Rising star Axelle Fanyo brings her singular talents to Longy’s Pickman Hall

French soprano Axelle Fanyo, who draws upon her European-Caribbean-African history as inspiration for her work as an opera singer, will perform for one night only on Feb. 3 at the Edward M. Pickman Concert Hall at Longy School of Music in Cambridge. Presented by Vivo Performing Arts, previously known as Celebrity Series of Boston, Fanyo, accompanied by pianist Julius Drake, will offer an evening of European and North American opera.

This is a rare opportunity to hear Fanyo, who performed at Carnegie Hall in January this year and recently in prestigious venues such as the Concertgebow (Amsterdam), Théâtre de l’Athénée (Paris) and the Teatro dell’Opera di Roma. At the Rome venue, she played the role of Refka in “Adriano Mater,” directed by the great Peter Sellars and written by the Finnish composer Kaija Saariaho.

Fanyo studied musicology at the Sorbonne and earned her master’s diploma at the Conservatoire National Supérieur de Musique de Paris. Then, too, as the daughter of a father from Togo, a mother from the French Antilles and growing up in the department of Seine-Saint-Denis, just north of Paris, her artistic development is multifaceted. She is an individual who embodies the power of embracing the diversity and complexity of mingling cultures.

The Banner spoke with Fanyo a few weeks ago about her upcoming show, her work and what she is up to in 2026.

Banner: What will you be performing at Longy on the night of February 3rd?

Fanyo: I am an opera singer, and I am going to perform with my dear friend and collaborator Julius Drake, the legendary pianist. We are going to play together songs by French and American composers to discover the bonds between them. Works by Olivier Messiaen and William Bolcom. Messiaen was a French composer, conductor and organist. He was a rule breaker. Because I’m French, I love his music. He was really connected to God, and his music was a way of expressing that faith. His work is more than the notes on the paper. My favorite American composer is Bolcom. His music is inspired by cabaret music; it’s pretty jazzy and Broadway while kind of classical at the same time.

Tell us about the 2025 Grammy award you won.

The Grammy was for the best opera recording of the year. The opera was Adriana Mater by the Finnish composer, Kaija Anneli Saariaho, recorded by the San Francisco Symphony. I played the part of Refka. Deutsche Grammophon did the record.

What was the first opera that resonated for you emotionally or artistically?

The Valkyrie by Wagner at the Opéra Bastille in Paris. I remember it as being so visual. I went with my best friend at the time, now my husband. The performance lasted five hours. It was my first Wagner. I was in awe of the singers. The music was like a big wave, and the singers were surfing on the wave. I knew that to become a singer was meant for me. I was a violinist up to that point. I never thought I’d be a stage performer. I wasn’t a singer at the time. I started around 22 or 23 to become one.

Growing up in France with African and Caribbean heritage: any impact on your artistic development?

Being Black in the classical music field, no matter what country, you are part of the 1%. You feel as if you have to prove yourself. We’re not so many, it’s harder for us. People are kind of surprised. I can seduce them — as a singer, in a good way. When you’re Black, you have to bring them into my world. It’s not the same as a white person. Then, too, I’m outspoken, it’s a show for me. I’m very demonstrative; I feel everything 100%.

Any advice to artists pursuing a career in classical music?

Be patient. You need patience. I’m not a patient person. You have to know it’s a marathon. It’s a long, long run. You have to keep the pace. You have to be patient both with yourself and the rest of the world. Not just your voice, also you need time to evolve in terms of who you are and what you want to share with the audience.

What lies ahead for you in 2026?

My biggest challenge will be performing with the Rome Opera from March 1st through the 10th in Ariadne auf Naxos by Richard Strauss. It’s very demanding music. I have the title role. In June, I’ll be performing with the Vienna Opera as Antonia in The Tales of Hoffman by Offenbach. Also, in June I’ll be in Verdi’s Requiem that is going to be performed in Toulouse.

ON THE WEB

Learn more at vivoperformingarts.org/productions/axelle-fanyo-soprano-and-julius-drake-piano and at axellefanyo.com