Marianne Lambert

Artists with Orchestra Soloists and Duos Vocal Opera Soloists and Duos Vocal

A diamond voice with shimmering colours, soprano Marianne Lambert captivates audiences with her great stage presence, sensitivity and effervescent personality. Also noted both for the intelligence of her performances and for her superb vocal technique, Marianne has been a guest...

Marianne Lambert is a finalist for the Prix Opus 2020 for the record Mélodies Passagères, winner of the Prix Opus for best regional concert of the year (2018), first prize in the An die Musik Recital at the Concours international de chant Clermont-Ferrand (France, 2017), and Grand Prize in the Concours international de chant de Marmande (France, 2008).

She has won praise as Ophélie in Thomas’s Hamlet (Opéra Angers-Nantes and Rennes), la Fée in Massenet’s Cendrillon (Opéra Angers-Nantes), Gilda in Verdi’s Rigoletto (Opéra de Rennes), Stella in Offenbach’s La Fille du tambour-major (Société d’art Lyrique du Royaume), Adèle in Strauss’s Die Fledermaus (Opéra de Montréal and Opéra de Québec), Woglinde in Wagner’s Das Rheingold (Orchestre symphonique de Montréal, under Kent Nagano), Clorinda in Rossini’s La Cenerentola (Pacific Opera Victoria), Mlle Silberklang in Mozart’s Der Schauspieldirektor (Opéra de Rennes), La Fée in Massenet’s Cendrillon (Opéra de Montréal) and Marie-Anne in Hahn’s Ô mon bel inconnu (Opéra de Rennes and Opéra de Metz).

A graduate of the Atelier lyrique de l’Opéra de Montréal, Marianne Lambert has been a soloist with such renowned ensembles as the Orchestre symphonique de Montréal, Orchestre symphonique de Trois-Rivières, Orchestre symphonique de Québec, Orchestre Métropolitain, McGill Chamber Orchestra, NEM and the Orchestre national de Bretagne.

Her most recent projects include the release of the cd Canzone di notte with harpist Valérie Milot, accompanied by a recital tour, as well as the role of Madeleine in Michel Tremblay’s Albertine in five times on tour across Quebec and a concert with the Arion orchestra under the direction of Thomas Dunford. As part of the upcoming Festival Classica in June 2025, she presents her new concert Inland Seas, and plays Crystal in Starmania Symphonique.

Her 2025-26 season includes a tour of Messiah with Ensemble Caprice, a concert of Mozart youth arias with the Orchestre symphonique du Saguenay-Lac-Saint-Jean, and excerpts from the Marriage of Figaro with the Orchestre symphonique de Gatineau.

Projects

Canzone di notte… The Songs of the Night

Paris Under the Stars

Reviews

Following her concert with Arion Baroque at Bourgie Hall, April 5, 2025.
[…] The brilliant soprano Marianne Lambert reveals a voice that has become richer and fuller, with a very touching expression. […] She went one step further with the concert’s climax: “O, let me forever weep”, from The Fairy Queen […] and sang a touching “When I am laid in earth” by Purcell. […] The bravura aria “No, no I’ll take no less” from Semele was mastered with bite and virtuosity by Marianne Lambert, violinist Julie Rivest and the orchestra. Full article.

— Christopher Huss, Le Devoir

A lovely light soprano whose sweet timbre and supernatural vocalizing float into the stratosphere with the ease of a tightrope walker.

— Emmanuel Dupuy, Diapason (France)

The young soprano from Quebec, Marianne Lambert, is pure perfection: her airborne fairy vocalizes with disarming assurance, including trills and extended register, entirely appropriate for the style, yet with a totally fresh approach.

— Opera Online (France)

Another standout was the coloratura Marianne Lambert as the Fairy Godmother, who added good acting to the main elements of fluid athleticism and brilliant sound.

— Arthur Kaptainis, The Gazette

On her album: Canzone di Notte (Fidelio)
Together Lambert and Milot create a grand edifice of song through this well-chosen repertoire.

— The WholeNote

Marianne Lambert of Quebec, discovered a few seasons ago at Opéra de Rennes in Reynaldo Hahn’s Ô mon bel inconnu, makes light of all the vocal acrobatics of the role with unmistakable charm and virtuosity, contributing to the magic of these scenes.

— Res Musica