Marie Arnet

Marie Arnet

“The evening belonged to Marie Arnet, in the title role [Lulu] ... Arnet not only looked and acted the part, but also displayed a level of musicality in her phrasing rare among even great Lulus.”

Opera Now

Representation: General Management

Photo: Mats Bäcker


Swedish-Norwegian soprano Marie Arnet’s career has taken her from Susanna in Mozart’s Le Nozze di Figaro, (her UK debut at the Glyndebourne Festival),   through to Berg’s Lulu, which she sang in David Pountney’s production for Welsh National Opera.   Her extensive repertoire ranges from baroque to contemporary and Marie is never afraid of a new challenge,   stepping in at the last minute to sing Harey in Glanert’s Solaris at the Bregenz Festival.   Her career has taken her to Los Angeles Opera, La Scala, the Liceu in Barcelona and many other international theatres.


Full Biography

Swedish-Norwegian soprano Marie Arnet studied at the Royal Academy of Music in London and at the National Opera Studio. Her extensive repertoire ranges from baroque to contemporary and Marie is never afraid of a new challenge. Her career has taken her to Los Angeles Opera, La Scala, the Liceu in Barcelona and many other international theatres.

Marie made her debut at the Glyndebourne Festival stepping in at the last minute as Susanna Le Nozze di Figaro and went on to sing Diane Iphigénie en Aulide, Ilia in Idomeneo (conducted by Sir Simon Rattle), Mélisande Pelléas et Mélisande and Drusilla L’incoronazione di Poppea for the company. Other UK appearances include Sophie Der Rosenkavalier and Giulietta I Capuleti e I Montecchi (Opera North), Wendy in Richard Ayres Peter Pan for WNO and Susanna Le Nozze di Figaro (English National Opera). She sang Eurydice in a new production of Gluck’s Orphée et Eurydice at Opéra de Lausanne, where she returned for Salieri La Grotta di Trofonio with Christoph Rousset and has appeared  as Pamina Die Zauberflöte at the Teatro Real in Madrid, in Nantes and at the Hyogo Arts Centre in Japan, as Mélisande in Palermo and at La Scala, Ilia Idomeneo for Hamburg State Opera and at the Liceu in Barcelona, Belinda Dido and Aeneas at La Scala and Xenia Boris Godunov, Ginevra Ariodante at the Liceu in Barcelona. More recent engagements include Harey in the world première of Glanert’s Solaris at the Bregenz Festival Anne Trulove The Rake’s Progress in a co-production with Caen, Reims, Rouen, Limoges & Luxembourg opera houses, Eurydice Orphée et Eurydice and Despina Cosi fan Tutte at the Royal Opera in Stockholm, Die Zauberflöte with Los Angeles Opera and Spoleto Festival, Le Nozze di Figaro at Netherlands Opera, Alceste in Handel’s Admeto with Nicholas McGegan at the Göttingen Festival and recently a return to Nantes as Pamina. Marie recently appeared at Welsh National Opera in the title role of David Pountney’s production of Lulu, to critical acclaim, and as Susanna in the world premiere of Elena Langer’s Figaro Gets a Divorce, also directed by Pountney.

