Artiste lyrique, soprano à l'Opéra de Paris où elle débuta en 1908 et chanta les plus grand rôles.
Nommée chevalier de la Légion d'Honneur le 12 janvier 1935.548

Couverture du CD "Faust" de Marston Records (opéra enregistré en 1911) :
Jeanne Campredon (1884—19??) was born Jeanne Hagoun in the coastal Algerian city of Djidjelli. She came to Paris for her musical training and studied at the Conservatoire under the famous baritone Max Bouvet. She made her debut at the Paris Opéra on 13 March 1908 in the taxing role of the Queen in Meyerbeer’s Les Huguenots, winning praise for her “brilliant voice and acting full of charm.” At the beginning of the 1909/1910 season she essayed Mathilde in Guillaume Tell, and “her pretty voice and secure vocalization won the audience over.” Later in the season she added the diverse roles of Ophélie in Hamlet, Gilda in Rigoletto, and Freia in the Opéra’s first performance of Das Rheingold. Marguerite in Faust was to become her own special role, which she sang for the first time on 25 August 1910 “to thunderous applause.” Following Opéra tradition, the first performance of each new year was Faust and on 2 January 1911 Campredon led the cast with Paul Franz, Marcel Journet, Marcelin Duclos, and Jeanne Goulancourt.
In 1912 Campredon married Dr. Paul Dardet but continued singing though rather less regularly in the last years of the First World War. In the 1920s she furthered her career at the Opéra, singing the Queen of the Night in Mozart’s Die Zauberflöte in 1923. There is no doubt that the crowning achievement of her quarter century at the Opéra was the French creation of Strauss’s Der Rosenkavalier in 1927. Campredon assumed the role of the Marschallin, with Germaine Lubin as Octavian, Jane Laval as Sophie, and Albert Huberty as Baron Ochs. She was still singing the role, together with most of the original cast, at least until 1935.
Her commitments at the Opéra were such that Campredon had little time to appear abroad, and these appearances were generally limited to North Africa, Monte Carlo, Geneva, and Luxemburg, though she also sang in Stockholm. In addition to the stage, she sang at many concerts in Paris and in the main provincial centers. When she retired in the mid-1930s, she devoted herself fully to the teaching activities she had taken up while still performing. Her most famous pupil was undoubtedly Leila Ben Sedira, who was also born in Algeria and who became one of the great coloratura sopranos at the Opéra-Comique.
Listening to her performance of Marguerite, it is easy to understand why she was so often cast in the role. Her strong but flexible voice provides the solution to the challenge that all Marguerites must tackle: how to combine the power needed for the Church Scene and Apotheosis with the lyricism required for the “Garden Scene,” and yet also deal effortlessly with the coloratura of the “Jewel Song.” Campredon certainly has the reserves of power needed – she seems to dominate the final trio. But her coloratura was also up to the mark and she negotiates the trills of the “Jewel Song” with aplomb.
Campredon’s recorded legacy is almost completely represented by this CD. Apart from this complete Faust, there appears to be only one other recording, César Franck’s trifle Le Mariage des roses.549

Il semble qu'elle termina sa carrière en enseignant l'art lyrique au conservatoire d'Oran, vers 1950.550