JEANINE DE BIQUE
General Management
Trinidadian soprano Jeanine De Bique has in recent years gained international recognition for her “dramatic presence and versatility” (Washington Post), and “sheer endless wealth of colour and nuances[…] a radiant, free-floating timbre.” (Opernwelt)

The season 21/22 will commence with role and house debuts as Poppea in Monteverdi’s L’Incoronazione di Poppea with the Budapest Festival Orchestra and Iván Fischer in Budapest, Geneva and Vicenza, followed by the title role in Handel’s Alcina in Robert Carsen’s acclaimed production at l’Opera national de Paris, conducted by Thomas Hengelbrock. Ms De Bique is also looking forward to new collaborations with the Los Angeles Philharmonic and Gustavo Dudamel, Martin Fröst and the Swedish Chamber Orchestra, the Vienna Philharmonic and Herbert Blomstedt, the WDR Symphony Orchestra and Manfred Honeck and to recitals with pianist Gerold Huber for the Cincinnati Song Initiative and at Carnegie Hall, which will also be her solo debut at this hall.
Her first solo-CD, with Concerto Köln, will be released in October by Berlin Classics and followed by concerts in early 2022. The season will conclude with a role and house debut at the Aix-en-Provence Festival.

In 2020/21, she gave house and role debuts as Agathe in Weber’s Der Freischütz with Konzerthausorchester Berlin and Christoph Eschenbach, Bess/Porgy and Bess and as La Folie in Robert Carsen’s celebrated production of Rameau’s Platée at Theater an der Wien, conducted by William Christie and also presented in concert at Teatre del Liceu in Barcelona. Elsewhere, she performed excerpts from Porgy and Bess with the Rotterdam Philharmonic and with the orchestra of the Accademia Nazionale di Santa Cecilia in Rome, both conducted by Wayne Marshall, and returned to Theater St Gallen as Cleopatra in Handel’s Giulio Cesare
In the US, Ms De Bique performed Beethoven’s Symphony no 9 at the Aspen Music Festival and gave her debut with Houston Grand Opera in excerpts from Rodgers and Hammerstein’s The Sound of Music and a programme of works by Handel and Mozart, conducted by Patrick Summers.
 
Since her breakthrough debut at the 2017 Salzburg Festival as Annio in Peter Sellar’s production of La Clemenza di Tito, conducted by Teodor Currentzis and subsequently shown at De Nationale Opera Amsterdam, she has appeared as Susanna/Le Nozze di Figaro for San Francisco Opera, Helena in Ted Huffman’s production of A Midsummer Night’s Dream at Deutsche Oper Berlin, conducted by Donald Runnicles, in the title role of Handel’s Rodelinda at Opéra de Lille, conducted by Emmanuelle Haïm and released on DVD by Erato (winner of the Opus Klassik Award 2020), as Donna Anna in Don Giovanni for Opéra National du Rhin and as Aida in the world premiere of Caruso a Cuba by Micha Hamel in a return to De Nationale Opera Amsterdam.

Concert highlights include Brahms’ Ein deutsches Requiem with Raphaël Pichon at La Seine Musicale in Paris and with Lorin Maazel and the Munich Philharmonic, Mahler’s Symphony no 2 with the Orchestre National du Capitole de Toulouse under Tugan Sokhiev in Toulouse and at the Philharmonie de Paris, Handel arias and Mozart’s Requiem with the Budapest Festival Orchestra and Iván Fischer at the Hollywood Bowl and New York’s Lincoln Center, Mahler’s Symphony no 4, conducted by Teodor Currentzis, in Milan, St Petersburg, Munich and Budapest, return visits to the BBC PROMS in works by Handel with the Chineke! Orchestra and with the Scottish Chamber Orchestra and Richard Egarr, the Messiah with the Atlanta Symphony Orchestra, the Royal Liverpool Philharmonic and the Melbourne Symphony, Paert’s Como cierva sedienta with Iván Fischer and the Konzerthausorchester Berlin and Mahler’s Symphony no 8 with Lorin Maazel and the New York Philharmonic as well as the Chicago Symphony Orchestra and Marin Alsop at the Ravinia Festival.

