Soprano Amel Brahim-Djelloul continues to pursue a luminous and singular path, enriched by her dual cultural heritage.

A graduate of the CNSMD de Paris, she trained at William Christie’s “Jardin des Voix” and was nominated in 2007 in the “Révélation Lyrique” category at the Victoires de la Musique Classique. She quickly took on numerous operatic roles: Susanna (Le Nozze di Figaro) at Angers-Nantes Opéra and the Opéra de Lausanne, Despina (Così fan tutte) at the Opéra de Nice, Servilia (La clemenza di Tito) at the Opéra de Paris and the Festival d’Aix-en-Provence, as well as La Princesse (L’Enfant et les Sortilèges), Ninette (L’Amour des Trois Oranges), and Suor Genovieffa (Suor Angelica) at the Opéra de Paris, the title role in Véronique by Messager at the Théâtre du Châtelet, Gabrielle (La Vie Parisienne) at Angers-Nantes Opéra, Nanetta (Falstaff) at the Théâtre des Champs-Élysées, Adina (L’Elisir d’Amore) and Pamina (Die Zauberflöte) at the Opéra d’Avignon, Andreloun (Mireille) at the Chorégies d’Orange, Hébé, Fatime, and Phani (Les Indes Galantes) at the Opéra National de Bordeaux and the Concertgebouw in Bruges, and Drusilla, Amore, and Valletto in various productions of L’Incoronazione di Poppea (Opéra de Paris, Théâtre des Champs-Élysées, Staatsoper Berlin, Théâtre de la Monnaie in Brussels, Grand Théâtre de Genève, Opéras de Lille and Dijon), to name just a few.

She is regularly invited by many orchestras (Orchestre National de France, National Symphony Orchestra of Washington, Orchestre Philharmonique Royal de Liège, National Philharmonic of Ukraine, Orchestre Philharmonique de Strasbourg, Orchestre des Concerts Pasdeloup, Orchestre National de Cannes, Orchestre Symphonique National Algérien, Orchestre National d’Île-de-France, Orchestre Philharmonique du Maroc...) and ensembles (Les Arts Florissants, Le Poème Harmonique, Les Paladins, Il Caravaggio, 2E2M, Mezwej, Les Talens Lyriques, Quatuor Debussy…), and expands each season her range of personal projects, often bridging East and West: L’Orgue du Sultan (with L’Achéron and Sultan Veld), Les 1001 Lunes de la Princesse Boudour (with Aymeric Lecerf and Nicolas Jouve), Des chants et des rives with guitarist Thomas Keck, Populaires (with Nicolas Jouve), Canciones (with Ensemble C Barré), and her Mediterranean programs with Ensemble Amedyez.

Her discography includes numerous recordings, including more personal projects: Les Chemins qui montent (a tribute to Kabyle songs), recitals with pianists Anne Le Bozec (Les 1001 nuits) and Nicolas Jouve (Populaires), as well as a program of arabo-Andalusian heritage works (Amel chante la Méditerranée) arranged by her brother, violinist and musicologist Rachid Brahim-Djelloul, and performed with Ensemble Amedyez.

Amel Brahim-Djelloul is artistic director of the association Nour, through which she develops a variety of projects ranging from education to the production of new performances and recordings.

She has been represented by RSBA since 2010.

We no longer need to introduce Dominique Visse, his musical eclecticism, his extraordinary personality.

He joined the Maîtrise de Notre-Dame de Paris at the age of 11. At the same time, he began studying organ and flute, which he completed at the Conservatoire national de Versailles. Passionate about Medieval and Renaissance music, he met the great pioneer of the haute-contre voice Alfred Deller in 1976 and became his student. He also studied with Nigel Rogers, René Jacobs, and William Christie.

In 1978, Dominique Visse founded the Ensemble Clément Janequin, with which he recorded a series of albums of French Renaissance polyphonic songs for Harmonia Mundi, now considered definitive references in the repertoire. The following year, he joined Les Arts Florissants as a singer and transcriber, and has since established himself as one of the most sought-after artists in the world of Baroque opera, collaborating with René Jacobs, Jean-Claude Malgoire, William Christie, Philippe Herreweghe, Ton Koopman, Alan Curtis, Nicholas McGegan, Christophe Rousset, Robert King, Ivor Bolton, Harry Bicket, Emmanuelle Haïm, and Vincent Dumestre… on the stages of the Opéras de Paris, Londres, Berlin, Munich, Cologne, Amsterdam, Genève, Lausanne, Tel Aviv, Houston, Madrid, Barcelone, Bruxelles, as well as the Festivals of Glyndebourne, Salzburg, Aix-en-Provence, Innsbruck, and Edinburgh.

He is also regularly invited to take part in contemporary creations such as Wonderful Deluxe by Brice Pauset at the Grand Théâtre de Luxembourg, Outis by Luciano Berio at La Scala in Milan, Perela, L’homme de fumée by Pascal Dusapin at the Opéra de Paris, La Frontière by Philippe Manoury at the Bouffes du Nord, La Dispute by Benoît Meunier at La Monnaie in Brussels, and Il Viaggio, Dante by Pascal Dusapin at the Festival d’Aix-en-Provence, which he reprised last season at the Opéra de Paris.

As a conductor, he has collaborated with the ensemble Café Zimmermann and Aedes, with the Atelier lyrique de Tourcoing (David et Jonathas by Charpentier), and with the Hungarian Radio Symphony Orchestra and Hungarian Radio Choir (Messe by Alessandro Striggio).

Dominique Visse has recorded over a hundred albums, mainly for the Harmonia Mundi label.

He has been represented by RSB Artists agency since 2011.