OCTOBER 23, 2023
Emy Gazeilles recently participated in the final of the Voix Nouvelles competition and has already secured her place among the seven singers in the newly reformed troupe of the Paris Opera.
Her love for the stage goes far back. Emy Gazeilles grew up immersed in the world of dance, following in the footsteps of her mother, a choreographer. She was only thirteen when she first stepped onto the stage of the Avignon Opera in the musical 1942 rue des Rosiers. Her passion for singing soon led her under the spotlight of television shows, from L’École des Fans Nouvelle Génération (2013) to La Nouvelle Star (2017).
It was a high school teacher who spotted her lyrical potential. “She heard me vocalizing in class and said, ‘You seem to have high notes — you need to explore that.’” With this passionate teacher’s encouragement, she went on to sing Adele in Johann Strauss’ Die Fledermaus and Marguerite in Gounod’s Faust at the Avignon Opera at just sixteen and seventeen years old.
Then everything moved very fast. A student of contemporary music in Avignon, Emy joined the lyrical arts program. After a year, she “moved up” to Lyon’s regional conservatory. Two years later, she left for the Paris Conservatoire (CNSM). In Yann Toussaint’s class, who made her “love bel canto,” she completed her degree in just two years. She refined her skills with vocal coach Antoine Palloc and also studied with sopranos Annick Massis and Leontina Vaduva.
Fresh and luminous
Winner of the Nîmes and Gordes competitions, a member of the 2022 Génération Opéra cohort, and featured in the televised Musiques en fête at Orange the following year, Emy has already sung Gilda in Rouen and at the Théâtre des Champs-Élysées.
At the Grande Boutique, she will showcase her fresh and luminous soprano in smaller roles such as Noémie in Massenet’s Cendrillon and Pedro in Don Quichotte, the Fire and the Nightingale in Ravel’s L’Enfant et les sortilèges, and understudying Lisette Oropesa as Cleopatra in Handel’s Giulio Cesare. This precious “geographical, artistic, and financial stability” will not stop her from singing Amor in Gluck’s Orphée in Toulon in March, but it allows her to look to the future with serenity.
B.F
