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After training in classical voice and within the early music department of the Paris CRR (Regional Conservatory), soprano Roxane Chalard became a laureate of the Opéra Comique Academy. She won first prize at the Mâcon International Singing Competition. Seeking to broaden her vocal range, she trained in world music vocals with Les Glotte-trotters (Martina A. Catella).
She also trained in choral conducting and the O Passo method.
Curious and passionate, Roxane performs a vast repertoire ranging from early music to contemporary music. Her engagements have taken her to the stages of the Opéra Grand Avignon (Second Cousin, “La Périchole”), the Opéra de Dijon (Jano, “Jenůfa”), the Opéra de Saint-Étienne (Princess Badr-al-Budur in Nino Rota’s “Aladdin and the Wonderful Lamp” and the Forest Bird in Wagner/Larsen’s “Siegfried”), the Opéra Comique (Rose, “Lakmé”), and the Opéra de Marseille (Thérézine, Auber’s “Le Philtre”). At the Salle Gaveau, she has sung the roles of Proserpina and Ninfa (”Orfeo”, cond. J. Tubéry) and Semele (Handel’s “Semele”, cond. S. Fuget). She created the title role in Graciane Finzi’s opera “Peau d’Âne”, a production performed over 40 times, notably at the Opéra de Tours.
In recent seasons, she has performed the role of Violetta (”La Traviata”) on tour with Du Bout Des Doigts, cond. Alexandra Cravero and, with the LabOpéra des Hauts-de-Seine, Maria (West Side Story, Rencontres Musicales du Malzieu), Juliette (Roméo et Juliette), Despina (Così fan tutte), and Sophie (Werther) with the ensemble Du Bout Des Doigts (cond. Alexandra Cravero), and Pamina (Die Zauberflöte) with the LabOpéra Bretagne Saint-Brieuc. She participated in the premiere of the documentary-opera “Témoins de la Mer” by Aurélien Richard, as well as the premiere and recording of “Memories” by Arnaud Petit with Les Siècles.
She has appeared in several productions by Les Frivolités Parisiennes at the Théâtre Impérial de Compiègne (”Et Pendant ce Temps” dir. Christophe Mirambeau; “Noël de Légendes” dir. Pascal Neyron). Roxane has also portrayed numerous Mozart heroines: Susanna, Despina, Sandrina, Pamina, and Donna Anna in the touring promenade-opera production of “Don Giovanni” with the ensemble Justiniana. Roxane has performed the roles of Rita (”Rita ou le mari battu”, Donizetti), Frasquita (”Carmen”), Blanche Aline (”Les Aventures du Roi Pausole”, Honegger), Marie (”Les Mousquetaires au Couvent”, Varney), and the Governess (”The Turn of the Screw”, Britten).
Roxane collaborates regularly with the Ensemble Aedes and participates in the recording of their last five albums. She also sings with Sequenza 9.3, Les Métaboles, and Ensemble Zene.
Roxane has a particular fondness for chamber music and gives numerous recitals in duos or trios with harpist Chloé Ducray and flautist Tomoko Uemura.
As an oratorio soloist, Roxane has performed in Mendelssohn’s “A Midsummer Night’s Dream” at the Opéra de Toulon and Fauré’s “Requiem” with Ensemble Aedes and Les Siècles (Opéra de Massy, Festival de l’Epau, Festival de Perpignan, Heures Musicales de Lessay) a performance recorded live for the Aparté label.
This season, she is the soprano in the production "Et ils eurent beaucoup d’enfants" (And They Had Many Children), touring the region with the Opéra de Reims; the show was conceived and staged by C. Mirambeau and conducted by S. El Ghadab. She is returning to the Venice Biennale with Sequenza 9.3 and recording Michael Haydn’s “Mass of the Holy Trinity” as a soloist at the Musica Ricercata Festival in Timisoara. She will sing the role of Micaëla in “Carmen” with Du Bout Des Doigts, touring Burgundy, the Festival des Montagnes du Matin, and the Heures Exquises de Fouesnant. She will return to the Festival des Pierres Debout for Berlioz’s “Les Nuits d’été” and is launching the Supernature Breizh festival with Aurélien Richard.
