Caroline Mutel began her training as a singer in the maîtrise de Radio-France and as an actress under the tutelage of Antoine Vitez. She then joined the troupe of the Opéra National de Lyon, where she made her solo debuts and was subsequently a regular guest at the operas of Tours, Rennes, Bordeaux, Avignon, and Nice, as well as the Cité de la Musique and the Royal Opera of Versailles. She has also participated in numerous festivals in France and abroad (Chorégies d’Orange, Festival baroque de Lyon, Utrecht, Jesi...) Appreciated for her vocal range and her scenic engagement, she interprets Mozart heroines (Susanna, Ilia, Servilia, Donna Anna, Elettra) as well as those of the grand lyrical repertoire (Micaëla in Bizet’s Carmen, Musetta in Puccini’s La Bohème, Alice Ford in Verdi’s Falsta
Past performances 2002 — Yesterday
Il Trionfo del Tempo e del Disinganno (The Triumph of Time and Truth), Händel
Orchestre National de LyonBellezza (Beauty)
View cast and crewIl Trionfo del Tempo e del Disinganno (The Triumph of Time and Truth), Händel
Clermont Auvergne OpéraBellezza (Beauty)
View cast and crewIl Trionfo del Tempo e del Disinganno (The Triumph of Time and Truth), Händel
Orchestre National de LyonBellezza (Beauty)
View cast and crewIl Trionfo del Tempo e del Disinganno (The Triumph of Time and Truth), Händel
Clermont Auvergne OpéraBellezza (Beauty)
View cast and crewCaroline Mutel began her training as a singer in the maîtrise de Radio-France and as an actress under the tutelage of Antoine Vitez. She then joined the troupe of the Opéra National de Lyon, where she made her solo debuts and was subsequently a regular guest at the operas of Tours, Rennes, Bordeaux, Avignon, and Nice, as well as the Cité de la Musique and the Royal Opera of Versailles. She has also participated in numerous festivals in France and abroad (Chorégies d’Orange, Festival baroque de Lyon, Utrecht, Jesi...) Appreciated for her vocal range and her scenic engagement, she interprets Mozart heroines (Susanna, Ilia, Servilia, Donna Anna, Elettra) as well as those of the grand lyrical repertoire (Micaëla in Bizet’s Carmen, Musetta in Puccini’s La Bohème, Alice Ford in Verdi’s Falsta