Eve-Maud Hubeaux
Vienna State Opera – Don Carlo
Eve-Maud Hubeaux, as the seductively aggressive Eboli, also deserves a special mention. Her mezzo-soprano is colorful and shimmering, ensuring that the women, in particular, were destined to steal the show this evening.
Krone.at (September 28, 2025)Salzburger Osterfestspiele - La Gioconda
La Gioconda opens the renowned Salzburger Osterfestspiele . This rarely performed opera calls for six outstanding voices—and the festival presented a star-studded cast, including the up-and-coming Eve-Maud Hubeaux, who portrays her first Laura here.
operawire (March 21, 2024)Representation
Worldwide general management (*in cooperation with ARIËN, ARTS & MUSIC MGT. BV for the Benelux countries (Belgium, Netherlands and Luxembourg))
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Season 25/26 and Highlights
OPÉRA NATIONAL DE PARIS
Verdi - Aida - Amneris
PREMIERE Sept 24
Sep 28, Oct 1/4/7/10/13
Wagner - Walküre - Fricka
PREMIERE Nov 11
Nov 15/18/21/24/27/30
ORCHESTRE DE LA SUISSE ROMANDE
Mozart - Requiem
Dec 17/18
THEATRE DES CHAMPS-ÉLYSEES
Bellini - Norma - concert version - Adalgisa
Jan 8
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GRAND THEATRE DE GENEVE
Rameau - Castor and Pollux - Phoebe
PREMIERE March 19
March 21/22/24/26/28/29
SEMPEROPER DRESDEN
Bizet - Carmen - Carmen
PREMIERE May 1
May 3/6/9/14/17/23/25, June 1
Verdi - Aida - Amneris
June 11/13/18/26/28
Biography
Mezzo-soprano Eve-Maud Hubeaux has been recognized since her portrayal of Amneris in the 2022 Salzburg Festival production of Aida as one of the leading interpreters of her repertoire. With acclaimed appearances at houses such as the Vienna State Opera (Don Carlos/Eboli), the Opéra de Paris (Hamlet/Gertrude), the Gran Teatre del Liceu in Barcelona (La Favorite/Léonor de Guzman), the Deutsche Oper Berlin (Carmen), and La Monnaie in Brussels (Tristan und Isolde/Brangäne), Eve-Maud Hubeaux has firmly established herself on the international stage.
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The 2025/26 season opens for Eve-Maud Hubeaux with two new productions at the Opéra de Paris, where she has been invited to sing Amneris (Aida) and Fricka (Die Walküre). At the Théâtre des Champs-Élysées she will perform her first Adalgisa in a concert version of Bellini’s Norma. The Grand Théâtre de Genève will present her as Phébée in a new production of Rameau’s Castor et Pollux. The Semperoper Dresden has also engaged the mezzo-soprano for two roles: the title role in a new production of Carmen and Amneris in a series of performances of Aida.
Important engagements in recent seasons include Eboli in the new production of Don Carlo (Serebrennikov/Jordan) at the Vienna State Opera, her debut at San Francisco Opera as Carmen, Laura (La Gioconda) at the Salzburg Easter Festival under Antonio Pappano, Fricka in Das Rheingold and the High Priestess in La Vestale at the Opéra de Paris, Mère Marie in a new production of Dialogues des Carmélites at the Vienna State Opera, and Eboli (Don Carlo) at the Berlin State Opera. At the Salzburg Festival she appeared as Amneris, Gertrude (Hamlet), and Clairon (Capriccio). As Concepción in Ravel’s L’Heure espagnole she delighted audiences in Valencia. She has also performed Eboli in the French version of Don Carlos at the Vienna State Opera, Hamburg State Opera, and the Grand Théâtre de Genève. As Amneris she appeared at the Savonlinna Festival, as Carmen at La Monnaie Brussels, as Judith in Bluebeard’s Castle and Brangäne in Tristan und Isolde at the Opéra de Lyon, as Dona Prouhèze in the world premiere of Marc-André Dalbavie’s Le Soulier de satin at the Opéra de Paris, as Baba the Turk in Lydia Steier’s new production of Stravinsky’s The Rake’s Progress at Theater Basel, as Scozzone in a concert performance of Saint-Saëns’ rarely heard Ascanio in Geneva, as Nerone (Agrippina) and Cornelia (Giulio Cesare) in Handel roles, as well as the title role in Lully’s Isis under Christophe Rousset, and as Isolier in Rossini’s Le Comte Ory at the Opéra de Toulon.
Her concert repertoire includes Bach’s St. Matthew Passion under Leo Hussain (Brussels), Rossini’s Messa di Gloria (Paris), Berlioz’s Les Nuits d’été under Marko Letonja (Strasbourg), Wagner’s Wesendonck Lieder with the Orchestre National d’Île de France, Verdi’s Messa da Requiem under Teodor Currentzis (Lucerne, Milan), Mahler’s Symphony No. 2 (Las Palmas), Kindertotenlieder at the Ancient Theatre of Epidaurus, as well as Das Lied von der Erde.
Her discography includes Lully’s Isis (Aparte), Mahler’s Das Lied von der Erde (Klarte), Franck’s Rédemption (Musique en Wallonie Éditions), and Saint-Saëns’ Ascanio (B Records).
Born in Geneva, Eve-Maud Hubeaux first studied piano at the Lausanne Conservatory before beginning vocal studies there. From the opera studio of the Opéra National du Rhin in Strasbourg she developed her international career. She is the winner of numerous competitions, including the International Belvedere Competition (2013) and the 5th Renata Tebaldi International Competition.
2025/26
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