Concert highlights have included concert performances of Zais with Les Talens Lyriques, and as the Cheshire Cat Alice in Wonderland both with Los Angeles Philharmonic Orchestra and at the Barbican in London. Marie’s concert repertoire includes Bach’s St John Passion and Mass in B Minor, Mahler 2nd and 4th Symphonies, the Brahms and Fauré Requiems, Rossini’s Petite Messe Solennelle, Pergolesi Stabat Mater, Haydn’s Nelson Mass and The Creation and Bruckner’s Te Deum. She has appeared in Berlioz’s L’enfance du Christ at the Three Choirs Festival; Mozart’s Requiem with Paul McCreesh and the Gabrieli Consort and for the London Symphony Orchestra with Sir Colin Davis in London and New York; A Child of Our Time and Stravinsky’s Les Noces with the Orquesta Radio Televisión in Madrid; Handel’s Solomon for the NDR and with Rene Jacobs and the Orchestra of the Age of Enlightenment; Bach’s Christmas Oratorio on tour with William Christie and Les Arts Florissants,  Brahms’ German Requiem at the BBC Proms with James Conlon,  The Infernal Comedy with Martin Haselböck and John Malkovich in Europe and America, Tippet’s Third Symphony with the BBC Symphony Orchestra, Mahler’s Des Knabenwunderhorn with the Kymi Sinfonietta in Finland, Tavener’s Akhmatova Requiem with the BBC Symphony Orchestra and Orphée et Eurydice with the Orchestre des pays de Savoie.

Recent engagements include a return to the role of Susanna in Elena Langer’s Figaro gets a Divorce at the Grand Théâtre de Genève, and Sarah in the new commission Brothers by Daniel Bjarnason with Den Jyske Opera in Denmark, Icelandic Opera, and an upcoming performance at the Armel Opera Festival, Budapest. Last season she joined forces again with John Malkovich and the Wiener Akademie in a programme of Beethoven in Hamburg, as well as singing the title role in Berg’s Lulu (suite) in a studio recording with BBC Philharmonic Orchestra, Brahms Requiem at Canterbury Cathedral and stepping in last minute to sing in the UK premiere of Ross Harris’ Face at the Barbican Centre with the BBC Symphony Orchestra.

Most recently, Marie performed the role of Freia in Longborough Festival Opera’s production of Wagner’s Das Rheingold, as part of their four year Ring Cycle. Looking further ahead she will return to sing Gutrune Götterdämmerung, with the full cycle at Longborough Festival culminating in 2023. Her 2019-20 season includes performances of Glanert Requiem for Hieronymus Bosch with both the BBC Symphony Orchestra and the Czech Philharmonic Orchestra under the baton of Semyon Bychkov.

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to make sure you receive the most up to date version.  Email: Evie Parker



UK Summer Opera 2019

May 20th, 2019

Hazard Chase artists in this year’s summer opera festivals.

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Figaro Gets a Divorce in Geneva

September 11th, 2017

Soprano Marie Arnet makes her house debut at the Grand Théâtre de Genève

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Marie Arnet in new commission

August 15th, 2017

Soprano Marie Arnet joins the Danish National Opera in a world premiere of The Brothers.

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Wales Theatre Awards Shortlist

February 16th, 2017

Two Hazard Chase sopranos shortlisted for the 2017 awards

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Happy Ever After?

February 18th, 2016

Marie Arnet appears in world première of FIGARO’ GETS A DIVORCE

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Wagner DAS RHEINGOLD (Longborough Festival Opera)

“Marie Arnet imbued Freia’s phrases with arresting energy”
Yehuda Shapiro, Opera Magazine (Aug 2019)


Daníel Bjarnason THE BROTHERS (Icelandic Opera)

“the luminous soprano Marie Arnet and the athletic baritone Oddur Arnthor Jonsson managed to create the marital intimacy between Sarah and Michael with just a few tender gestures”
Amanda Holloway, Opera Magazine (September 2018)

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FIGARO GETS A DIVORCE – Welsh National Opera

“Marie Arnet, who sang Lulu for WNO, stole the show as the unexpectedly opportunistic Susanna”
Fiona Maddocks – The Observer,  February 28th 2016

“Marie Arnet is new and excellent as Susanna, her wit swallowed up by frustrated motherhood”
Stephen Walsh – The Arts Desk,  February 22nd 2016

“But it is Marie Arnet’s brilliant Susanna who stands out”
Rhian Evans – The Guardian,   February 22nd 2016

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LULU – Welsh National Opera (February 2013)

