After studying violin and attending the Radio France choir school and the CRR of Paris, soprano Parveen Savart continued her training at the Conservatoire National Supérieur de Musique et de Danse de Paris in the class of Élène Golgévit. Throughout her journey, she has received guidance from musical figures such as Nathalie Stutzmann, Anne Sofie von Otter, Inva Mula, Anne Le Bozec, Jeff Cohen, Margreet Hönig, and Regina Werner.

She is a laureate of the Académie des Frivolités Parisiennes and the Fondation de France, receiving the Prix Dauphin de Verna, as well as the Tarrazzi and SAFRAN foundations, and since June 2024, the ADAMI.

Parveen Savart is regularly invited by ensembles and conductors such as the Palais Royal, the Orchestre Colonne with Marc Korovitch (opera aria recital at the Théâtre des Champs-Élysées), and Maxime Pascal with Le Balcon for the inaugural concert at the Scala Paris, where she performed George Crumb’s Apparitions with pianist Alphonse Cemin. In September 2021, she performed with the ensemble Les Frivolités Parisiennes at their festival at the Orangerie de Bagatelle in Paris. On stage, Parveen embodies the roles of Eurydice in Offenbach’s Orphée aux Enfers, Sigismondo in Handel’s Arminio, and Zephyr in Lully’s Psyché. She also sings the role of the Young Girl in Wolfgang Rihm’s opera Jakob Lenz at the Théâtre de l’Athénée in Paris (dir. Maxime Pascal), reprised in 2022 at the Salzburg Festival at the Mozarteum, and the Fairy in Massenet’s Cendrillon. She also portrays Miss Jessel in Britten’s The Turn of the Screw (a co-production between the Philharmonie de Paris and the CNSMDP), as well as Gemmira in Cavalli’s Eliogabalo at the Saorge Early Music Festival.

In 2022, Parveen made her debut in the role of Rosalinde in Johann Strauss’s opera Die Fledermaus under the baton of Lucie Leguay, directed by Nicola Raab. She also plays the roles of Zlabya in Le Chat du Rabbin at the Dijon Opera, a creation of Les Frivolités Parisiennes directed by Pascal Neyron, and Chimène in Chimène faire entendre sa voix, an adaptation by Sandrine Anglade of the works of A. Sacchini and Corneille, in co-production with the Arcal and the Concert de la Loge.

Equally fond of oratorio, she notably interprets the title role in Handel’s Esther, the solo parts in Mozart’s and Michael Haydn’s Requiems, Orff’s Carmina Burana with the Orchestre Symphonique du Touquet, and the Servant in Michaël Levinas’s Passion selon Marc at the Philharmonie de Paris with the Orchestre de Chambre de Paris conducted by Maxime Pascal.

Highly attuned to the world of melody and particularly drawn to the Russian repertoire, Parveen forms duos with pianists Gaspard Thomas (with whom she is a laureate of the Trossingen Lied Academy in Germany) and Natallia Yeliseyeva during recitals at the Auditorium du Grand Palais, the Palais de Tokyo, the Cité de la Musique, the Petit Palais on the invitation of the Jeunes Talents association, and the Philharmonie de Minsk.

In July 2024, she records an album with pianist Anna Giorgi under the INITIALE label, featuring French melodies from the early 20th century as well as a newly commissioned song cycle by composer Arthur Lavandier, based on poems by Pierre Peuchmaurd, for cello (Maya Devane), piano (Frédéric Rubay), and voice. This creation (commissioned by the singer herself) has been supported by the SAFRAN foundation.

Upcoming, Parveen Savart will make her debut at the Limoges Opera in the role of Micaëla in Bizet’s Carmen with the Sandrine Anglade company. She will also perform at the Saint-Etienne Opera with Arcal for a reprise of Chimène, in recital at the Lille Opera, as well as at the Reims Opera and the Théâtre Impérial de Compiègne for the creation of the show Hélène ou la voix disparue with Les Frivolités Parisiennes.