Ms De Bique holds a Master degree from the Manhattan School of Music. Her awards include First prize at the Young Concert Artists, Inc Music Competition, the Arleen Auger Prize at the Hertogenbosch International Vocal Competition, Third Prize in the Viotti International Music Competition. She was a prize winner at the Gerda Lissner Vocal Competition (New York), a finalist and study grant award recipient of the 2011 Metropolitan Opera National Council Auditions and received a study grant from the Licia Albanese-Puccini Foundation. She is a recipient of the Youth Ambassador for Peace, awarded by the National Commission of UNESCO, Trinidad and Tobago.
 
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AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.
Opera
ComposerWork
BeethovenFidelioMarzelline
BelliniI Capuleti e i MontecchiGiulietta
BizetCarmenMicaela
BizetLes Pecheures de PerlesLeila
DonizettiL'elisir d'amoreGiannetta, Adina
GershwinPorgy and BessClara
Gilbert and SullivanThe MikadoYum Yum
GounodRomeo et JulietteJuliette
GounodFaustMarguerite
HandelAlcinaAlcina
HandelGiulio CesareCleopatra
HändelSemeleSemele
HeggieDead Man WalkingSister Rose
HeggieMoby DickPip
HumperdinckHaensel und GretelGretel
JommelliFetonteClimene
LeharDie lustige WitweHanna
MassenetManonManon
MassenetWertherSophie
MonteverdiL'Incoronazione di PoppeaPoppea
MozartWertherSophie
MozartIdomeneoIlia
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
PucciniTurandotLiu
PucciniLa bohemeMusetta
RavelL'Enfant et les SortilègesLa Princesse
RossiniL'italiana in AlgeriElvira
VerdiRigolettoGilda
VerdiFalstaffNannetta

G.F. Händel: Rodelinda (DVD)

Le Concert d'Astrée, Opéra de Lille
Emmanuelle Haim, cond
Jean Bellorini, director
with Jeanine de Bique, Tim Mead, Benjamin Hulett, Avery Amereau, Jakub Jozef Orlinski, Andrea Mastroni,
Erato (9402426)

Opus Klassik Award 2020

JEANINE DE BIQUE: J. P. Rameau, Formons les plus brillants concerts (Platée) - Live recording 2021

G. F. Handel, Ombre, piante (Rodelinda)

G. F. Handel, Io t'abbracio (Rodelinda)

W. A. Mozart, Kyrie (Mass in C minor/La Clemenza di Tito)

G. F. Handel, Rejoyce greatly (Messiah)

W. A. Mozart, Tu fosti tradito (La Clemenza di Tito)

C. H. Graun, Tra le procelle assorto (Cesare e Cleopatra) - Orchestra of Houston Grand Opera/Patrick Summers cond

'Making Of' video of 'Der Freischütz' at Konzerthaus Berlin

„[...] für das alles überstrahlende Glück aber sorgte eine Agathe, die mit jedem Ton Wonneschauer entfesselte: Jeanine De Bique. Man kann nur über den schier unerschöpflichen Farben- und Nuancenreichtum staunen, der aus diesem zierlichen Körper strömt, ein blühendes, elastisch-flutendes Timbre, das an Jessye Norman denken lässt.”
 
