Philippe-Nicolas Martin studied musicology before pursuing operatic training in Marseilles.

Roles include Albert Werther in Nancy; Guglielmo Cosí fan tutte in Bulgaria and Beirut; Belcore L’Elisir d’Amore in Théâtre des Champs-Elysées, Malta, Nice and Avignon; Marcello La Bohème in Avignon; Harlekin Ariadne auf Naxos and Junius/The Rape of Lucretia in Toulouse; Don Fernando Fidelio, Marullo Rigoletto and Taddeo L’Italiana in Algeri in Rennes; Papageno Magic Flute for Opéra en Plein Air in Nancy; the Clock and the Cat L’Enfant et les Sortilèges for an Aix-en-Provence Festival production in Bahrain, in Lille and Limoges; Der Heerrufer des Königs Lohengrin in Angers, Nantes and Saint-Etienne; Octave Les Caprices de Marianne (Sauget) on tour in France; Sganarelle Le Médecin malgré lui (Gounod) in Saint-Etienne; the Forester The Cunning Little Vixen on tour in France; The Prince of Mantua Fantasio (Offenbach) in Rouen; Silvano Un Ballo in Maschera in Nancy and Luxembourg; The Father Coraline by Turnage (French première in Lille); Landry Fortunio (Messager) Paris Opéra Comique, Nancy, Lausanne, and Mercutio Roméo and Juliette in Bordeaux, at the Opéra Comique in Paris, Geneva, Montreux and Théâtre des Champs-Élysées; Splendiano Djamileh (Bizet) in Tours and Tourcoing (+ recording in Paris), Orestes Iphigénie en Tauride in Athens, 2nd Nazarene/Salome (Festival d’Aix-en-provence), Pierre de Ruys L’Aube rouge at Wexford Festival, Silvio Pagliacci in Limoges, Hermann § Schlemil in Hoffmann’s tales at Sazburger Festspiele, Zurga The Pears fishers in Saint-Etienne and Dijon, Ange Pitou La Fille de Madame Angot in Nice and Avignon, Gasparo Rita in Bucarest, The Huntsman § The Gamekeeper Rusalka in Marseille and Limoges, The high Priest Samson § Delilah in Limoges etc.

Baroque roles have included Jupiter Platée in Budapest; Belus and a Warrior Le Temple de la Gloire in San Francisco; Thesée La Belle-mère amoureuse (Favart / Desrousseaux, a parody on Rameau’s Hippolyte et Aricie with the Centre de musique baroque de Versailles) – Opéra Bastille de Paris and on tour; Palémon Naïs (Rameau) in Budapest; the Discord L’Europe Galante (Campra) in Potsdam and Prague.

His broad concert repertoire includes Brahms’ Ein Deutsches Requiem; Requiems by Fauré and Campra, Berlioz’s Grande Messe Solennelle and Lelia Orff’s Carmina Burana ; Jeanne au Bûcher by Honegger and Les Nuits d’Été by Berlioz, as well as the revival of many rarely performed works.

Projects postponed or cancelled by the covid-19 pandemic included Starek Jenufa in Toulouse; Ping Turandot in Lille; as well as concert performances of Ramiro L’Heure espagnole in Kawice, Silène Bacchus (Massenet) for Radio-France Occitanie & the Montpellier Festival: Splendiano Djamileh (Bizet) in Tours; Zurga Les Pêcheurs de Perles in Saint-Etienne; Danilo Die lustige Witwe in Avignon; and Un Satyre/Cithéron Platée with the Philharmonia Baroque Orchestra in Berkeley & New-York.

Future projects include Escamillo Carmen in Saint-Étienne, Ping Turqndot in Marseille, etc.

Philippe-Nicolas Martin has been represented by RSBA since 2026.