“The evening belonged to Marie Arnet, in the title role, taking on the part from scratch at less than three months notice.  Arnet not only looked and acted the part, but also displayed a level of musicality in her phrasing rare among even great Lulus.”
Peter Reynolds, Opera Now (April 2013)

“But since Marie Arnet’s compelling Lulu — visually having the gamine deadliness to perfection, vocally combining high radiance and a cutting edge — has undergone a sort of double love-death in her relationship both to Jack the Ripper … and to the lesbian Countess Geschwitz…the Wagnerian allusion doesn’t perhaps go amiss.”
Paul Driver, The Sunday Times (17 Feb 2013)

“Its fulcrum is Marie Arnet’s Lulu, the perfectly poised, ice cool blank on which every man she encounters can create his own fantasy; her performance is both wonderfully controlled and superbly sung”
The Guardian, Andrew Clements (10 Feb 2013)

“The Lulu-portrait which accompanies the action is a headless torso of blood-stained limbs suggesting the Hindu goddess Kali. But when Marie Arnet emerges as Lulu from a body-bag dragged on by her male counterpart Schigolch, her ice-cold beauty is matched by the crystalline perfection of her coloratura.”
The Independent, Michael Church (11 Feb 2013)

“Soprano Marie Arnet does a superb job in the title role, Elizabeth Davis (11 Feb 2013)

“Lulu is performed and inhabited by the soprano Marie Arnet. This is a tour de force of bravura coloratura and dramatic vocal shape, but utterly outstanding in its portrayal of Lulu’s sensuality without resorting to obvious Carmen-esque posturing and pouting. It is her seeming indifference to the men around her that makes her tantalizingly attractive – a fearsomely difficult characterisation to achieve, even without the incomparable complexities of Berg’s score. However, it needs to be remembered that remarkably, Arnet only accepted this role in November; her intricate preparation and interpretation of this staggeringly exhausting role is testament to her artistry. Marie Arnet’s Lulu is a classy vocal and dramatic phenomenon. She is brave in her approach to the demands of this exhausting role, and fearless in taking vocal risks – all of which pay off ceaselessly to create a Lulu of international importance. She is fearless also in creating the theatrical nature of this physical role – by peeling off her clothing in her scene with Alwa in Act II she can do no more to reflect her characterisation’s totality. Brave and sensual, fearsome and ultimately pitiful, Arnet has utterly impressive colour and commitment to Pountney’s vision of depravity, sexuality and symmetry. This portrayal inhabits Lulu with staggering physicality and vocal style and grip.”
Opera Britannia, Bethan Dudley Fryar (11 Feb 2013)

I CAPULETI E I MONTECCHI – Opera North (October 2008)

“…well matched against the more fragile Marie Arnet, an excellent Giulietta”
The Times, Geoff Brown (23 October 2008)

“Connolly, Arnet and Montvidas are all at their absolute best in the work, singing with remarkable lustre and refined passion”
The Guardian, Tim Ashley (23 October 2008)

“Opera North has engaged two first-rate singers for the leading roles…Sarah Connolly displayed a supremely intelligent mastery of bel canto style as Romeo, while Marie Arnet was cool, elegant and assured in rendering Juliet’s vulnerability and melancholy”
Rupert Christiansen, The Telegraph (23 October 2008)

“The cast, led by Sarah Connolly’s world-class Romeo and Marie Arnet’s virginal Juliet, create strong personalities that embody Bellini’s rapturous music…This Capuleti proclaims the many virtues of bel canto – and of Opera North”
Andrew Clark, The Financial Times (27 October 2008)

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Discography & Repertoire


With Marie Arnet (Dori), Olivier Lallouette (Aristone), Raffaella Milanesi (Ofelia) and Mario Cassi (Plistene) with Les Talens Lyriques conducted by Christophe Rousset


Artist Manager

Sue Nicholls (Cambridge)
01223 706023

Associate Artist Manager

Evie Parker (Cambridge)
01223 706414