Opernwelt, C.M. v. Weber, Der Freischütz - Konzerthaus Berlin, August 2021
"Vor allem aber Jeanine De Bique vermag als Agathe die große Szene "Wie nahte mir der Schlummer" zu einem reichen Gefühlsgemälde auszugestalten, indem sie sich Zeit nimmt, aber dabei nie ihre Stimme ausstellt, sondern die Phrasen gelassen atmen lässt."
Berliner Zeitung , C.M. v. Weber, Der Freischütz - Konzerthaus Berlin, June 2021
"Das Wichigste ist freilich ihre Stimme! Sie erinnert mich stellenweise an den unverwechselbaren Sound von Jessye Norman."
der Freitag, C.M. v. Weber, Der Freischütz - Konzerthaus Berlin, June 2021
"Zum leuchtenden Stern am Berliner Abendhimmel wird [...] Jeanine De Bique, die ihren schönen Sopran ganz wunderbar fliessen lässt und nicht nur bei "Leise, leise fromme Weise". Die Sorgen, die sie sich um Max und die bevorstehende Hochzeit bzw. Ehe mit ihm macht, sind ihr anzuhören und im Gesicht deutlich abzulesen."
onlinemerker.com, C.M. v. Weber, Der Freischütz - Konzerthaus Berlin, June 2021
"[...] die schöne Agathe (Jeanine De Bique mit füllig zaubervollen Tönen[...]."
Die Deutsche Bühne, C.M. v. Weber, Der Freischütz - Konzerthaus Berlin, June 2021
"Dans le rôle d’Agathe, Jeanine de Bique semble être la grande révélation du spectacle [...]."
classique-c-cool.com, C.M. v. Weber, Der Freischütz - Konzerthaus Berlin, June 2021
"Am besten und wirklich auffällig toll ist Jeanine De Bique [...] Das ist eine Grace Bumbry als Glamour-Sopran, durchaus eindrucksvoll!"
rbb-online.de/kultur, C.M. v. Weber, Der Freischütz - Konzerthaus Berlin, June 2021
"Trinidad and Tobago-born De Bique was radiant all evening, as exuberant on the title tune as she was sunny on “My Favorite Things” and brilliantly self-assured on the lesser-known (but wonderful) “I Wonder.” "
houstonchronicle.com, Rodgers/Hammerstein, The Sound of Music - Houston Grand Opera, May 2021
"[...] the voice that charmed the audience was that of Jeanine De Bique. Rameau wrote for the character of La Folie the most beautiful and spectacular musical moments. The elegant singer of Trinidad and Tobago [...] showed in those moments an angelic voice, delivering the coloraturas and intervallic jumps perfectly [...]. De Bique [...] held the audience spellbound with her gestural grace and chameleon voice that had no excessive projection but great plasticity."
scherzo.es, J.Ph. Rameau, Platée - Teatro del Liceu (Les Arts Florissants, W. Christie), February 2021
"Mit einem wunderbar vollen Sopran mit prächtigen Tiefen wird „V’adoro pupille“ nicht nur zum musikalischen Höhepunkt: Mit ihrer fesselnden Bühnenpräsenz zelebriert De Bique, auf einer fahrbaren antik angehauchten Sänfte im herrlich glitzernden Kostüm genüsslich die Anbetung ihrer Perlen. Besonders intensiv gelingen ihr dann „Se pietà di me non senti“ und „Piangerò la sorte mia“."
onlinemerker.com, G.F. Händel, Giulio Cesare in Egitto, November 2020
"Die Solisten sorgen am Premiernabend für Wonnegefühle, allen voran das Titelpaar. Jeanine De Biques fokussierter Sopran glänzt wie ein Stern und zieht eine strahlende Bahn [...]."
Der Standard, G.Gershwin, Pory and Bess - Theater an der Wien, October 2020
"Die aus Trinidad-Tobago stammende Jeanine De Bique ist mit ihrem schlanken Sopran und ihrer intensiven Gestaltung diesem Porgy eine absolut ebenbürdige Bess."
Kurier, G.Gershwin, Porgy and Bess - Theater an der Wien, October 2020
"Jeanine De Bique kann beides zugleich: den Vamp geben, und das an Drogen und Macho Männer verlorene, schutzbedürftige Mädchen. Ihr heller, strahlender Sopran kommt wie selbstverständlich dazu."
Kleine Zeitung Steiermark, G.Gershwin, Porgy and Bess - Theater an der Wien, October 2020
"[...] la voix séraphique de Jeanine De Bique [...]."
resmusica.com, Philharmonie de Paris - G.Mahler, Symphony no 2 (Orchestre National du Capitole de Toulouse, T.Sokhiev), February 2020
"Die Hermia [...] kann sich gegen ihren Lysander [...] behaupten, Jeanine De Bique ihre durch all die Zauberei verunsicherte Helena mit Leidenschaft aussingen."
morgenpost.de, B.Britten, Midsummer Night's Dream - Deutsche Oper Berlin, January 2020
"Unter den 19 Solisten begeisterte allen voran der schottische Schauspieler Jami Reid-Quarrell als fliegender Puck, sowie der Countertenor James Hall als Oberon und die aus Trinidad und Tobago stammende Sopranistin Jeanine De Bique als Helena."
br-klassik.de, B.Britten, A Midsummer Night's Dream - Deutsche Oper Berlin, January 2020
