biography
Originally from southwestern France, the Franco-Dutch soprano first studied piano, flute, and musicology before continuing her vocal training in the Early Music Department of the Amsterdam Conservatory. She financed her studies by performing with Cappella Amsterdam both as a chorister and a soloist.
Lucie has appeared with the Rotterdam Philharmonic Orchestra (Yannick Nézet-Séguin), the Orchestra of the Eighteenth Century (Bach’s Missa Brevis), the Netherlands Philharmonic Orchestra (Marc Albrecht – St Matthew Passion), the Antwerp Symphony Orchestra (Christmas concerts), the Netherlands Chamber Orchestra (Peter Whelan – Opera Gala), l'Orchestre de la Suisse Romande (Daniël Reuss – Le Roi David), and the São Paulo Symphony Orchestra (Iseult – Le Vin Herbé).
She performed several times in the closing concerts of La Folle Journée in Nantes and Tokyo, notably in Haydn’s The Creation and Mendelssohn’s Paulus.
She was featured twice as a soloist in the Netherlands Bach Society’s All of Bach recordings (Václav Luks). Her performance of Bach’s Coffee Cantata in particular has enjoyed wide success, with over 500,000 views on YouTube.
On the opera stage, Lucie Chartin has distinguished herself in demanding coloratura roles. Her Ophelia in Ambroise Thomas’s Hamlet with OPERA2DAY was hailed as “the revelation of the evening”, praised for its “disturbing intensity” (Opera Today) and “astonishing flexibility” (Opera Magazine), leaving an impression “that lingers for days” (Brabants Cultureel). In Giulio Cesare in Egitto, her Cleopatra with Opera North was described as “electrifying” (MusicOMH), combining “impeccable coloratura” (The Times) with “infectious joy” (Opera Magazine). She also made a strong impression as Olympia in Les Contes d’Hoffmann with OPERA2DAY, praised for her “disarming ease” (Theaterkrant).
Her acting skills came to the fore when she performed the role of Katerina Cavalieri in Amadeus by Peter Shaffer at the Royal Theatre in The Hague, singing excerpts from the roles of Konstanze, the Countess, and the Queen of the Night. “Her stratospheric high notes, launched in the middle of an erotic scene, are irresistibly comic,” (Het Parool.)
She also performed at the Opera de Metz (Amour) and Pamina/Königin/Papagena for a Mini Zauberflöte with Shunske Sato and Ensemble Black Pencil. As a young talent she was invited to perform with the Dutch National Opera (Before Present) and as Königin der Nacht (Escales Lyriques).
The Covid-19 pandemic threw some sand in the cogs, leading to the cancellation of numerous engagements, including Morgana (Opera North, Laurence Cummings) and tours with Philharmonia Baroque in San Francisco, the Royal Concertgebouw Orchestra, the Academy of Ancient Music in London, and the Irish Baroque Orchestra at Wigmore Hall. She took this opportunity to start her own design studio and to have a kid.
A few weeks after her return to the stage, she was invited to close the year at the Amsterdam Concertgebouw alongside trumpeter Lucienne Renaudin-Vary and the Netherlands Chamber Orchestra, resulting in several television recordings and broadcasts for Dutch radio.
She will soon be performing a virtuosic program of Handel arias as well as a couple of St Matthew Passion with the Slovenia Symponic alongside Shunske Sato.
