Marie-Pierre Roy is a versatile soprano whose repertoire embraces works from the Baroque to the contemporary. A prizewinner in many competitions, she sings throughout
Marie-Pierre Roy started her music career with the violin and voice in her hometown, Dijon. She attended the University of Music and the Performing Arts in Stuttgart, studying with Francisco Araiza and Bernhard Gärtner, and graduated in voice, violin, and pedagogy. She developed further with Dunja Vejzović and Cristina Piperno.
Her vocal flexibility and secure intuition allow Marie-Pierre to fulfill her curiosity with a large and varied repertoire drawn from every period and genre.
Her concertante repertoire includes: St. John Passion, the Christmas Oratorio, and the Magnificat by Bach, Susanna and Messiah by Handel, Beethoven's Ninth symphony, Brahms A German Requiem, Bruckner's Te deum, Dvořák's Stabat mater, Mendelssohn's Elijah, Mozart's Requiem and Rossini's Petite messe solennelle as well as modern works, including Mysteries of the Macabre by György Ligeti and Trois airs pour un opéra imaginaire by Claude Vivier. For Marie-Pierre it's important to take part of the creation of contemporary music: premières she has given include of Hin-Nun by Younghi Pagh (German première) and die Tränen der Eos from Volker Ignaz Schmidt (world première).
In 2014, Carus released Warum toben die Heiden, a CD of cantatas by G.A. Homilius featuring Marie-Pierre as soprano soloist. The intensity of the recording process in this highly concentrated work corresponded perfectly with Marie-Pierre's musical abilities and disposition, although she prefers the contact to a live audience. For that reason she is a devotee of the operatic stage, where she has sung Nanetta in Verdi's Falstaff, Eva in the German première of Paradise reloaded (Lilith) by Peter Eötvös, The Crowd, The Child, and The Stranger in Into the Little Hill by George Benjamin, The Queen of the Night in Mozart's Magic Flute, a Flower Maiden in the world première of Mondparsifal (Ersatzmutter der Abwehr) by Bernhard Lang, and the titelpart of Schneekönigin by Marius Felix Lange.
Mixing different genres of art is an important interest of Marie-Pierre's. She was a performer in Wardian Case at the Eclat Festival in Stuttgart and has sung concert pieces not usually staged, including Poslanija pokojnoj R. V. Trusovoj by György Kurtág, Orff's Carmina Burana, and Mendelssohn's Elijah, the latter in the Friedenskirche in Potsdam.
Marie-Pierre is always searching for new challenges, expressing her joy to sing, an attitude which has won her awards: in 2015 the Melody and Audience Awards at Symphonies d’automne, in 2016 the Bronnbach Foundation Prize at Debüt, in 2017 the Critics' Award at the Beppe de Tomasi Competition, and in 2018 the Audience Awards at the Bazzini Competition and the third Prize at the Francesco di Paola Competition.
Marie-Pierre Roy has worked with music directors such as John Axelrod, Sylvain Cambreling, Gabriel Feltz, Gabriele Ferró, Claus Peter Flor, and Simone Young and theatre directors such as Roberto Andó, Andreas Bode, Stefan Huber, Helen Malkowsky, Jonathan Meese, Jenke Nordalm and Bernd Schmitt. She has performed at the opera houses of Chemnitz, Dortmund, Naples, Rijeka, the Teatro Massimo in Palermo, the Teatro de la Maestranza in Sevilla, the State Theatre, Kammeroper, and Theaterhaus in Stuttgart and the Theater an der Wien, as well as in famous cathedrals such as those of Strasbourg and Naples, and in prestigious concert venues such as the Liederhalle in Stuttgart, the Gewandhaus Leipzig and the Verdi auditorium of Milan.