"Köstlich in Spiel und Gesang die sich in ihren Leidenschaften kontrovers kreuzenden Liebespaare von Karis Tucker als Hermia, Gideon Poppe als Lysander sowie Samuel Dale Johnson als Demetrius und Jeanine De Bique als Helena."
nmz.de, B.Britten, A Midsummer Night's Dream - Komische Oper Berlin, January 2020
"[...] dem hinreißend lyrischen Sopran von Jeanine De Bique als Helena – die schönste der vier Stimmen im menschlichen Gesangsquartett."
hundert11.net, B.Britten, Midsummer Night's Dream - Deutsche Oper Berlin, January 2020
"Von den GesangssolistInnen waren Jeanine De Bique (als Helena) sowie James Platt (als Bottom) ganz besonders auffällig und gut."
freitag.de, B.Britten, A Midsummer Night's Dream - Deutsche Oper Berlin, January 2020
"Quant aux solistes, ils illuminent cette interprétation de leur talent: [...] Jeanine de Bique, avec son timbre magnifique, susurre les inquiétudes de Brahms d’une manière prenante."
musikzen.fr, La Seine Musicale - J.Brahms, Ein deutsches Requiem (Jeune Orchestre de l'Abbaye, Raphaël Pichon), December 2019
"[...] la soprano Jeanine de Bique offre son épisode soliste [...] comme une parenthèse enchantée et céleste. [...] Jeanine de Bique est une chanteuse lyrique à l'aigu vibrionnant de lumière. Le volume est très fin et assuré, les longues lignes sont nourries en densité : dans l'appui d'un filin qui n'a pas besoin de lever la voix et le volume pour se projeter et rayonner."
olyrix.com, La Seine Musicale - J.Brahms, Ein deutsches Requiem (Jeune Orchestre de l'Abbaye, Raphaël Pichon), December 2019
"Susanna (Jeanine De Bique) has  a bright perky tone. De Bique’s voice, full of candor and innocence, perfectly reflects her role as a young, straightforward servant in the aristocratic mansion."
theatrius.com, W.A. Mozart, Le nozze di Figaro - San Francisco Opera, October 2019
"Susanna, sung by soprano Jeanine De Bique, was captivating. Comfortable on stage, once her opening softness was conquered, she never flagged in a part that never lacked her presence. One felt that she was stage the whole time.
Besides flexible facial expression, energetic bodily movement, action that never lacked focus and precision, De Bique seemed born to be precisely there. She hopped and skipped, singing all the way. Her voice kept an overall covered quality [...]."
operawire.com, W.A. Mozart, Le nozze di Figaro - San Francisco Opera, October 2019
"Soprano Jeanine De Bique plays the betrothed servant Susanna with a blend of perky ebullience and watchfulness. Her singing deepens into something quietly lustrous along the way."
sfcv.org, W.A. Mozart, Le nozze di Figaro - San Francisco Opera, October 2019
sfoperablog.com, W.A. Mozart, Le nozze di Figaro - San Francisco Opera, Interview, October 2019
"Jeanine De Bique has an utterly enchanting voice [...] De Bique’s forte is with bravura material (her last Proms appearance included a breathtaking account of ‘Rejoice greatly’), and [...] all of her numbers were full of that trademark sweetness and cream [...] in her duets with Mead was [...] the sparkle and brilliance of her upper register unleashed."
musicomh.com, G.F. Händel, Jephta - BBC Proms (Scottish Chamber Orchstra, Egarr), September 2019
"Jeanine De Bique made an exquisite Iphis."
theguardian.com, G.F. Händel, Jephta - BBC Proms (Scottish Chamber Orchstra, Egarr), September 2019
"Trinidadian soprano Jeanine De Bique made a spectacular Iphis [...]. De Bique has a lovely bright soprano with some pin-sharp coloratura and an ability to make the vocal lines expressively shaped. She brought hints of sexy languor to Iphis' earlier arias, and definitely gave the impression she knew her mind. After the crucial events of Act 2, her Iphis took on a new dignity and her final aria, whilst beautiful, was also serious and profoundly dignified."
planethugill.com, G.F. Händel, Jephta - BBC Proms (Scottish Chamber Orchstra, Egarr), September 2019
"Both Trinidadian soprano Jeanine De Bique [...] as sacrifice-to-be Iphis and Welsh-born contralto Hilary Summers as her mother Storgè have voices in a thousand, utterly distinctive of hue, [...] there were melting moments."
theartsdesk.com, G.F. Händel, Jephta - BBC Proms (Scottish Chamber Orchstra, Egarr), August 2019
