Miriam Ruggeri studied under Régine Crespin at the Conservatoire National Supérieur de Musique in Paris, and then at the Accademia Chigiana in Sienna (Italy) and the Studio baroque in Versailles, directed by René Jacobs and Rachel Yakar. Her performances as soloist were soon receiving acclaim at prestigious venues such as the Paris Opera and Opéra Comique and the Théâtre des Champs-Elysées under conductors including William Christie, Jean-Claude Malgoire, Philippe Herreweghe, Hervé Niquet, and Christophe Rousset, as well as at international festivals including the Brooklyn Academy (New York), the Teatro Real (Madrid), the Antique Theatre (Athens), Aix-en-Provence and Saintes (France), Bremen (Germany), Tokyo, Turkku (Finland), Melbourne, and Olinda (Brazil).



Her favourite roles include Despina in Cosi Fan Tutte, Emilie in Rameau’s Les Indes Galantes, Clarina in Rossini’s The Bill of Marriage, Proserpine in Monteverdi’s Orpheus, Eurydice in Gluck’s Orpheus. She has also sung the major works of the liturgical repertory: Mozart’s Requiem and Mass in C Minor, Handel’s Messiah and Resurrezione, Poulenc’s Gloria, Mendelssohn’s Psalm 42, Jolivet’s Suite Liturgique, Honegger’s Le Roi David, Vivaldi’s Gloria, Bach’s St Matthew Passion, and Mahler’s Symphony N° 4. She also performed a new version of Le charmeur de rats, an original work for theatre, in Marseille.




Revisiting her Portuguese roots, she has set out to explore the baroque heritage of the Iberian Peninsula, presenting for the first time in France (in Paris and during the Pontoise Festival of Baroque Music), and also at the Gulbenkian Foundation in Lisbon, works like António Teixeira’s Guerras do Alecrim e Manjerona and As Variedades de Proteu, and Francisco Antonio de Almeida’s La Giuditta in which she played the lead roles.




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