Born in Albi, a flutist and cellist by training, Gabrielle Philiponet joined the Conservatoire de Valenciennes in 2003 in the singing class of Daniel Ottevaere, who still advises her today. She won two years later her gold medal unanimously. At the same time, she is working on her repertoire with Janine Reiss in Paris and David Miller in Brussels.
In 2005, she joined the Opera Studio of the Queen Elisabeth Music Chapel (CMRE), under the direction of José Van Dam and in partnership with the Royal Theater of La Monnaie. She graduated from CMRE “with the greatest honors”.
Noted in 2004 at the International Singing Competition of Vivonne, she won the “young hope” award, then, in 2006, the 1st Grand Prix Dame. That same year, she received the 1st prize at the Beziers Singing Competition. The Marmande international singing competition awarded her the “young hope” prize in 2006 and the special jury prize in 2007. In 2007, she also won the 3rd prize for the International Opera Competition in Marseille and, in 2008, the 6th prize at the prestigious Queen Elisabeth Competition.
She performed on stage in such roles as Susanna (The Nozze di Figaro) at the Opera National de Lorraine, Oscar (Ballo in Maschera) at the Opera Massy, Parasha (Mavra, Stravinsky) in Freiburg, Musetta (La Bohème) at the Marseille Opera, Despina (Cosi fan Tutte) and Gabrielle (La Vie Parisienne) at the Toulon Opera, Corinna (Il Viaggio a Reims) touring in Reims, Vichy, Montpellier, Tours, Nancy , Nice, Saint-Etienne, Marseille, Bordeaux and the Capitol of Toulouse, Eurydice (Orpheus in the Underworld) at the National Opera of Montpellier, Marie (The Musketeers at the Convent) and Mi (The Land of Smiles) at the Theater of Tourcoing, Rosita (A Husband at the Door) with the Royal Philharmonic of Liverpool and Fire, Princess and Nightingale with the Montreal Symphony Orchestra, The Fairy (Massenet’s Cinderella) at the Royal Theater of la Monnaie and the Grand Théâtre de Luxembourg, Lauretta (Gianni Schicchi) with the National Orchestra from Belgium. Her recent interpretation of Madga (La Rondine) at the Opéra national de Lorraine, Violetta (Traviata) at the Opéra de Massy, Donna Anna (Don Giovanni) touring Spain, Antonia (The Tales of Hoffmann) at the Opera Toulon and Portia (The Merchant of Venice, Reynaldo Hahn) at the Opera Saint-Etienne confirms its evolution to the repertoire of soprano lyrical.
These last two seasons were rich with his debut in the United States, again in Violetta (La Traviata) at the New Orleans Opera, Donna Anna (Don Giovanni) at Angers-Nantes Opera directed by Patrice Caurier and Moshe Leiser and roles such as Rosalinde (La Chauve-Souris) at the Avignon Opera House, Desdemona (Otello) with the Györ Philharmonic Orchestra conducted by José Cura, Fiordiligi (Cosi Fan Tutte) at the Rouen Opera, Mimi (La Bohème) touring Spain, Lisa (The Land of Smiles) at the Opera of Tours, Plautine (The Temple of Glory, Rameau) in San Francisco, Frasquita (Carmen) at the Festival of Aix en Provence put on stage by Dimitri Tcherniakov.
In concert, she sang Haydn’s Creation with the Auvergne Orchestra, with Jean-François Zygel at the Théâtre du Châtelet, for the opening Gala of the 20th Aspendos Festival in Turkey with the Antalya State and Ballet, Dvorak’s Stabat Mater in Seville and Essaouira (Alizés Festival), Mozart’s Mass in C minor, Dvorak’s Stabat Mater and Rossini’s Small Mass at the Arromanches Festival, Catel’s Semiramis (role of Azema) at the Festival de Radio-France and Montpellier, Adrien de Méhul (role of Emirene) at the Bela Bartok National Concert Hall in Budapest, The Last Day of Pompeii de Joncières (Ione) and Herculaneum of David (Lilia) at the Palazzetto Bru Zane in Venice . She was also Hermine (Saphir, David) still in Venice and Bouffes du Nord with the Circle of Harmony.
Gabrielle Philiponet collaborated with conductors such as Alain Altinoglu, Nicolas André, José Cura, Paul Goodwin, Stefan Klingele, Andreas Spering, Kent Nagano, Gunter Neuhold, Herve Niquet, Vasily Petrenko, Roberto Fores-Veses, Roland Boer, Luciano Accocella, Emmanuel Plasson, Laurent Campellone, Michel Piquemal, Gyorgy Vashegyi and Pascal Verrot.
She has recorded René Koering’s Hunting Scene (an Amazone) at Universal Music, Catel’s Semiramis (Azéma) at Glossa, Offenbach’s Husband at the Door (Rosita) with the Liverpool Philharmonic Orchestra, Cantatas, Choir and Symphonies by Max d’Ollones volume 4 from the Collection Prix de Rome of the Palazzetto Bru Zane and Dimitri by Victorin Joncières (Marina) with the Brussels Philharmonic and Flemish Chor, and Adrien by Etienne-Nicolas Méhul (Emirène) with the Purcell Chor and Orfeo Orchestra .