Mezzo-soprano formerly soprano, Natalie was awarded, as a result of this transition, the First Prize for women in Opera as well as two special prizes at the international Nuits Lyriques de Marmande Competition 2019.
Previously a member of the « Jardin des Voix » of Les Arts Florissants (William Christie/Paul Agnew), as well as the opera studio of Opera Fuoco (David Stern), and the Mozart Academy of Aix-en-Provence’s festival; Natalie studied at the Guildhall School of Music and Drama in London, under John Evans’ tutelage.
Noticed for her velvet timbre and stage presence, Natalie is a versatile artist, equally at ease in early music, opera, Lieder and mélodie. She collaborates regularly with baroque music ensembles such as Fuoco e Cenere (Jay Bernfeld), I Gemelli (Emiliano Gonzalez Toro), Les Arts Florissants, Los Elementos. Natalie has performed internationally in venues such as Paris Philharmonie, Guangzhou Symphony Hall (China); Tchaikovsky Concert Hall (Moscow). Reims, Massy, Nantes and Caen Opera Houses, London Barbican Hall and more.
Future engagements include; Soloist in Le Bourgeois Gentilhomme by Molière/Lully at the Opéra Comique in Paris, with Thibault Noally/Mark Minkowski and Jérôme Deschamps; The Young Artists’ Elisir d’Amore at the Théâtre-des-Champs-Élysée; Messaggiera in Monteverdi’s Orfeo with I Gemelli (Metz Arsenal, Opéra Royal de Versailles), Ana I in Weill and Brecht’s Seven Deadly Sins at the Theatre de l’Athénée in Paris, with Jacques Osinski and Benjamin Lévy.
Natalie was also awarded the Young Foreign Talent Prize
at the Jeunes Ambassadeurs Lyriques competition in Montréal in November 2019. She won the French Melodie prize at the Vivonne Competition « Vienne en Voix »; she was also finalist of the prestigious Bordeaux Médoc Competition.
On the operatic platform, Natalie makes her debut as Cisseo in J.C. Bach’s Zanaida with Opera Fuoco at the Leipziger Bachfest. Her roles since include Dorabella (Cosi Fan tutte, Lebanese national Orchestra, Toufic Maatouk); Oberto (Alcina – David Stern, Opera Fuoco, Shanghai Baroque Festival); La Musica and Euridice in Monteverdi’s Orfeo; Despina in Cosi fan Tutte, Sofia in Il Signor Bruschino, Bubikopf in Der Kaiser von Atlantis (Ullmann – Théâtre de l’Athénée, Opéra de Reims, de Nantes, de Massy), Silberklang in Der Schauspieldirektor and Tonina in Prima la Musica (Mozart/Salieri, David Stern and the Hong Kong Philharmonic); Mirtilla in Damon (Telemann – Theater Magdeburg); Despina in Cosi Fanciulli (Bacri – Théâtre-des-Champs-Elysées).
Other notable engagements include a Mozart Requiem at the Seine Musicale, staged by Yoann Bourgeois, with Laurence Equilbey and Insula Orchestra; Charpentier’s Messe de Minuit at the Paris Philharmonie with Paul Agnew and Les Arts Florissants; Telemann’s Ino Cantata with David Stern and the Guangzhou Symphony Orchestra (China); The cantatas “Apollo e Dafne” of Händel and “Antonio e Cleopatra” of Hasse with Alexander Rudin and Musica Viva (Moscow). Her collaboration with Les Arts Florissants has also brought her to venues such as the Paris Philharmonie, Nantes and Caen Opera Houses, Madrid’s Auditorio Nacional, Moscow’s Tchaikovsky Concert Hall, London Barbican Hall and more.
Passionate about song repertoire, Natalie made her debut at the Wigmore Hall in September 2019 as part of a young artist programme, led by Dame Felicity Lott and François Le Roux. She has participated in master classes with Anne Sofie Von Otter, Angelika Kirchschlager, Jean-Paul Fouchécourt, Ann Murray; and at the Franz-Schubert Institut in Austria, where she worked with Elly Ameling, Helmut Deutsch, Julius Drake, Bernarda Fink, Tobias Truniger, Robert Holl, Rudolf Jansen, Andreas Schmidt and Roger Vignoles.
Her discography includes: « Cozzolani Vespro », highly praised by reviews (I Gemelli, Naïve, 2019); “Berenice, che fai?” (David Stern, Opera Fuoco,label Aparté, 2017); as part of the Debussy Boxset “Debussy 100”, cantata “Eros et Diane” (Warner Classics); more than 80 pieces in Beethoven The Complete Works, Lieder, Folksongs (Warner Classics. Upcoing releases include Messaggiera in Monteverdi’s Orfeo (Emiliano Gonzalez Toro, I Gemelli, label Naïve); the role of Venus in the Zarzuela “Vendado es Amor, no es ciego” of Jose de Nebra (Los Elementos, Schola Cantorum Basiliensis, label Glossa).