French Algerian soprano Amel Brahim-Djelloul is recognized as an exceptional musical personality and appreciated for the rich and bright color of her voice. She makes her Opera Lafayette debut as Gontran, a trouser role in Chabrier's Une Éducation Manqueé. A one-act opera, Opera Lafayette's production will be preceded by rarely performed songs by Chabrier, depicting how the young couple grew up from childhood through their teen years. Brahim-Djelloul's son Sami Sidi-Boumedine will portray a young Gontran in this prelude to the opera.
This season Brahim-Djelloul performs on many European opera stages, including Opéra de Limoges, where she will interpret Zanetta in Offenbach's La Princesse de Trébizonde, a role she performed in 2013 for Opéra-Théâtre de Saint-Etienne. Watch her video.
This season she also sings in a new creation of Zad Multaka in the Te Deum of Lully and Charpentier with Le Poème Harmonique at both the Auditorium de Lyon and at Budapest, and gives a concert at Algiers with the Algerian National Symphonic Orchestra and at Kiev with the National Philharmonic of Ukraine.
Her opera credits include Servilia in La clemenza di Tito (Opéra National de Paris, Festival d'Aix-en-Provence), the title role in Messager’s Véronique (Théâtre du Châtelet), Nannetta in Falstaff (Théâtre des Champs-Elysées), Susanna in Le nozze di Figaro (Angers-Nantes Opera, Lausanne Opera), Pamina in Die Zauberflöte, Despina in Così fan tutte (Nice Opera), Adina in L'elisir d'amore (Avignon Opera), Mélisande in Pelléas et Mélisande, and Drusilla, Amore, and Valletto in L'incoronazione di Poppea (Théâtre des Champs Elysées, Berliner Staatsoper, Brussel's Théâtre de la Monnaie, Grand Théâtre de Genève, Opéra National de Paris, and Lille and Dijon operas).
She has performed on some of the major stages, in France (Opéra National de Paris, Théâtre du Capitole de Toulouse, Théâtre des Champs-Elysées, Théâtre du Châtelet, Opéra Comique, Nice Opera, Avignon Opera, Salle Pleyel, Salle Gaveau, Théâtre Musical de Besançon, and Chorégies d'Orange) and abroad (Lausanne Opera, Grand Théâtre de Genève, Deutsche Staatsoper in Berlin, Monnaie de Bruxelles, Kennedy Center in Washington, London's Barbican, Madrid 's Auditorium, Théâtre national Algérien in Alger, and New York’s Lincoln Center).
She has been invited by several orchestras (Orchestre national de France, Washington’s National Symphony Orchestra, Orchestre Philharmonique de Strasbourg, Orchestre Symphonique Pasdeloup, Orchestre Symphonique National Algérien, Orchestre national d'Ile-de-France) and musical formations (Le Poème Harmonique, Les Arts Florissants, and 2E2M).
Proud of her origins and cautious about defending them if necessary, she wished to develop the program of her first record, edited by Ame Son, on the theme of the 1001 nights. It was well-received by the press. Her second record, Amel chante la Méditerranée offers pieces from the Arab-Andalusian heritage, adapted by her brother, Rachid Brahim-Djelloul, and interpreted with the Amedyez Ensemble. Her last recording, with Nicolas Jouve, is the program Populaires (Eloquentia), which celebrate the alliance of the folk tradition and composers as Brahms, Ravel, Canteloube, Collet, Respighi, Guridi, and Hahn.