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Florie Valiquette

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“Soprano imaginative and committed with ravishing treble” – La Libre Belgique, Florie Valiquette is a young Canadian opera singer on the rise.

This season, Florie Valiquette has joined the Ensemble of the Opernhaus where she sings Die Zauberflöte (Papagena), Ronia Raübertochter (Birk), Parsifal (Flowermaiden), L’Incoronazione di Poppea (Fortuna and Damigella).

Last season, she was part of the International Opera Studio, the prestigious training program for young singers of the Opernhaus Zürich. In Zurich, she has sung Barbarina in Le Nozze di Figaro, L’Amour in Médée by Charpentier, she sings Madame Silberklang in Der Schauspieldirektor. In Luxemburg, she has revived the opera Svadba in the role of Milica created in Aix-en-Provence, which she will sing again this summer in Ljubljana.

In 2015-2016, Florie Valiquette has sung Elisetta in Il matrimonio segreto by Cimarosa with the Dutch National Opera, Milica (Svadba) in Angers and Nantes and Frasquita (Carmen) at the Verbier Festival.

In the beginning of 2015-2016, Florie Valiquette has made here debuts at the Montreal Symphony Orchestra, in the roles of Frasquita (Carmen) and Yniold (Pelléas et Mélisande) under maestro Kent Nagano.

In July 2015, she returned to sing at the Festival d’Aix-en-Provence in the lead role of Milica for the new production of the opera Svadba-Wedding by Ana Sokolovic, after a remarkable passage in Bahrain in the roles of La Princesse and La Chauve-Souris (L’Enfant et les Sortilèges).

She has recently appeared with the Quebec Symphony Orchestra under maestro Steven Fox in Harmony Mass by Haydn and with Les Violons du Roy under maestro Mathieu Lussier in the title role of Zémire et Azor, staged by oscar winning film director Denys Arcand.

Florie made her Opera de Montreal debut in 2013 in the roles of Javotte (Manon), Miss Ellen (Lakmé), and covered the role of Nanetta (Falstaff) in 2014. Other credits include Teutile (Motezuma), Arsena (Der Zigeunerbaron) and Zerlina (Don Giovanni). Artist in residence at the Atelier Lyrique de l’Opéra de Montréal from 2012 to 2015, she held the roles of the Sandman and the Dew Fairy (Hänsel und Gretel), Laetitia (The Old Maid and the Thief) and Galatea (Acis and Galatea).

« Equally at home in mainstream and Baroque opera, as well as in recital and oratorio » ‐ (Opera Canada), Florie excels in a variety of repertoire from early music to contemporary, forking musical theater.

She was invited as a soloist by several Baroque ensembles such as les Violons du Roy, le Studio de musique ancienne de Montréal, Caprice Ensemble, Montreal Baroque and the Lamèque International Baroque Music Festival.

In contemporary music, in addition to Svadba­‐Wedding, composer Denis Gougeon recommended her for singing his composition Voix‐Venus with pianist Louise-­Andrée Baril in a tribute concert of the Société de musique contemporaine du Québec, broadcasted on Espace Musique, the then‐named french music radio of the Canadian Broadcasting Corporation.

Florie was revealed to the public in 2010 by interpreting Maria Von Trapp (The Sound of Music) in a Just for Laughs production staged by Denise Filiatrault. Critically acclaimed, the production was attended by more than 100,000 spectators in Montreal and received a nomination for the Show of the Year ­‐ Acting at the Québec Association for the Recording, Concert and Video Industries Gala in 2011.

She also collaborated numerous times with Cirque Éloize in corporate events, as well as with the National Circus School for the Atelier Lyrique’s 30th anniversary production Hänsel und Gretel.

In chamber music, Florie has been working with pianist Martin Dubé since 2009. They performed hailed recitals in Canada, Belgium and the United States. She also appeared at the Orford Festival and the Lachine Festival with pianist Olivier Godin, and with pianist Ilmo Ranta, in Helsinki, in a recital broadcasted on the Finnish national television Yle Klassinen.

Florie is supported by the Jacqueline Desmarais Foundation for Young Canadian Opera Singers and has distinguished herself in several competitions such as the Mirjam Helin Competition, the Montreal Symphony Orchestra Competition, the International Stepping Stone of the Canadian Music Competition and the Prix d’Europe.

She holds a Master in Music performance from the University of Montreal and pursues her vocal training under the guidance Marlena Malas in New York.



January 2018

This biography should not be edited without permission from Intermezzo.

© Brent Calis

ADAM – Postillon de Longjumeau (Madeleine)
BELLINI – I Capuleti e i Montecchi (Giulietta)
BIZET – Carmen (Frasquita)
CIMAROSA – Il Matrimonio segreto (Elisetta)
DEBUSSY – Pelléas et Mélisande (Yniold)
DELIBES – Lakmé (Miss Ellen)
DONIZETTI – Don Pasquale (Norina)
DONIZETTI – La Fille du régiment (Marie)
DONIZETTI – L’Elisir d’Amore (Adina)
HAENDEL – Alcina (Morgana)
HAENDEL – Giulio Cesare (Cleopatra)
MASSENET – Werther (Sophie)
MENOTTI – The old maid and the thief (Laetitia)
MOZART – Cosi Fan Tutte (Despina)
MOZART – Die Zauberflöte (Papagena/Pamina)
MOZART – Don Giovanni (Zerlina)
MOZART – Idomeneo (Ilia)
MOZART – La Clemenza di Tito (Servilia)
MOZART – Le Nozze di Figaro (Susanna/Barbarina)
MOZART – Der Schauspieldirektor (Mlle Silberklang)
POULENC – Dialogues des Carmélites (Constance)
POULENC – Les Mamelles de Tirésias (Thérèse)
PUCCINI – La Bohème (Musetta)
RAVEL – L’Enfant et les sortilèges (La Princesse/La Chauve-souris/Le Feu/Le Rossignol/L'Enfant)
ROSSINI – Le Comte Ory (Comtesse Adèle)
SOKOLOVIC – Svadba (Milica)
STRAUSS – Der Rosenkavalier (Sophie)
THOMAS – Hamlet (Ophélie)
VERDI – Falstaff (Nannetta)

+ info

Ana Sokolović – Sirènes

Ensemble contemporain de Montréal (ECM+)/ V. Lacroix, direction musicale /K. Szabó, mezzo-soprano / F. Valiquette, soprano / A. Tyniec, violon / Ensemble vocal Queen of Puddings Music Theatre / D. N. Mheadhra, direction musicale
Mars 2019 - ATMA classique