B i o g r a p h y

Deborah Cachet, hailed by Gramophone as “an immensely pleasing and confident soprano – a voice to listen out for”, is proclaimed as the Young Promise of the year 2020 by Klara Radio. The Belgian soprano is a laureate of Le Jardin des Voix 2019, the young artists programme of Les Arts Florissants. She is in high demand with prominent period ensembles such as Les Talens Lyriques, Les Arts Florissants, Akademie für Alte Musik Berlin, Collegium 1704, Le Poème Harmonique, il Gardellino and Holland Baroque, performing at concert halls such as Theater an der Wien, Musikverein, Zaryadye Concert Hall, Forbidden City Concert Hall, Wigmore Hall, Philharmonie de Paris, Théâtre des Champs-Elysées, Bozar, Château de Versailles and festivals such as French May (Hong-Kong), Festival de Saintes, Festival van Vlaanderen, Utrecht Early Music Festival, Rheingau Festial, Innsbrucker Festwochen für Alte Musik, among others. 

 

In the 2022/23 season, Deborah Cachet makes her debut in the USA, singing the soprano solo in Händel’s Messiah with the Händel and Haydn Society in Boston led by Václav Luks. Alongside Reinoud van Mechelen, she sings the role of Procris in Jacquet de la Guerre’s opera Céphale and Procris, with ensemble A nocte temporis in Brussels, Versailles and Namur. With Les Talens Lyriques and Christophe Rousset, she performs and records Lully’s Thésée (role: Églée), and with Il Gardellino she sings Membra Jesu Nostri by Buxtehude, among other highlights. With theorbist Sofie Vanden Eynde she performs a number of intimate solo recitals with a programme of French airs de cour.
 

Last season, she made her house debut at the Opéra de Nice in the role of Théone in Lully’s opera Phaéton, and she performed the roles of Auglaure and Nymphes in Lully’s Psyché at the Theater an der Wien and Opéra Royal de Versailles with Les Talens Lyriques. On the concert stage, she sang the soprano solo in Händel’s Messiah with Collegium 1704 and in Händel’s Dixit Domunus. With Il Gardellino, she also presented a solo cantata programme of Bach and Händel at Vantaa Baroque Festival, Zentrum für Alte Musik and in Brussels. 
 

Her performed opera roles include Helena in A Midsummer Night's Dream at the Opera de Tours, the roles of Procri, Musa and Ninfa in Gli amori d'Apollo e di Dafne at the Innsbrucker Festwochen für Alte Musik as well as Dido in Dido and Aeneas and Didon in Desmarest's Didon et Énee with Paul Agnew and the Festival d'Ambronay Baroque Academy and Arminda in La finta Giardiniera with Les Arts Florissants. She recently impressed as Alphise (Les Boréades) with Collegium 1704 and was praised by the international press as “A dream Alphise” (Forum Opéra). Other highlights included performances as La Statue in Rameau's Pygmalion with Paul Agnew and Akademie für Alte Musik Berlin, Leçons de ténèbres with Les Talens Lyriques as well as with Le Poème Harmonique, the unique experience of the crossover production Amor with dancer Michèle Anne De Mey and director Jaco Van Dormael at Festival van Vlaanderen, and last but not least Cherubino in Le Nozze di Figaro with René Jacobs and Bach cantatas with Raphaël Pichon and Christian Immler at the Abbaye de Royaumont.
 

Her discography includes Les Boréades with Collegium 1704, Ballet royal de la Naissance de Vénus and Acis et Galatée (release October 2022), both by Lully, with Les Talens Lyriques and Christophe Rousset, Stravaganza d'Amore with Pygmalion and Raphaël Pichon, La Maddalena (A. Bertali), Petits Motets II (H. Fiocco), Dialoghi Amorosi (G.F. Sances) and O Penosa Lontananza (A. Scarlatti) all with the ensemble Scherzi Musicali and Nicolas Achten, Anamorfosi with Le Poème Harmonique and Vincent Dumèstre, Orphée aux enfers (Charpentier) with A Nocte Temporis and Vox Luminis and Brabant 1653 with Holland Baroque. This season, Passacaille records will release her first solo album La chambre bleue with Sofie Vanden Eynde.
 

Deborah studied in Leuven at Luca School of Arts with Gerda Lombaerts and Dina Grossberger and at the Conservatorium van Amsterdam with Sasja Hunnego, after which she continued to perfect her vocal technique with Rosemary Joshua. She won first prizes at the Concours International de Chant Baroque de Froville (2015), the New Tenuto competition (2013) and was a finalist of the 8th Antonio Cesti Competition. 


 

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