Recognized as an exceptional musical personality, appreciated for the rich and bright color of her voice, the soprano Amel Brahim-Djelloul is in 2012-2013 on stage in the Opéra de Paris (the Princess in Ravel’s L’Enfant et les Sortilèges) and in the Opéra de Saint-Etienne (Zanetta in Ofenbach’s La Princesse de Trébizonde). She also performs again with Pasdeloup Orchestra in Paris Téâtre du Châtelet, as well as with the ensemble 2E2M and Divertimento Orchestra ; she also sings in Fauré’s Requiem with the Orchestre National de France.
Amel Brahim-Djelloul began learning music by studying violin before she started singing. During her studies, she benefted from the teachings of Abdelhamid Belferouni, Noëlle Barker, Frantz Petri, Peggy Bouveret and Malcolm Walker. She graduated from the CNSMD in Paris.
Within William Christie’s Jardin des Voix, in 2005 she performed on the most prestigious stages in the world. In 2007, she is nominated in the Révélation Lyrique (Lyric Discovery) category of the Victoires de la Musique.
Her career already gave her the opportunity to play several major roles from her repertoire on famous stages (Opéra de Paris, Téâtre des Champs-Elysées, Téâtre du Chatelet ; Opéra de Nice, Opéra d’Avignon, Aix-en-Provence Festival ; Opéra de Lausanne, Berlin Staatsoper, Brussels Téâtre de la Monnaie, Grand Téâtre de Genève), such as Nanetta in Falstaf, Susanna in Le Nozze di Figaro, Pamina in Die Zauberföte, Despina in Così fan tutte, Adina in L’Elisir d’Amore, Amore and Valletto in L’incoronazione di Poppea, Mélisande in Pelléas et Mélisande or the title role in Messager’s Véronique. More recently, she was Servilia in La clemenza di Tito (Opéra de Paris, Aix-en-Provence festival), Drusilla in L’incoronazione di Poppea (Opéra de Lille and Opéra de Dijon), Gabrielle in Ofenbach’s La Vie Parisienne (Angers-Nantes Opéra) and Ninette in Prokofev’s L’Amour des Trois Oranges (Opéra de Paris).
She could thus work with conductors such as Alain Altinoglu, William Christie, Sir Colin Davies, Laurence Equilbey, Adam Fischer, Bernard Haïtink, René Jacobs, Kurt Masur, Philippe Jordan or Marc Minkowski, and was directed on stage among others by Robert Fortune, Lukas Hemleb, Nicolas Joël, Marco Arturo Marelli, Jean-Louis Martinoty, David McVicar, Philippe Sireuil, Luca Ronconi or Jean-Romain Vesperini.
Amel Brahim-Djelloul could be heard as well in the Chorégies of Orange for Rossini’s La Petite Messe Solennelle and in recital, notably in Avignon, Marciac, Pézenas…, with the pianist Nicolas Jouve around popular tunes or with the Amedyez Ensemble for the program Souvenirs d’Al Andalus, which ofers a magnifcent journey through diferent musical styles from the Maghreb and the Levant, originating from the golden age of Andalusian music.
￼Moreover, she participated in events designed to introduce classical music to people at large, such as the Festival Violon sur le Sable organised each summer on the beaches of Royan in front of 40,000 people per concert, or the Concert des Deux Rives in Strasbourg.
Proud of her origins and caring about defending them, she wished to develop the program of her frst record, edited by Ame Son, on the theme of the 1001 nights. It was unanimously received by the press. Her next record, Amel chante la Méditerranée ofers pieces from the Arab-Andalusian heritage, adapted by her brother, the violonist and musicologist Rachid Brahim-Djelloul, and interpreted by Amel Brahim-Djelloul and the Amedyez Ensemble.