poetry. passion. soprano.


Soprano of Elegance and Passion.


Born into a Belgian-German Family of Mozart enthusiasts in Heidelberg, Eleonore Marguerre studied singing at the University of Music and Performing Arts in Vienna. In addition she studied Labour law, economics, and history at the Technical University in Darmstadt.
She began her career in Germany performing in Weimar, Leipzig, Mannheim, the Händel Festival Halle, and Darmstadt singing such roles as Konstanze, Donna Anna, Fiordiligi, Gilda, Melusine and Rosalinde and Armida (Rinaldo).
To arouse enthusiasm for classical music in other people is her greatest wish – which is why she launched the first opera guide podcast “Leonore &Fidelio” (in German mostly) in 2017 and is very involved in the field of music education.

Having won many prizes in competitions such as the Leyla Gencer Voice Competition and the Boris Christoff competition Mrs. Marguerre went on to appear on the major stages of Europe including Teatro alla Scala in Milan (Venus in Ascanio in Alba), La Fenice in Venice (Juliette) and the Vienna State Opera.


Her projects for 2022/2023 include the baroque Opera “Talestri” and the title role in Offenbach’s “La grande Duchesse de Gérolstein” at Staatstheater Nürnberg and Eleonore’s role debut as Hanna Glawari in “Merry Widow” at Opera Wuppertal and at Oper Bonn.
In 2022 she sang “Neues vom Tage” by Hindemith at Gelsenkirchen and “Faust” at Opéra Wroclaw.

Her debut at New National Opera Tokyo in Fledermaus is scheduled for 2023/2024 as well as her return to Théâtre la Monnaie in Brussels as Woglinde in Wagner’s “Rheingold”.

Past Highlights

In 2019 /20 she sang Manon in Nuremberg and Violetta in La Traviata at Oper Düsseldorf. In the Beethoven anniversary year 2020 she will sing her first „Leonore“ in „Fidelio“ in Cottbus and Chorin,  later in  2020 she was starring as „Isolde“ in  Frank Martin’s Opera „Le vin herbé“. To start 2018/2019 Eleonore Marguerre sang her first Russian role as “Natascha Rostova” in Prokofiev’s “War and Peace” at State Opera  Nürnberg, before turning to Opera Lausanne as  “Rosalinde” in “The Bat”, as well as “Agathe” at Oper Leipzig. In march  2019  she was part of the world premiere of  “Frankenstein” by Mark Grey at Théâtre la Monnaie in Brussels as “Elisabeth”.

In 2017/18 she sang her first opera by Strauss, the title role of “Arabella” in Dortmund and Wiesbaden, as well as “Violetta” in “La Traviata” in Dortmund and Nürnberg. Equally, she starred as “Saffi” in “Gipsy Baron” at Grand Théâtre de Genève and sang “Eve” by Massenet in concert. In 2016 she sang first time “Marguerite” in Faust in Dortmund, “Donna Anna” in Gelsenkirchen, “Konstanze” at Oper Leipzig. A major debut was at Opéra de La Monnaie Brussels as  “Fox” (Lisak) in “Cunning Little Vixen”.

in 2014-2016 she sang “Arminda” in La Finta Giardiniera in Glyndebourne, the soprano in „The diary of Nijinsky“ at Opera de Bordeaux, Konstanze (Abduction from the Seraglio) at Antibes, Donna Anna (Don Giovanni) in Dortmund, Violetta (la Traviata) at Opera de Tours as well as Agathe in “Freischuetz” at Domstufenfestival Erfurt. Ivan Fischer took her on an international tour with Budapest Festival Orchestra with “Magic Flute” to London, Amsterdam, Budapest, Bruges, and Berlin.

To begin 2014 Mrs. Marguerre made her house debut at the Opera de Bastille in Mozart‘s Die Zauberflöte. In Dortmund she sang again Konstanze. Currently, she has a major association with the Dortmund Opera where she most recently made her debut as Manon (Massenet),  Contessa Almaviva, or Poppea in Monteverdi‘s L‘Incoronazione di Poppea. Further projects in 2013/2014 included productions in Nancy (Der Zwerg), Bordeaux (Lucio Silla) and Monte Carlo (Das Rheingold), and Konstanze at Aalto Theater Essen.

Her concert appearances have lead her to Antwerp, Oslo, Berlin, Cologne, Tokyo, Seoul, and Hamburg, among many others.


Her growing discography includes Die Schöne Galathee with Capriccio, Mozart‘s fragment Demofoonte with Arts Music, Das Lied von der Glocke with CPO and Mendelssohn‘s Lobgesang with Hänssler.


She is the author of a Guide to Operasingers (“Earn a fee for your High C”, Donatus, 2020) and a Graphic Book “Wozu das ganze Theater?” (Donatus 2020).



  • Deutschlandradio Kultur commented on her “Rosamunde” at Rokoko-Theatre Schwetzingen in 2012: “She dies as beautifully as she sings.”
  • „Eleonore Marguerre  interprets the  Comtessa arias in a noble manner whilst adding some crabbiness to her role.  With her cool and  coquettish way, she heats up Ileana Mateescus bold and cheeky Cherubino .“
(NWR Kultur, 25.2.2013)
  • „The appearance of Eleonore Marguerre bears a certain resemblance to  Romy Schneider in the Sissi-Trilogy. She sings and plays the Comtessa most touchingly in a beautifully focussed soprano”, www.opernnetz.de, 4.3.2013