"Placed in the middle of the program were three arias by George Frideric Handel, sung by Jeanine De Bique. The first, “Disserratevi, o porte d’Averno,” comes from Handel’s oratorio “La resurrezione.” De Bique’s heightened soprano quickly struck the double “r” in the word “disserratevi,” using the roll to establish a dramatic momentum that lasted through the number. The short text, ripe with evocative, religious imagery was illuminated at great length thanks to De Bique’s sense of breath and sharply- executed ornamentation.
Following this was “Ritorna, o caro e dolce mio tesoro,” from Handel’s opera “Rodelinda.” The more stately atmosphere conjured by the strings and harpsichord saw De Bique take a fittingly more relaxed approach, while not lacking in delivering a highly melismatic punch.
Finally was “Da tempeste il legno infranto,” from Handel’s “Giulio Cesare,” featuring repeated runs of colors which made an excellent showcase of De Bique’s vocal agility as she either closed phrases with a soaring flourish, or bring them to a full-bodied close before the orchestra’s ritornello. Her rapid-fire ornaments crescendoed to a sonorous height before she brought the number to a triumphant end, drawing tremendous applause."
operawire.com, Handel Arias - Budapest Festival Orchestra, Iván Fischer (Lincoln Center, New York), August 2019
"The centerpiece was three Handel arias [...] sung by Jeanine De Bique. In a remarkable display of dramatic presence and vocal agility she delivered each number with exceptional ease, tonal clarity and panache. She began tenderly with the bittersweet ‘Ritorna, oh caro e dolce mio tesoro’ [...] Next De Bique pumped up the excitement with a sparkling rendition of the triumphant and highly ornamented ‘Da tempeste il legno infranto’ [...]. Finally – and most spectacularly – came an absolutely breathtaking interpretation of the even more elaborately decorated ‘Disseratevi, o porte d’Averno!’."
classicalsource.com, Handel Arias - Budapest Festival Orchestra, Iván Fischer (Lincoln Center, New York), August 2019
"A handful of arias by Handel followed [...] with the opulent-voiced Jeanine De Bique handling these works’ virtuosic arpeggiations and trills with all the seeming ease of a bird soaring in flight. Yet one could discern behind these Baroque characters that she incarnated momentarily a foreshadowing of a Kundry or Salome waiting to be heard, perhaps in the not too distant future."
bachtrack.com, Handel Arias - Budapest Festival Orchestra, Iván Fischer (Hollywood Bowl), August 2019
"[...]the rich theatricality of the 100-minute Eighth was captured by [...] the brief but exquisite rendering of a meditative passage by Jeanine De Bique [...]."
wttw.com, Ravinia Festival, Mahler 8 (Chicago Symphony Orchestra/ Marin Alsop), July 2019
"De Bique started with four Goethe Lieder by Hugo Wolf, which she interpreted nuanced, discreetly empathetic in good German and with smooth collaboration with Inge Spinette at the piano. [...] Caribbean songs and some spirituals [...] were part of the program [...] she made them irresistible.
De Biques final numbers were the Exultate Jubilate of Mozart which she sang with dense and intense voice, good singing and infectious joy. The high tones have high resonance and the middle register is full of colors. With her lyrical elegance and dramatic presence, she has a promising future [...]."
hbl.fi, Recital, Musiikia Ruovesi Festival (Wolf, Mozart, Carribean Songs), July 2019
"Timbre corsé, aigus tranchants et art de la vocalise accompli, Jeanine De Bique est une splendide et altière Donna Anna."
resmusica.com, W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Jeanine De Bique est une prodigieuse Donna Anna, complexe, équivoque, servie par des moyens indéniables. Voix ample, épanouie, sensuelle comme on en rencontre rarement dans cet emploi."
forumopera.com, W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Jeanine de Bique prête à Donna Anna son timbre capiteux, mordoré dans les graves, qui manque de tranchant dans le trio introductif, mais fait merveille dans son dernier air, où elle offre un jeu de nuance et une agilité exceptionnels."
olyrix.com, W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"[...] Jeanine de Bique ist eine im Dramatischen ebenso wie im Lyrischen überzeugende, koloraturensichere Donna Anna."
Badische Zeitung, W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Mention particulière pour Jeanine De Bique, Donna Anna d’une grande intensité dramatique, à laquelle les vocalises traîtreuses de « Non mi dir » ne font pas peur non plus. Difficile de ne pas penser à la jeune Leontyne Price en l’écoutant [...]."
