Hungarian soprano Emőke Baráth began her musical education studying the piano and the harp. She began singing at the age of 18 following the teaching of Professor Julia Paszthy at the Franz Liszt academy in Budapest. During the 2011⁄2012 school year, she also studied at the Luigi Cherubini Conservatory in Florence.
In 2009, she received the third prize at the 44th Anton Dvorak International Competition (Czech republic). In 2011, she won the First Prize and the award of the Public at the Second International Singing Competition for Baroque Opera in Innsbruck (Austria). The same year, she won the Grand Prix of Verbier Festival Academy (Switzerland).
She took part in several master classes with Barbara Bonney, Kiri Te Kanawa, Sylvia Sass, Laszlo Polgar, Nancy Argenta, Deborah York and Masaaki Suzuki.
Early on, she was invited to perform as soloist in many festivals and venues as famous as the Palace of arts and the Budapest State Opera in Hungary, the Theater an der Wien, the Amsterdam Concertgebouw, the Théâtre des Champs-Elysées, the Opéra royal de Versailles in France and the Verbier festival in Switzerland ; the Nikolaisaal in Potsdam, the Braunschweig Staatstheater, and the Brandeburger Theater in Germany ; the Concert Hall of the Tchaikovsky Conservatory in Moscow, Russia.
The late Alan Curtis was one of the first conductors to discover her talent and he gave her the opportunities to sing in prestigious productions with works by Händel – for example, Giulio Cesare (role of Sesto, alongside Karina Gauvin and Marie-Nicole Lemieux, with a recording by Naïve), Admeto (role of Antigona), Amadigi di Gaula (role of Oriana), Arianna in Creta (role of Alceste), in prestigious venues such as Theater an der Wien, Auditorio nacional in Madrid or Théâtre des Champs-Élysées). Händel takes a major role in her repertoire : she sang The Messiah (Detroit Symphony Orchestra and National Symphony Orchestra Washington, Nathalie Stutzmann conducting), Almirena in Rinaldo (Il Pomo d’Oro and Riccardo Minasi), Armindo in Partenope (Il Pomo d’Oro and Maxym Emelyanychev, with a recording by Erato-Warner Classics), Morgana in Alcina (Accademia Bizantina and Ottavio Dantone, with Inga Kalna and Philippe Jaroussky) and Asteria in Tamerlano (Les ambassadeurs and Alexis Kossenko). In April 2014, she sang the soprano part in Duello Amoroso, a pasticcio after Händel, with Nathalie Stutzmann conducting the ensemble Orfeo 55 at the Bordeaux Opera (with Jean-Louis Grinda as stage director).
Emőke Baráth regularly sings Bach’s masterpieces : Mass in B minor (Les musiciens du Louvre and Marc Minkowski), Saint Matthew Passion (Liverpool Royal Philharmonic with Nathalie Stutzmann), Christmas Oratorio (successively with the Freiburger Barockorchester, the Göteborg Symphony Orchestra and the French Ensemble Accentus). She also sang cantatas with Accademia Bizantina conducted by Andreas Scholl (Festival de Beaune). In December 2016, she is invited to sing the Christmas Oratorio under the baton of Laurence Equilbey and in December 2017, it will be a tour with the Magnificat with Emmanuelle Haïm and Le Concert d’Astrée.
She is also particularly in demand for the composers of the Seicento : she was the title-role in Elena by Cavalli (Cappella Mediterranea conducted by Leonardo García Alarcón, with Jean-Yves Ruf as stage director – Festival d’Aix-en-Provence), Romilda in Xerse by the same composer (Le Concert d’astrée, Emmanuelle Haïm, with a staging by Guy Cassiers – Lille Opera, Théâtre de Caen, Theater an der Wien). Regarding Monteverdi, she sang the title-role of L’Incoronazione di Poppea at the Innsbruck Festival and the Budapest Opera, and Euridice in L’Orfeo (Les Talens Lyriques and Christophe Rousset, Claus Guth as stage director). She sang Monteverdi’s Selva morale e spirituale with Concentus musicus Wien conducted by Pablo Heras Casado.
Emőke Baráth is more and more in demand in Mozart’s works : she was a successful Susanna in Le Nozze di Figaro (Les Musiciens du Louvre and Marc Minkowski, with Director Felix Breisach), Tamiri in Il Re Pastore (Verbier Festival Chamber Orchestra and Gábor Takács-Nagy – Verbier Festival), Zerlina in Don Giovanni and Despina in Così fan tutte (Budapest Opera). In 2016, she sang the great Mass in C minor on 3 occasions : with the Bergen Philharmonic, the Verbier Festival Chamber Orchestra and the São Paulo Symphony Orchestra.
Emőke Baráth’s repertoire is particularly wide : she sang Mahler’s Symphony N°2 with the Orquesta de Valencia and Yaron Traub, Scylla et Glaucus by Leclair (role of Scylla, with Les Nouveaux Caractères and Sébastien d’Hérin, with a recording by Alpha), Rameau’s Fêtes de Polymnie (with the Orfeo Orchestra Budapest and György Vasheggyi, with the support of the Centre de Musique Baroque de Versailles) or Falstaff by Verdi (role of Nanetta, at the Budapest Opera).
Among her recents projects, we can mention the release of a recording with Philippe Jaroussky, I Barocchisti and Diego Fasolis by Warner Classics, La storia di Orfeo with works by Monteverdi, Sartorio, Rossi… (Warner Classics) ; the title-role of Ipermestra by Cavalli at the Glyndebourne Festival, with William Christie conducting and Graham Vick as stage director, or Monteverdi’s Vespro della Beata Vergine with Jordi Savall and La Capella Reial de Catalunya at the Salzburg Festival or an extensive tour in the USA with the Boston Early music Festival.
In 2017⁄2018, she will sing the role of L’Ange in Messiaen’s Saint François d’Assise with Sylvain Cambreling and the Yomiuri Symphony Orchestra Japan, Bach’s Magnificat and Händel’s Dixit Dominus with Emmanuelle Haïm and Le Concert d’astrée and Bach’s Mass in B minor with Concentus Musicus Wien. She will also sing amore in Gluck’s Orfeo ed Euridice at the Théâtre des Champs-Élysées, alongside Philippe Jaroussky and Patricia Petibon, under the baton of Diego Fasolis and with a staging by Robert Carsen.