“Musically, the evening is dominated by the impressive Violetta of
Roxane Chalard: she possesses not only the temperament for the title role,
but also the assurance of a voice that is pitch-perfect, powerful (even when the sound system
seemed to be malfunctioning during the third act), and impeccably even across her entire
vocal range, combined with an exceptional sense of phrasing and nuance.”
ConcertoNet.com 08/08/2023
“Ludivine Gombert, Roxane Chalard, and Christine Craipeau have charm
to spare, knowing just how to infuse their performances with that cheeky,
carefree touch typical of Offenbach.”
Opéra Magazine, 08/11/2019
“The three cousins (who also appear as ladies of the court in the second act), Ludivine
Gombert, Roxane Chalard, and Christine Craipeau, display, right from the
start of the first act, the same qualities that delight both the eye and the ear.”
“What a pleasure, truly, to hear French pronounced so well!”
Forum Opéra, Fabrice Malkani, 10/11/2019
“Full of life and singing with great insight, the quartet of Peruvian ‘grisettes’
Ludivine Gombert, Roxane Chalard, Christine Carpeau, and Marie Simoneau, throw themselves
wholeheartedly into regulated tricks.”
Arts-spectacles.com, Christian Colombeau, 10/11/2019
“The Three Cousins (Ludivine Gombert, Roxane Chalard, Christine Craipeau)
are not to be outdone, and show real dejection both on stage and vocally.&rquo;
Opera-online, Emmanuel Andrieu, 10/11/2019
« Roxane Chalard (coquette adorned with a honeyed and luminous voice in
Berginella/Brambilla)
Ôlyrix, Marjorie Cabrol, 11/11/2019
“Helena Köhne (Grandmother) does not lack breadth, nor does Roxane Chalard
(Jano) lack warmth.”
Anaclase, Laurent Bergnach, 17/01/2019
“Axelle Fanyo and Roxane Chalard cast as Barena and Jano, respectively possess
beautiful vocal timbres, ample vocal projection, and genuine stage presence, allowing them
to avoid reducing their characters to simple silhouettes.”
Ôlyrix, Stéphane Lelièvre, 09/28/2018
« The young French soprano Roxane Chalard portrays a lively and clear
Jano”
Opera Online, Emmanuel Andrieu, 01/10/2018
« There is no weakness noteworthy among the supporting roles are Barena and Jano
(Roxane Chalard) in particular.”
ForumOpera.com, Yvan Beuvard, 26/09/2018
“Roxane Chalard’s Pie Jesu borders on ecstasy.”
ConcertClassic.com, 12/04/2018
“Her full, warm voice is a generous supplication (Fauré’s
Pie Jesu), albeit restrained, sung with a nearly closed mouth.”
Ôlyrix, 17/04/2018
"Roxane Chalard (wearing the evening’s most beautiful costume) embodies
the Forest Bird with a crystalline, soaring voice."
Ôlyrix, Paula Gaubert, 26/03/2018
"Roxane Chalard delivers a precise and
effortlessly natural rendition of Or sai, chi l’onore."
ResMusica, 28/08/2017
Profile featured in La Lettre du Musicien (issue no. 491, March 2017) by Suzanne Gervais
View press clipping
“The ladies are not to be outdone, with the sensual princess portrayed by soprano
Roxane Chalard and the warm-hearted mother of Aladdin played by mezzo-soprano Marie Gautrot.”
Opéra Magazine, Catherine Scholler, 19/10/2016
“Noteworthy is the performance and magnificent voice of Roxane Chalard in
the title role; she creates a very convincing princess [Peau d’Âne].”
