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Hailing from Trinidad and Tobago, soprano Jeanine De Bique holds a Master degree from the Manhattan School of Music. Awards include the Arleen Auger Prize at the Hertogenbosch International Vocal Competition, Third Prize in the Viotti International Music Competition and the Gerda Lissner Vocal Competition (New York). She was a finalist and a study grant award recipient of the 2011 Metropolitan Opera National Council Auditions, and received a study grant from the Licia Albanese-Puccini Foundation.

Last summer, Jeanine 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 with the Chineke! Orchestra in works by Handel, followed by concerts of La Clemenza di Tito throughout Europe with Musica Aeterna, conducted by Teodor Currentzis.

Other highlights in 2017/18 include Musetta in La Boheme at Theater St. Gallen, her Berlin debut in Arvo Pärt's Como cierva sedienta with the Konzerthausorchester under Iván Fischer, Handel's Messiah with the Atlanta Symphony Orchestra, a recital at the Ravinia Festival and her debut at De Nationale Opera Amsterdam as Annio in Peter Sellars’ Salzburg production.

Recent engagements include her debut at the Teatro dell'Opera di Roma as Consuelo in John Adams’ I Was Looking at the Ceiling and Then I Saw the Sky, Sophie in Werther at Theater Basel, Messiah at Boston Baroque, the role of Pearl in Morning Star at the Cincinnati Opera, Barbarina in Le Nozze di Figaro for Opéra national de Montpellier, Climene in Fetonte by Jommelli at the Schwetzinger Festspiele, Juliette in Roméo et Juliette with the St. Petersburg Opera Florida, Clara in Porgy and Bess with the Royal Danish Opera as well as the Russian Philharmonic on European tour and Sister Rose in Jake Heggie’s Dead Man Walking with Central City Opera, and, most recently, Musetta in La Boheme at Scottish Opera.

Jeanine is a former member of the Wiener Staatsoper, 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.

Whilst in the opera studio at the Manhattan School of Music, she performed the title role in Handel’s Semele, Lauretta in Gianni Schicchi, Constance in Les Dialogues des Carmélites and Girl in Bernstein’s Trouble in Tahiti.  

Concert appearances include Mozart’s Exultate Jubilate with Sinfonia Rotterdam at the Concertgebouw Amsterdam, Rachel in Kurt Weill's Die Verheissung with the MDR Symphony Orchestra under Kristjan Jaervi, Brahms’s Ein deutsches Requiem with the Munich Philharmonic 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.
BelliniI Capuleti e i MontecchiGiulietta
BizetLes Pecheures de PerlesLeila
DonizettiL'elisir d'amoreGiannetta, Adina
GershwinPorgy and BessClara
Gilbert and SullivanThe MikadoYum Yum
GounodRomeo et JulietteJuliette
HandelGiulio CesareCleopatra
HeggieDead Man WalkingSister Rose
HeggieMoby DickPip
HumperdinckHaensel und GretelGretel
LeharDie lustige WitweHanna
MonteverdiL'Incoronazione di PoppeaPoppea
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
PucciniLa bohemeMusetta
RavelL'Enfant et les SortilègesLa Princesse
RossiniL'italiana in AlgeriElvira

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

"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.", 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.", 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.", 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.", Scottish Opera - La boheme, May 2017
"There was delicious singing from Jeanine De Bique’s outrageous minx Musetta..."
The Herald, Scottish Opera - La boheme, 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, Handel, Messiah - Boston Baroque, December 2015
“Jeanine De Bique profiliert diese Figur mit messerscharf geführtem Sopran und herrisch attraktiver Geste.”
Opernnetz, Jommelli, Fetonte - Theater Heidelberg, Schwetzinger Rokokotheater, December 2014
“Königin des Gesangs indes war die Sopranistin Jeanine de Bique aus Trinidad als Gast, die mit überzeugender Bühnenpräsenz eine sehr facettenreiche Climene spielte und sang und ihren reichen Sopran von gekonnten Koloraturen bis hin zum Dramatischen einsetzte.”
Der Opernfreund, Jommelli, Fetonte - Theater Heidelberg, Schwetzinger Rokokotheater, December 2014
“Die Damenriege führte die aus Trinidad stammende Sopranistin Jeanine De Bique an, die als Climene, Königin von Nubien, mit höchst flexibler und dabei gut geführter Stimme brillierte. Ein Genuss!”
Rhein-Neckar-Zeitung, Jommelli, Fetonte - Theater Heidelberg, Schwetzinger Rokokotheater, December 2014

“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

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