At just 21 years of age, Amandine Sanchez is already making a striking impression with the technical ease of her stratospheric voice, whose high notes are as powerful as they are full-bodied. It is also through her expressive delivery that this young French coloratura soprano wins over audiences, showcasing a temperament that is sure to make her a name to watch.

This is evidenced by the awards she has won in 2025. Firstly, she won the First Prize – awarded unanimously by the jury – and the Audience Prize at the Béziers Singing Competition in April 2025. Then, in August, she gave a breathtaking performance at the Marmande Competition, where Amandine won no fewer than six prizes (Audience Prize, Génération Opéra Prize, Michèle Herbé Young Talent Prize, Sixth-Formers’ Prize, Second Prize for Female Opera Singers, and Second Prize for French Art Song).
In November 2025, she shone at the Raymond Duffaut Competition in Avignon, winning the L’Avant-Scène Opéra Special First Prize and the Audience Award.
In September 2024, she took part in the 13th Froville Baroque Singing Competition, winning the Château de Lunéville Young Talent Prize.


Amandine Sanchez began her musical training on the viola, before discovering choral singing and joining Sabine Riva’s opera singing class in 2019. She also studied with Christian Papis. Having obtained her DEM in opera singing in 2024, she simultaneously completed a Bachelor’s degree in musicology.

She soon began performing on stage. In 2023, she played Rosina in a French production of Rossini’s The Barber of Seville. In 2024, she gave a recital with the Perpignan Catalogne Orchestra, conducted by Daniel Tosi.
She tackled major sacred works in which the radiance of her tone and her precision worked wonders: the soprano solo part in Bach’s St Mark Passion, Fauré’s Requiem, Dan Forrest’s Requiem, Pergolesi’s Stabat Mater, Scarlatti’s Salve Regina, and Vivaldi’s Gloria.
With I Gemelli, she performs, notably, at the Ambronay Festival (2024) and at the Opéra Royal de Versailles (2025), in Francesca Caccini’s La liberazione di Ruggiero dall’isola d’Alcina, not to mention Monteverdi’s L’Orfeo (in the roles of La Musica and Euridice).
She sang Bach’s St Matthew Passion to great acclaim with Les Ambassadeurs – La Grande Écurie, conducted by Thibault Noally, at the Théâtre de Tourcoing and then at the Théâtre des Champs-Élysées in March 2026.

For her exceptionally rich 2026/2027 season, she is deepening her familiarity with the 18th-century repertoire. Notable highlights include her portrayal of multiple roles (Amour, Phani, Fatime and Zima) in Rameau’s Les Indes Galantes with Leonardo García Alarcón and Cappella Mediterranea, with choreography and direction by Bintou Dembélé at La Cité Bleue in Geneva and subsequently at the Cologne Philharmonie.
Versailles will be a regular stop on the programme for the coming season: Charpentier’s Messe de minuit and Bach’s Magnificat with Valentin Tournet and La Chapelle Harmonique; The Messiah with Théotime Langlois de Swarte and the Orchestre de l'Opéra de Versailles; Vivaldi’s Gloria and Handel’s Dixit Dominus with Chloé de Guillebon and the same ensemble, not to mention the New Year’s Concert conducted by Victor Jacob.
The Romantic repertoire, however, remains a central part of her repertoire: she made her debut as Leïla in Bizet’s Les Pêcheurs de perles in Marmande, conducted by Philippe Mestre; she made her debut as Marie in Donizetti’s La Fille du régiment, in a condensed version with Les Siècles conducted by Alexandra Cravero and directed by Héloïse Sérazin (Théâtre des Champs-Élysées, Théâtre de Tourcoing, Opéra de Bordeaux and Opéra d’Avignon). Also worth mentioning is her debut in the role of Barberine in Mozart’s Le Nozze di Figaro at the Opéra de Montpellier.