„What a voice! She exposes a full-bodied, resonant voice with warmth and softness, however simultaneously remaining flexible, graceful and elegant. More seductive a voice cannot sound!” A music-magazine of the German radio network SWR ("SWR2 Cluster") recently summarized Marie-Claude Chappuis’ performance enthusiastically this way. Above all it is her cheerful just as unreserved commitment to music which makes her artistry unique and outstanding. An artist of international recognition.
The Mezzo-soprano from Freiburg (Switzerland) pursued her vocal studies at the music-conservatory of her hometown and the Mozarteum University in Salzburg where she was awarded a special prize for her virtuosity. Having first been a steady member of the Innsbruck Opera ensemble – led by Brigitte Fassbaender that time – she succeeded to attain the leading musical venues throughout Europe and very soon Asia too.
The milestones of her career so far included Idomeneo (Idamante) staged and conducted by Nikolaus Harnoncourt in Graz and Zürich, L’incoronazione di Poppea (Ottavia) with René Jacobs conducting in Berlin and Brussels, L’Etoile (Lazuli) under John Eliot Gardiner in Zürich and Geneva, Carmen directed by Brigitte Fassbaender in Innsbruck, Cosi fan tutte (Dorabella) at the Salzburg Festival, La Clemenza di Tito (Sesto) under Alain Altinoglu’s baton in Baden-Baden and Luxemburg, Il Matrimonio Inaspettato (Contessa), a rare opera by Paisiello, under Riccardo Muti at Salzburg Festival, in Ravenna and Piacenza, Die Fledermaus (Prince Orlofsky) at the Grand Théâtre in Geneva as well as La Damnation de Faust (Marguerite) under Sir Roger Norrington in Leipzig.
Within the last years she joined productions such as Cavalieri’s Rappresentazione di Anima et Corpo (Anima) under René Jacobs at the Berlin State Opera, Schubert’s Fierrabras (Maragond) staged by Peter Stein at the Salzburg Festival, La finta giardiniera (Ramiro) under Emmanuelle Haïm in Lille and Dijon, The fairy Queen staged by Mariame Clément and conducted by Christophe Rousset at the Theater an der Wien and in a touring-production of Il ritorno d’Ulisse in Patria under René Jacobs.
2017/18 was highlighted by her debut at the Teatro alla Scala (Fierrabras). He opera plans for 2018/19 include appearances at the Theater an der Wien (Hedwige in Guillaume Tell), at the Teatro Real in Madrid and at the Staatsoper Berlin (Dido in Dido and Aeneas). Further plans include Offenbach's La Belle Hélène at the Theater St Gallen as well as the revival of Dido and Aeneas at the Staatsoper Berlin and at the Ludwigsburg Festival.
On concert-stage she has recently sung with Il Giardino Armonico and Giovanni Antonini (Haydn’s Arianna a Naxos), the Gewandhaus Orchestra and Riccardo Chailly (Bach’s St. Matthew’s Passion), the Salzburg Mozarteum Orchestra and Ivor Bolton (Mozart’s c-minor-Mass), the New Japan Philharmonic and Ingo Metzmacher (Beethoven’s Missa Solemnis) as well as the London Philharmonic Orchestra and Sir Roger Norrington (Dido and Aeneas).
Marie-Claude Chappuis sings frequently recitals accompanied by the lute player Luca Pianca and the pianists Malcolm Martineau, Cédric Pescia, Christian Chamorel and Michael Gees.
Her already extensive discography includes Bach’s St. Matthew’s Passion with Riccardo Chailly (Decca), La Clemenza di Tito (Annio) with René Jacobs (nominated for a Grammy Awards and released by Harmonia Mundi), Idomeneo (Idamante) with Nikolaus Harnoncourt (Styriarte Festival DVD Edition), Telemann’s Brockes-Passion (Prix du Midem 2009), Rameau's Pygmalionwith Les Talens Lyriques and Christophe Rousset (Aparte, 2017), Mozart Requiem with the Freiburger Barockorchester and René Jacobs (Harmonia Mundi, 2017) as well as solo albums with luthist Luca Pianca ("Sous l'empire d'Amour", Deutsche Harmonia Mundi, 2017) and folksongs from Switzerland („Au coeur des Alpes“, Sony Classical, 2018).