Froggy’s delight, Nicolas Arnstam, 12/2015
“The opera production enlisted five young artists who are as skilled at acting as
they are at singing. Among the women, Roxane Chalard embodies
Térézine. She possesses a beautiful, powerful, and elegant soprano voice and handles
the upper register with ease.”
Destimed.fr, Michel Egea, 10/12/2014
“Roxane Chalard particularly excels in a tragic performance” in “Au pays où se fait la guerre” (Duparc) and stands out for its
fine musical structure in “Le spectre de la rose” (Berlioz).”
ResMusica, May 20, 2014
“The female trio (Hanna Schaer, Marion Tassou, the excellent Roxane Chalard)
shines through its musicality and intelligence.”
ConcertClassic.com, Jean-Charles Hoffelé, January 2014
“The two Englishwomen, Marion Tassou (Ellen) and Roxane Chalard (Rose), are
as fresh as two young maidens at fresh out of boarding school which, to a certain extent, they are, given that both belong to the second cohort of the Opéra-Comique Academy.”
ForumOpera, Christophe Rizoud, 10/01/2014
“The delightful Englishwomen played by Marion Tassou and Roxane Chalard
(currently members of the Opéra-Comique Academy)”
Lettre du musicien, Philippe Thanh, 14/01/2014
“The trio deliberately somewhat ridiculous, consisting of two silly young girls and their mistress was
wittily and convincingly portrayed by Marion Tassou, Roxane Chalard, and Hanna Schaer.”
“Marion Tassou, Roxane Chalard, and Hanna Schaer
portrayed two silly young girls and their mistress, a trio deliberately somewhat
ridiculous, in a funny and convincing manner” both.»
Operapoint, Alexander Jordis-Lohausen, 01/11/2014
"Roxane Chalard is a Rose with a lovely medium"
The Singer's Workshop, Alain Zürcher, 10/01/2014
"We only have good things to say about it" "To speak of the interventions of Roxane Chalard, of the
Académie de l’Opéra-Comique."
Le Figaro, Christian Merlin, 13/01/2014
"Jean-Sébastien Bou, simply perfect in the role of the comrade guardian of
good morals and Western values." The same goes for the young Englishwomen on a jaunt
(Roxane Chalard and Marion Tassou) accompanied by their grumpy governess. "
Le Monde, Marie-Aude Roux, 13/01/2014
“Charming and sparkling Miss Rose by Roxane Chalard ”
ClassiqueNews.com, Nicolas Grienenberger,
“Gesungen wurde auf Deutsch (ohne Übertitel) erstaunlich textverständlich. The gilt
besonders für die Pamina der Roxane Chalard, die über den
grossen Tonumfang von fast zwei Oktaven hin ihre Part mit schönem Legato und rührendem piano in
ihrer grossen Arie bewältigte.”
“The vocal part, in German, was astonishingly
understandable. This is particularly true of Roxane Chalard's Pamina, who mastered
her role, which spans almost two octaves, with a beautiful legato and touching pianissimos
in her aria.”
Online Merker, Sigi Brockmann, 24/02/2013
"An opportunity to appreciate the young soprano Roxane Chalard who displayed a
lovely legato, an elegant tone, an even vibrato, and an economy that
is perfectly suited to the intimacy of the performance" of the Lied.”
Letter from the musician, Clément Rochefort, 09/14/2012
È Strano... Sempre Libera, Violetta, La Traviata
Archival recording from the Rencontres Musicales du Malzieu, August 2, 2023
Roxane Chalard, soprano
Rencontres Musicales Orchestra
Conductor: Alexandra Cravero
Stage director: Renaud Boutin
Teneste la promessa... Addio del passato, Violetta, La Traviata, Verdi
Roxane Chalard, soprano
Jano - Jenufa - Janáček
Dijon Opera - September 2018
Jano: Roxane Chalard
Jenufa: Sarah-Jane Brandon
Direction: Yves Lenoir
Musical direction: Stefan Veselka