concertonet.com, W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Donna Anna, Jeanine De Bique, personnalité riche et complexe, prend une voix lumineuse et ronde, épanouie."
classiquenews.com, W.A. Mozart, Don Giovanni - Opéra national du Rhin, June 2019
"Jeanine De Bique was a charismatic, appealing Susanna for whom the role seemed relatively easy. [...] De Bique dominated most of the ensembles even though her voice was not among the largest in the cast.  She sang her final aria, “Deh vieni, non tardar O gioia bella” (“Come, don’t tarry Oh beautiful joy”) with exquisite, silver-tinged high tones [...] De Bique’s rendition had a fine sense of style and line. It pleased the Phoenix audience immensely."
operawire.com, W.A. Mozart, Le nozze di Figaro - Arizona Opera , April 2019
"Aida is a challenging role, requiring technical and stylistic virtuosity. Soprano Jeanine De Bique inhabited it with tenacious passion, vocal deftness and a beguiling stage presence.[...] Aida’s piercing monologue, delivered by De Bique with a glass-like fragility, was the best thing about the finale."
www.operatoday.com, Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"Soprano Jeanine De Bique from Trinidad (Aida) is a revelation. [...] she was breathtaking from beginning to end."
NRC Handelsblad, Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"The soprano, Jeanine De Bique, made an equally successful impression in the role of Aida, whom she presented as compassionate, loving, sympathetic, and at times feisty. It was, however, the beauty of De Bique’s singing that really caught the attention. The voice has an attractive, young, fresh quality, burnished with a silvery coating, which she used to deliver a sparkling performance.
Her singing was full of well-crafted phrase, subtly allied to the meaning of the text, which in the more lyrical passages allowed her to develop long arching lines of exquisite beauty. Moreover, the voice is agile and supple, and lost none of its radiance as it soared gracefully upwards."
operawire.com, Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"Jeanine De Bique brings wonderful empathy and a fabulous sound to the role of his lover Aida."
Trouw, Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"The Aida, sensational Trinidadian soprano Jeanine De Bique [...]."
De Volkskrant, Micha Hamel, Caruso a Cuba - De Nationale Opera, Amsterdam, March 2019
"Jeanine De Bique was extremely successful in her prise de rôle as Rodelinda. Her bright top was supported by a bronzed middle voice, which gave depth to her display of emotions. She cut a truly tragic figure, and one could hear Mozart and Italian bel canto in her future. She judiciously lightened her voice for melancholy effect in the lamentation arias, while still being forceful in the interpretation of the outraged queen, mistress of her own destiny."
bachtrack.com, G.F. Händel, Rodelinda - Opéra de Lille, October 2018
"Ce n’est pas tous les jours que Rodelinda hérite d’un timbre aussi opulent, au médium fauve et charnu. Prudente dans les coloratures, l’artiste sait, par contre, alléger l’émission et doser la lumière de l’aigu au gré, notamment, d’une interprétation déjà très personnelle et poignante des lamenti de Rodelinda. De la détermination farouche à la jubilation, de la douleur ravivée du deuil à l’attendrissement, son chant demeure constamment incarné, vibrant et embrasse toute la gamme d’affects qui chamboulent la mère de Flavio et compagne de Bertarido."
forumopera.com, G.F. Händel, Rodelinda - Opéra de Lille, October 2018
"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."
bachtrack.com, 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."
musicomh.com, 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."
classicalsource.com, 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."
bachtrack.com, G. Puccini, La Bohème - Scottish Opera, May 2017
"There was delicious singing from Jeanine De Bique’s outrageous minx Musetta..."
The Herald, G. Puccini, La Bohème - Scottish Opera, 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, G.F. Händel, Messiah - Boston Baroque, December 2015

Jeanine De Bique

Bio English

Jeanine De Bique

Photo Credit: Marco Borggreve

Jeanine De Bique

Photo Credit Marco Borggreve

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