Violaine Le Chenadec

French soprano, Violaine Le Chenadec is acclaimed for the clarity and purity of her voice, as well as the refinement of her expressive style in both opera and sacred music. A graduate of the Conservatoire national supérieur de musique et de danse de Lyon, she has developed a distinctive artistry that combines technical precision and musical sensitivity.

Deeply committed to the baroque repertoire, her career has led her to collaborate with today’s leading specialised ensembles: Les Arts Florissants (directed by William Christie and Paul Agnew), Le Poème Harmonique (Vincent Dumestre), Ensemble Correspondances (Sébastien Daucé), Pygmalion (Raphaël Pichon), Le Concert Spirituel (Hervé Niquet), L’Escadron Volant de la Reine, Le Banquet Céleste (Damien Guillon), Les Concerts de l’Hostel Dieu (Franck-Emmanuel Comte), Concerto Soave (Jean-Marc Aymes), and Les Folies Françoises (Patrick Cohën-Akenine), with whom she has performed in major international theatres and festivals.  

On stage, she stands out for the diversity of her repertoire: from roles such as Barberina in Mozart’s Le Nozze di Figaro, Gretel in Humperdinck’s Hänsel und Gretel, Sister Constance in Poulenc’s Dialogues des Carmélites, Rossini’s Petite messe solennelle with Ensemble Mélisme(s) (Gildas Pungier) in partnership with La Co[opéra]tive and staged by Jos Houben and Emily Wilson – to the baroque repertoire, including the role of the Second Grace in Rossi’s Orfeo under Raphaël Pichon, Ancilla in Marc-Antoine Charpentier’s Histoires sacrées, and Le Ballet royal de la Nuit with Ensemble Correspondances under Sébastien Daucé.  

In oratorio repertoire, she appears as the soprano soloist in Haydn’s Creation and Mozart’s Mass in C minor, complemented by an Agnus Dei by Eric Tanguy with Ensemble Mélisme(s). With Les Arts Florissants, she has been invited to sing the soprano solos in Vivaldi’s Gloria and Monteverdi’s Vespers, conducted by Paul Agnew.  

Passionate about renaissance and baroque music, she flourishes in polyphonic and madrigalian repertoire, cultivating a close artistic partnership with La Guilde des Mercenaires (Adrien Mabire), with whom she recorded her first solo album Riposta, devoted to works by Venetian composers of the Seicento.  

Violaine Le Chenadec is distinguished by her clear, luminous voice, marked by remarkable beauty and ease in the upper register. Her interpretation combines baroque finesse with lyrical sensitivity: she moves effortlessly from the intimacy of sacred works to theatrical expressiveness, always seeking to bring the music vividly to life with elegance and naturalness.