The soprano Aurélie LOILIER began her piano studies at a very young age, at which time she first studied with Frédérique Fontanarosa, then with Marie-Paule Siruguet and Denis Pascal. Ms. Loilier then dedicated herself to classical singing. She studied with Philippe Téchené, Mady Mesplé, Magali Damonte, Michel Sénéchal, Anita Garanca, Elène Golgévit and Annick Massis. 

 Aurélie Loilier has been performing for more than 15 years as a soprano on the French and European stages such as Théâtre des Champs-Elysées in Paris, Théâtre Impérial de Compiègne, les Musicales de Bagatelle, Brugge Concertgebouw, Conservatorio di Musica Benedetto Marcello in Venice, having sung with prestigious pianists such as Susan Manoff, Bruno Rigutto, François Chaplin and also with the harpist Marielle Nordmann.

She has also performed in Russia (Moscow House of Music and Richter Festival in Tarusa with Hermitage Ensemble and later in Elets Khrennikov Festival), Shanghai, the Middle East (Kuwait, Bahrain, Lebanon and Abu Dhabi), the Baltic States (Riga Opera House), South America (Colombia), Tunisia and Algeria for the inauguration of the new Opéra d'Alger in 2016 and later for a recital tour with the ONCI. 

She sang and acted in the film: “Aurore” (2017) by Blandine Lenoir with Agnès Jaoui. Her voice is featured in the latest commercial for the male perfume by Jean Paul Gaultier (“Casta Diva” from Norma by Bellini).

She has interpreted Violetta in Verdi's La Traviata with Opus Opéra, Elisetta in Il Matrimonio Segreto by Cimarosa (Festivals of Gattières and Sédières), Adina (Palais des Congrès du Mans) and Gianetta (Festival of Chartres of Eve Ruggieri) in Donizetti's L'Elisir d'amore, Musetta in Puccini's La Bohème (Herblay Theater), Monica in Menotti's The Medium, and several Mozart roles: Donna Anna in Don Giovanni (Festival Scène-aux-Chants), Despina in Cosi fan tutte (with Ostinato orchestra), Serpetta in La Finta Giardiniera (on tour with the Abbey of Royaumont and Opera fuoco), Barbarina (Festival Musiques au Cœur d’Antibes) and later Susanna in Le Nozze di Figaro (Staging: Humbert Camerlo), the first lady in Die Zauberflöte (with la Fabrique Opéra in Marseille Zenith), and Eurydice in Orphée et Eurydice by Glück. She also has a vast French repertoire which includes among others: Frasquita in Bizet's Carmen (Dôme de Marseille) and Micaëla, several rediscovered operas by Boieldieu (Théâtre Impérial de Compiègne), Poussette in Manon by Massenet (Marmande Theater) and Offenbach's opera bouffe: Claudine in La Fille du Tambour-Major, Wanda in La Grande Duchesse de Gérolstein (Aix-les-Bains Festival), Catherine in Pomme d’Api (Neuilly-sur-Seine Theater), Sylvabelle in L’Auberge du cheval blanc by Benatzky, Germaine in Les Cloches de Corneville by Planquette (Marmande Theater and le Pin Galant in Mérignac/Staging: Michèle Herbé).

She can also be heard in the sacred repertoire: Mozart's Requiem, Vesperae solennes de confessore by Mozart, Handel's Messiah, Haydn's Nelson Mass, Pergolesi's Stabat Mater and Salve Regina, Bach’s Passions and Vivaldi's Gloria.

Aurélie Loilier has a predilection for the repertoire of the French melody. In fact, in February of 2019 she wrote and conceived a one-woman piece about the life of Augusta Holmès in which she herself interpreted the title role. The performance was accompanied by pianist Qiaochu Li, with whom she regularly performs in recital.

www.aurelieloilier.com