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- The title role in The Carmen Case, at Opéra national de Bordeaux and Grand-Théâtre du Luxembourg;

- The title role in Massenet's Cendrillon, at the National Theatre of Taichung (Taiwan);

- Dejanira in Haendel's Ercole, with Opera Fuoco, at the Opéra de Massy;

- Glasa and Feklusa in Janáček's Katia Kabanova, at the Opéra Royal de Wallonie-Liège;

- Amatre in Haendel’s Serse, at the Beijing Music Festival;

- Zulma in Rossini’s L’Italiana in Algeri and Cherubino in Le Nozze di Figaro, at the Opéra Clermont Auvergne.


A former violinist, French mezzo-soprano Anne-Lise Polchlopek studied singing with Claudine Le Coz and, at the Conservatoire National Supérieur de Musique de Lyon, in the class of Mireille Delunsch. She attended master classes with Ludovic Tézier, Harmut Höll, Philippe Cassard, Susan Manoff and William Christie. She won several competitions such as Gordes International Song Competition 2018, Association Jeunes Talents 2019 (piano & voice duet with Mao Hayakawa, 2019) and Royaumont Foundation (piano & voice duet with Nicolas Royez, 2020). She was a grant holder of the Société Générale Musical Patronage for the year 2020/2021.

As a member of the Studio de l’Opéra de Lyon, Anne-Lise Polchlopek quickly made her stage debut and performed roles such as Prince Charmant in Massenet’s Cendrillon; Augustine Bremond, Doctor Grimaldi and the Countess of Pourtales in Isabelle Aboulker’s Les Enfants du Lévant, by the Opéra de Lyon, at the Théâtre de la Renaissance of Oullins; Amatre in Haendel’s Serse at the Beijing Music Festival, with Opera Fuoco; Zulma in Rossini’s L’Italiana in Algeri and Cherubino in Le Nozze di Figaro, at the Opéra Clermont Auvergne; Marcellina in Le Nozze di Figaro, with Opera Fuoco; and Marie de l’Incarnation in Poulenc’s Les Dialogues des Carmélites, at the CNSM of Lyon.


Also at the Opéra de Lyon, she sang the roles of Chatte, Pâtre and Écureuil in Ravel’s L’Enfant et les Sortilèges, as well Suzanne Martel in Offenbach’s Un Mari à la Porte. With the company Opera Fuoco, she performed The Old Lady in Bernstein’s Candide and Marcellina in Le Nozze di Figaro. At the Château de Versailles, she sang Sesto in Mozart’s La Clemenza di Tito and many recitals.


Anne-Lise Polchlopek participated in two recording projects during the season 2021-2022: the “Paul Arma, a retrospective” (Hortus), by invitation of the pianist Thomas Taquet, as well in the recording of a cd with the Orsay-Royaumont Academy (B-Records), which she is a laureate with the pianist Nicolas Royez.


Anne-Lise Polchlopek’s season 2023-24 highlights include the title role in Massenet’s Cendrillon, at the National Theatre of Taichung, Taiwan, staged by Laurent Pelly, and the title role in Soh & Lacroix’s The Carmen Case, at Opéra national de Bordeaux and Grand Théâtre de Luxembourg.

Among her next engagements, she will sing the title role in Offenbach’s La Belle Hélène (Opéra de Toulon), the solo part in Handel’s The Messiah (Opéra de Saint-Étienne) and the roles of Glasa and Feklusa in Janaček’s Katia Kabanova (Opéra Royal de Wallonie-Liège).


"It was with curiosity and impatience that we went to the Salle Cortot on Saturday February 10, where the French mezzo offered a program of unabashed eclecticism: English or Italian baroque opera, Second Empire opera buffa, French opera, melody French or English from the 20th century, verismo, bel canto… Who says better? The program, in any case, will have made it possible to highlight the remarkable stylistic adaptability of the performer, as well as his great vocal, technical and interpretative qualities. Anne-Lise Polchlopek's voice is beautifully homogeneous, with warm low notes, frank high ones , and a very natural connection between registers. If we feel the singer is particularly at ease in melody and French opera (last year she won the Grand Prix de la melody at the Toulouse International Competition), she is no less convincing in Dido and Aeneas by Purcell or The Coronation of Poppea by Monteverdi. From the Queen of Carthage, Anne-Lise Polchlopek possesses the grandeur of her tone but also the noble and modest sadness, with a “Remember me” whose pianissimo reprise is poignant… as are the painful exclamations which open the farewell to Rome, touching of sobriety and contained emotion. The later Italian repertoire, at the service of which the mezzo this time brings a very welcome expressive warmth, is represented by Musette's aria from the rare Bohème by Ruggiero Leoncavallo, Puccini's “Sole e amore” (which prefigures the quartet closing Act III of La bohème…), and Leonora’s aria from La favorita (in Italian: too bad…), whose vocal differences are well controlled and whose singer perfectly highlights the contrast between the nagging “O mio Fernando” to the fiery cabalette. Finally, thank you to Anne-Lise Polchlopek for proposing some rarities, such as “La Princesse sans coeur” by Holmès, or the very beautiful “Scène de Phèdre” by Viardot."
Stéphane Lelièvre - Première Loge

"In the end, it is Carmen, again and again, who triumphs thanks […] to Anne-Lise Polchlopek – she has the notes, the guts and the freedom, vocal and stage, of the job. It's only justice!"
Benoît Fauchet - Diapason Magazine

"(...) just like the lively and musical performances of Sophie Boyer and Anne-Lise Polchlopek who, in their checkered dresses, are Elvira and Zulma far from taking a back seat."
Pierre Géraudie - Ôlyrix

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