Praised for her “rich timbre in diaphanous clarity, with endless colours—and as powerful as a sudden flash of lightning” [Classique News], Canadian soprano Emma Fekete was hailed by Wanderer as “the discovery of the evening” for her portrayal of Berthe in Meyerbeer’s Le Prophète with the Orchestre de chambre de Genève at the Théâtre des Champs-Élysées. Named among CBC Music’s “30 Hot Canadian Classical Musicians Under 30” in 2025, she has enjoyed a series of successful debuts across Europe and Canada, including Suzanne in Laurent Pelly and Marc Minkowski’s Robinson Crusoé at the Théâtre des Champs-Élysées, praised for a “gossamer light” soprano, impeccably dispatched runs and “terrific comic timing” [Opera Traveller], her Italian debut as Zerlina in Don Giovanni at the Teatro Filarmonico di Verona — described as “a vibrant and musically expressive Zerlina, witty and flirtatious” [L’Adige]—and Le Concert de la reine with Arion Orchestre Baroque, celebrated by Le Devoir as “La voix royale d’Emma Fekete.”
Upcoming projects include her American debut as Susanna in Le nozze di Figaro with the West Virginia Symphony Orchestra, Cécile in Steibelt’s Roméo et Juliette with Les Talens Lyriques and Christophe Rousset at the Théâtre des Champs-Élysées, a staged Ein deutsches Requiem at Opéra de Limoges, and Angelo in Handel’s La Resurrezione with Early Music Vancouver. Alongside her operatic career, Fekete is developing an artistic partnership with guitarist Tim Beattie, with whom she made a successful debut at the Festival d’Aix-en-Provence this summer. Their work brings voice and guitar into dialogue across centuries and traditions, weaving classical repertoire with folk song and newly created arrangements in search of intimate, deeply human ways of telling stories through music.
