Holder of a master’s degree in musicology from the Sorbonne, a Prix degree from the CNSM in Paris and many awards from international competitions, Delphine Haidan was trained at the Paris Opera’s Ecole de Chant.
She has acquired as much experience abroad (at the Glyndebourne Festival, the Vienna Musikverein and Konzerthaus, the Maestranza in Seville, Dresden, Grenada, Santander, Tel Aviv, Lisbon, Barcelona, London’s Royal Albert Hall, Ghent, Antwerp, Brussels, Rotterdam, Edinburgh, Glasgow, Moscow, Tokyo, and Bogota) as in France (Opéra National de Paris, Théâtre des Champs-Elysées, Opéra Comique, Théâtre du Châtelet, Capitole de Toulouse, Grand Théâtre de Bordeaux, Metz…). She has worked with conductors such as Michel Plasson, James Conlon, Neeme Jarvi, John Nelson, Ivor Bolton, Myung-Whun Chung, Kent Nagano, Jesus Lopez Cobos, Emmanuel Krivine, Vladimir Fedosseiev, Edo de Waart, Christophe Rousset, Emmanuelle Haim, William Christie, Charles Dutoit, Alain Lombard and Nikolaus Harnoncourt.
She has been involved in many productions at the Opéra National de Paris, including Carmen (Mercedes),Les Contes d’Hoffmann (the Muse/Nicklausse), Don Giovanni (Zerlina), Der Zwerg (Die Dritte Zofe), andL’Enfant et les Sortilèges (la Chatte, l’Ecureuil).
Her discography includes a recording of Lakmé for EMI and Carmen (Mercedes) for Decca (Myung-Whun Chung), Paul Le Flem’s Aucassin et Nicolette (la Récitante) for Timpani and Une fête baroque with Emmanuelle Haim and the Concert d’Astrée.
Her recent performances include Meg Page (Falstaff), the Abbess and La Ciesca (Il Trittico), as well as Suzuki (Madama Butterfly) at the Tours Opera and ath the Reims Opera, Métella (La Vie Parisienne) at the Opéra du Rhin and La Mère, La tasse Chinoise, La Libellule (L'enfant et les Sortilèges) at the Scala of Milan.