Trained in opera singing by I. Jarsky and M. Castets, Marie-Adeline Henry was a member of the Paris Opera's Atelier Lyrique. She sings Poppea (L'incoronazione di Poppea), Messaggiera (L'Orfeo) and Armide (Lully), Fiordiligi (Così fan tutte), Arminda (La Finta giardiniera), La Contessa (Le Nozze di Figaro), Donna Elvira (Don Giovanni), Eurydice, Armide and Iphigénie (Gluck), Micaëla (Carmen), Chérubin (Massenet), Catherine d'Aragon (Henry VIII), Angiola (Proserpine; Saint-Saëns), Béatrice (Berlioz), Madame Lidoine and Mère Marie de l’Incarnation (Dialogues des Carmélites), Métella (La Vie parisienne) and Hanna (Die lustige Witwe), Tatiana, Jenůfa, Judith (Le Château de Barbe-Bleue), Female Chorus, Governess and Helena (Britten). She created the roles of Polissena in Gesualdo by M.-A. Dalbavie, Olga in Akhmatova by B. Mantovani, the oldest blind woman in Les Aveugles by X. Dayer, as well as a cycle of melodies Poemas de Teresa de Ávila by A. Arbet. She plays the Princess and the Blacksmith's Wife in Faust (P. Fénelon), Branghien in Le Vin herbé (Martin), and Abigail Williams in The Crucible (Ward). In concert, she performs Rossini's Petite Messe Solennelle, Mozart's and Haydn's Requiems, Mendelssohn's Lobgesang, Carter's Tempo e Tempi, P. Fénelon's String Quartet and Voices No. IV, Hindemith's Melancholie and Die Serenaden, and the title role in N. Gade's Comala. She has performed at the Paris, Zurich, Lille, Montpellier, Marseille, Nice, Rennes, Nantes, and Bordeaux opera houses, as well as at La Monnaie, La Scala, the Capitole de Toulouse, and the Dicapo Theater in New York. In concert, she has sung at the Teater an der Wien, the Philharmonie de Paris, and with the Danish Symphony Orchestra (conducted by L. Equilbey). More recently, her repertoire has evolved towards roles such as Brangäne (Tristan und Isolde) and Salome (R. Strauss). She made her debut at the Opéra-Comique.
