Ear­ly on, she was invit­ed to per­for­mas soloist in many fes­ti­vals and venues as famous as the Palace of arts and the Budapest State Opera in Hun­gary, the The­ater an der Wien, the Ams­ter­dam Con­cert­ge­bouw, the Théâtre des Champs-Elysées, the Opéra roy­al de Ver­sailles in France and the Ver­bier fes­ti­val in Switzer­land ; the Niko­laisaal in Pots­dam, the Braun­schweig Staat­sthe­ater, and the Bran­de­burg­er The­ater in Ger­many ; the Con­cert Hall of the Tchaikovsky Con­ser­va­to­ry in Moscow, Rus­sia.

The late Alan Cur­tis was one of the first con­duc­tors to dis­cov­er her tal­ent and he gave her the oppor­tu­ni­ties to sing in pres­ti­gious pro­duc­tions with works by Hän­del – for exam­ple, Giulio Cesare (role of Ses­to, along­side kari­na Gau­vin and Marie-Nicole Lemieux, with a record­ing by Naïve), Adme­to (role of antig­o­na), Amadi­gi di Gaula (role of Ori­ana), Ari­an­na in Cre­ta (role of alces­te), in pres­ti­gious venues such as the­ater an der Wien, audi­to­rio nacional in madrid or Théâtre des Champs-Élysées). Hän­del takes a major role in her reper­toire : she sang The Mes­si­ah (Detroit Sym­pho­ny Orches­tra and Nation­al Sym­pho­ny Orches­tra Wash­ing­ton, Nathalie Stutz­mann con­duct­ing), Almire­na in Rinal­do (Il Pomo d’Oro and ric­car­do minasi), Armin­do in Partenope (Il Pomo d’Oro and Maxym Emelyany­chev, with a record­ing by Era­to-Warn­er Clas­sics), Mor­gana in Alci­na (Accad­e­mia Bizan­ti­na and Ottavio Dan­tone, with Inga kalna and Philippe Jaroussky) and Aste­r­ia in Tamer­lano (Les ambas­sadeurs and Alex­is Kossenko). In april 2014, she sang the sopra­no part in Duel­lo Amoroso, a pas­tic­cio after Hän­del, with Nathalie Stutz­mann con­duct­ing the ensem­ble Orfeo 55 at the Bor­deaux Opera (with Jean-Louis Grin­da as stage direc­tor).

Emőke Baráth’s reper­toire is par­tic­u­lar­ly wide : she sang Mahler’s Sym­pho­ny N°2 with the Orques­ta de Valen­cia and Yaron Traub, Scyl­la et Glau­cus by Leclair (role of Scyl­la, with Les Nou­veaux Car­ac­tères and Sébastien d’Hérin, with a record­ing by alpha), Rameau’s Fêtes de Polym­nie (with the Orfeo Orches­tra Budapest and Györ­gy Vasheg­gyi, with the sup­port of the Cen­tre de musique Baroque de Ver­sailles) or Fal­staff by Ver­di (role of Nanet­ta, at the Budapest Opera).

Among her recents projects, we can men­tion the release of a record­ing with Philippe Jaroussky, I Baroc­chisti and Diego Faso­lis by Warn­er Clas­sics, La sto­ria di Orfeo with works by Mon­tever­di, Sar­to­rio, Rossi… (Warn­er Clas­sics) ; the title-role of Iper­me­s­tra by Cav­al­li at the Glyn­de­bourne Fes­ti­val, with William Christie con­duct­ing and Gra­ham Vick as stage direc­tor, or Monteverdi’s Vespro del­la Bea­ta Vergine with Jor­di Savall and La Capel­la Reial de Catalun­ya at the Salzburg Fes­ti­val or an exten­sive tour in the USA with the Boston Ear­ly music Fes­ti­val.

Cho­sen by W. Christie, he start­ed his career at a very young age, per­form­ing Telema­co in Monteverdi’s Ritorno di Ulisse in Patriain Aix en Provence Fes­ti­val. His long last­ing col­lab­o­ra­tion with W. Christie con­tin­ued till the last project at the Opera Comique and Teater an der wien with Platée staged by Robert Carsen. He received numer­ous invi­ta­tions from Leonar­do Gar­cia Alar­con; Ivor Bolton; Vin­cent Dumestre ; Damien Guil­lon; Emmanuelle Haïm; Hervé Niquet; Christophe Rous­set … On Mozart roles debuted in Don Gio­van­ni(Don Ottavio) with Emmanuel Kriv­ine; Tamino in The Mag­ic Flute; Basilio in Mozart’s Le Nozze di Figarowith Emmanuelle Haïm and Le Con­cert d’Astrée and Mono­statos in Die Zauber­flötein Bor­deaux staged by Lau­ra Scozzi; An incur­sion on mod­ern reper­toire with Philippe Boesmans’s Pinoc­chiostaged by Joël Pom­mer­at at Bor­deaux Opera. Recent and forthom­ing stage pro­duc­tions include Handel’s Acis & Galatea (satge by A-L Lié­geois),PRameau’s Indes Galantes(Valère, Tac­mas) at the Bay­erisch Staat­sop­er with Sidi Lar­bi Cherkaoui ; Orfeo (Title role) with Les Arts Florissants/Paul Agnew, Ceix in Marin Marais’s Alcione with Jor­di Savall /Louise Moaty; Jason in Charpentier’s Médée at the Grand Théâtre de Genève (new pro­duc­tion staged by David Mc Vic­ar).

