The opera with Jean-Marie Joye
Rachël Esmoris began studying music at the age of six at the Perpignan Conservatory. Her first instrument was the piano, but she later shifted her focus to opera singing, developing her vocal technique for a total of ten years under the instruction of Jean-Marie Joye. During this period, she explored other art forms in parallel, such as drama and dance, allowing her to broaden her vision of the stage and enrich her own performances. To complete her vocal training and perfect her technique, she studied under Rié Amada for a further two years.
From “Le théâtre du Capitole” to “Les chanteurs de Bayreuth”
In 1999, Rachël auditioned for the choir of the Théâtre du Capitole in Toulouse. Her performance as Cherubino from Mozart’s The Marriage of Figaro won over then chorus master Pierre Iodice, and marked the beginning of a long professional relationship between the two. Between 1999 and 2002, Rachël sang in a variety of productions under Iodice’s direction, including Tannhäuser, Nino Rota’s Le Chapeau de paille d’Italie, and Franz Lehár’s The Land of Smiles, among others.
The 2002–2003 season brought with it a major musical and personal event for Rachël, when eminent choirmaster Norbert Balatsch was invited to perform at the Capitole with the Bayreuth Singers in Die Meistersinger von Nürnberg. Impressed by the quality of the choir, Rachël decided to audition in Bayreuth in 2003, and was successful, earning special congratulations from chorus master Eberhard Friedrich and becoming a laureate of the Bayreuth Festival Chorus.
A lyrical decade of the greatest tunes
She spent the next few seasons (2003–2009) working under the direction of Patrick Marie Aubert (Othello, Aida, The Damnation of Faust, Leoncavallo’s Pagliacci and Puccini’s La Messa), and performed in Valencia with the choir of the Capitole. Subsequently, from 2009 to 2011, she worked under Alfonso Caiani (Simon Boccanegra, La Bohème, Poulenc’s Dialogues des Carmélites, and Weber’s Euryanthe). Her prolific decade in Toulouse also saw her perform alongside such acclaimed conductors as Michel Plasson, Tugan Sokhiev, Maurizio Benini and Pinchas Steinberg. In 2012, Rachël sang at the Théâtre de Massy-Palaiseau in another production of the Dialogues des Carmélites, this time directed by Yoel Levi.
To lied and melody
As well as her many collaborations with different theatres, Rachël also performs as a soloist in a number of guises. Thereafter, she has gradually turned towards Lieder and French mélodies, performing in duos and trios – accompanied on the harp and/or piano – and giving recitals of repertoire ranging from the German Romantics to Manuel de Falla, via the irreplaceable Gabriel Fauré.
In 2014, alongside her stage work, she has devoted herself to preparing and recording her debut album.