon’s Quatuor à cordes et voix N°IV, Hindemith’s Die Melancholie and Die Serenaden… She has also performed oratorios, such as Rossini’s Petite Messe Solennelle, Haydn’s Requiem, and Mendelssohn’s Lobgesang.

More recently, she sang the part of Micaela (Carmen) at the Rennes Opera, Metella (La Vie Parisienne) at the Bordeaux Opera, Madame Lidoine (Dialogues des Carmélites) at the Théâtre de la Monnaie,  in Bologna, and Arminda (la Finta Giardiniera) at la Scala of Milan, La Messagera (Orfeo) with the Musicien du Louvre in Massy, Helena (Midsummer Night's Dream) in Montpellier, Elvira (Don Giovanni) in  Saint-Etienne, Tatiana (Eugene Oneguin) in Nice and in Marseille, Iphigénie (Iphégénie en Tauride) in Angers and in Rennes,  Jenufa in Toulouse,Catherine d'Aragon (Henry VIII) in Brussels, Béatrice (Béatrice et Bénédict) in Rennes, Nantes and Angers, Brangäne (tristan und isolde) in Lille. . .

Among her future projects,  Senta (Der Fliegende Holländer)  at the Toulouse Théâtre du Capitole, the Title-role of Jenufa in Montreal...

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