Recent oper­at­ic engage­ments include: Raoul de St. Brioche in The Mer­ry Wid­ow at the Nan­cy Opera, Corèbe/Eolo in Cavalli’s La Didone with Les Arts Floris­sants in Caen, Lux­em­bourg and Théâtre des Champs Elysées in Paris, tenor roles in the Ravel’s L’Enfant et les Sor­tilèges with Aix en Provence Festival’s Acad­e­my.

His projects include l’Amant For­tuné in Lul­ly ‘s Armide at the Opéra Nation­al de Lor­raine in Nan­cy (cond. Christophe Rous­set), Monteverdi’s Il com­bat­ti­men­to di Tan­cre­di e Clorin­da with Musi­ciens du Lou­vre (cond. Francesco Cor­ti) at Greno­ble MC2, his debuts in the role of Fer­ran­do in Cosi fan Tutte at Opera de Nice.

Very active and ver­sa­tile in the ora­to­rio, his reper­toire in con­certs includes: Mozart’s Requiem, Mass in C, Litany KV195 and KV243, Haydn’s die Schöp­fung, Die Jahreszeit­en, Honegger’s Le Roi David, Rossini’s Petite Messe Solen­nelle, J.S. Bach’s Pas­sions, Christ­mas Ora­to­rio, Mass in B minor as well as numer­ous can­tatas of the com­pos­er, Monteverdi’s Vespro del­la Bea­ta Vergine, Haendel’s Mes­si­ah and Brock­es Pas­sion, Schumann’s Aus Goethes Faust Szenen, Mendelssohn’s Die Erste Walpur­gis­nacht and Paulus, Puccini’s Mes­sa di Glo­ria, Bruckner’s Te Deum, Frank Martin’s Le Vin Her­bé and Requiem.

He per­forms in major Euro­pean Fes­ti­vals and con­cert halls such as Fes­ti­val of Flan­ders, Rhein­gau Fes­ti­val, Folles Journées de Nantes, Bil­bao, Lis­bon, Tokyo, Ear­ly Music Fes­ti­val in Lyon, Fes­ti­val of La Roque d’ Anthéron, Paleo Fes­ti­val in Nyon, Ambron­ay Fes­ti­val, Sion Inter­na­tion­al Fes­ti­val, Oster­fes­ti­val Tirol, Fes­ti­val Van­cou­ver, Edin­burgh Fes­ti­val, Teatro Comu­nale Pavarot­ti of Mod­e­na, Fes­ti­val delle Nazioni (Cit­tà di Castel­lo) and opera the­aters such as Lau­sanne, Friburg, Dijon, Besan­con, Venice (La Fenice, Teatro Mal­i­bran) ‚Toulouse etc.

On the oper­at­ic scene, he inter­prets roles such as Aristaeus/Pluto in Offenbach’s Orphée aux Enfers, Sergei in Shostakovich’s Mosk­va Tcheri­omuch­ki, Cheva­lier de la Force in Poulenc’s Dia­logues des Carmelites, Mis­ter Owen in Post­card from Moroc­co by Dominick Argen­to, Clem/Alfred in Britten’s The Lit­tle Sweep, Nor­man­no in Lucia di Lam­mer­moor, Landry in Messager’s For­tu­nio in Monteverdi’s Il Ritorno di Ulisse in Patri (Giove/Eumete/Eurimaco).

Most recent appear­ances include Berio’s Folk Songs with the Mel­bourne Sym­pho­ny Orches­tra and at Musik­fest­spiele San­souc­ci Pots­dam, con­certs with Ensem­ble Pyg­malion and Raphael Pichon at the Fes­ti­vals Chaise-Dieu and Sablé, with Col­legium Vocal 1704 and Václav Luks, fea­tur­ing music of Zelan­ka, Bach and Tele­mann, The Mes­si­ah with the Mel­bourne and Queens­land Sym­pho­ny Orches­tras, Bach’s Matthäus Pas­sion with the Res­i­den­tie Ork­est, a new pro­duc­tion by Sasha Waltz to mark the open­ing of the Elbphil­har­monie in Ham­burg, Galatea in Handel’s Acis, Galatea e Polifemo at the Hän­delfest­spiele Halle, Pan­thalis in Boito’s Mefistofele at Fest­spiel­haus Baden-Baden, the title role in Piazzolla’s Maria de Buenos Aires at The­ater Bonn and The­ater Halle and Pros­er­pina in Monteverdi’s Orfeo in a new stag­ing by Sasha Waltz with the Freiburg­er Barock­o­rkester and Pablo Heras-Casa­do, at the Dutch Nation­al Opera in Ams­ter­dam, the Grand Théâtre de Lux­em­bourg, in Baden-Baden, Bergen, Opera de Lille and the Staat­sop­er Berlin.

Else­where, she has per­formed the roles of Vita Mon­dana and Pru­den­tio in Cavalieri’s Rap­p­re­sen­ta­tione di Ani­ma et di Cor­po at Staat­sop­er Berlin, con­duct­ed by René Jacobs, Amas­tre in Handel’s Serse at The­ater an der Wien, con­duct­ed by Jean-Christophe Spin­osi, Annio in Mozart’s La Clemen­za di Tito at the Drot­tning­holm Fes­ti­val, Zai­da in Rossini’s Il Tur­co in Italia at Dutch Nation­al Opera, Volu­pia and Didone in Cavalli’s Egis­to at l’Opéra-Comique in Paris with Le Poème Har­monique, Mes­sag­gera in a con­cert per­for­mance of Monteverdi’s Orfeo at the Gul­benkian Foun­da­tion in Lis­bon, Haydn’s Die sieben let­zten Worte unseres Erlösers am Kreuze with the Bergen Phil­har­mon­ic and Juan­jo Mena, Mes­sag­gera in  Monteverdi’s Orfeo with the Choeur de Cham­bre de Namur and La Fenice, con­duct­ed by Jean Tubery, at the Van­taa Baroque Fes­ti­val, Fes­ti­val Baroque de Pon­toise, in Bil­bao and War­saw.

Her wide reper­toire also includes the roles of Bradamante in the opera Il palaz­zo Incan­ta­to by Lui­gi Rossi, Dafne in G. Peri’s L’Euridice, the main ora­to­rios by J.S. Bach and sev­er­al Han­del parts such as Matilde in Lotario and Cle­ofe in the Ora­to­rio La Res­ur­rezione.

With Christi­na Pluhar and her ensem­ble L’Arpeggiata she has per­formed at the Musik­fest­spiele Sanssouci, the Ear­ly Music Fes­ti­val of Brugge, Fes­ti­val de Músi­ca Sacra in Cuen­ca, Fes­ti­val de Sem­ana San­ta in Val­ladol­id and Fes­ti­val de Sablè and in Pois­sy.

Engage­ments in 2018/19 include the title role in Handel’s Serse at The­ater Bonn, Pros­er­pina at Berlin State Opera in Sasha Waltz’s pro­duc­tion of Orfeo, Handel’s Mes­si­ah with the Orches­tra of the 18th Cen­tu­ry in Spain and Por­tu­gal, 2nd Woman in a new pro­duc­tion of Dido and Aeneas by Sasha Waltz at the Teatro Real Madrid and New Year’s con­certs with the Oslo Phil­har­mon­ic.

Peter has made around a hun­dred record­ings in reper­toire span­ning eight cen­turies, with an empha­sis on music from the High Baroque. Along with works by Han­del and Pur­cell he has record­ed all the major vocal works of J.S. Bach and many of the can­tatas with con­duc­tors includ­ing Sir John Eliot Gar­diner, Philippe Her­reweghe and Paul McCreesh. A flu­ent French speak­er, Peter has record­ed a great many sacred works of the French Baroque (Cam­pra, Gilles, Lul­ly, Char­p­en­tier, Lalande) includ­ing Rameau’s com­plete Grands Motets (with Le Con­cert Spir­ituel) and the sec­u­lar can­tatas for bass voice (with Lon­don Baroque, on BIS). From the late Roman­tic French reper­toire he has record­ed the Fau­ré Requiem twice with Michel Cor­boz, the lat­est ver­sion win­ning the “Choc de l’année” in Le Monde de la Musique, and very recent­ly the Requiem by Duru­flé also, with Mag­dalen Col­lege, Oxford. From the Clas­si­cal era, The Gabrieli Consort’s new record­ing of Haydn’s Cre­ation, for Deutsche Gram­mophon, on which Peter sings “Adam”, won the ‘Gram­my Award’ for the best choral record­ing of 2008.

Recent career high­lights include Bach can­tatas with Ton Koop­man in Vienna’s Musikvere­in, the B minor Mass in the Ams­ter­dam Con­cert­ge­bouw, Die Win­ter­reise with Roger Vig­noles in Cam­bridge and Spain, Mes­si­ah in Toron­to, a tour to the Far East with the Orches­tra of the Age of the Enlight­en­ment in the St John Pas­sion and the St. Matthew Pas­sion with the Boston Sym­pho­ny Orches­tra, in Bernard Haitink’s first per­for­mances of the work. He recent­ly record­ed Schubert’s song-cycle ‘Die Win­ter­reise’ with fortepi­anist Gary Coop­er.