The 68th edition of the Festival was a great success, both for the
July ‘Festival’as well as AIX EN JUIN.
The keywords of this year’s opera programme were excellence and
diversity. With a dream cast in the expert hands of Katie Mitchell
and Esa-Pekka Salonen, Pelléas et Mélisande was presented after a
long wait of 44 years. Film-maker Christophe Honoré offered a
new vision of Così Fan Tutte, set in Africa. Krzysztof Warlikowski
revealed the theatricality of a sublime Handel oratorio, while
Peter Sellars once again deeply moved festival-goers with a most
convincing Stravinsky diptych. Among the nine world premieres
of this edition, Moneim Adwan’s Arabic opera Kalîla wa Dimna
enchanted a wide and highly diverse public.
The new feature of AIX EN JUIN 2016 was OUVERTURE[S] : a
musical walk through the Jas de Bouffan district for a festive and
participatory inauguration event. The fruit of a long-term effort
by the outreach and socio-artistic services of the Festival and
the European Académie of Music, 62 events were offered free of
charge or at affordable prices both in Aix and the surrounding
communities. These artistic events brought together nearly
18,000 spectators, including many young people. Once again,
Parade[s] set the Cours Mirabeau ablaze with a free concert
mixing traditional African songs and opera.
The Festival d'Aix 2016 was particularly present both over
the airwaves and on the web. The five summer operas were
rebroadcast on Arte, France Musique, France Télévisions,
Mezzo, Arte Concert, Culture Box, Medici.tv and The Opera
Platform. Three of them - Così fan tutte, Pelléas et Mélisande and
Kalîla wa Dimna - were projected on the big screens of 73 cities
in France and abroad. Several musical events also benefited
from 360°immersive recording. Finally, the closing concert of
the Mediterranean Youth Orchestra (MYO) was broadcast live
on YouTube.
If more than 75,000 spectators from the local area and further
afield were able to participate in the summer magic of the
Festival d'Aix, it is in part thanks to the renewed support of
the Ministry of Culture and Communication, the City Council
of Aix-en-Provence, Métropole Aix-Marseille-Provence,
Territoire Pays d’Aix, the Departmental Council, the Regional
Council of Provence-Alpes-Côtes d’Azur, the European Union
as well as that of our corporate and private patrons. I would like
to express my deep appreciation to them all.
Bruno Roger
President of the Festival d’Aix-en-Provence
1
THE STRENGTH AND DIVERSITY OF ARTIST RESIDENCIES Our Festival in Aix-en-Provence has been developing artist
residencies for several years. The 2016 edition allowed us to
appreciate the results of several of these.
Pelléas et Mélisande was the fifth consecutive opera staged in
Aix by Katie Mitchell, after Written on Skin, The House Taken
Over, Trauernacht and Alcina. In the continuity of her previous
achievements, she constructed her stage production from
a feminine point of view, proposing a dreamlike reading of
the opera through the eyes and imagination of Mélisande.
In addition to her stage production, Katie Mitchell has been
extremely generous, year after year, in her encounters with
the young artists of the Académie. This year, she initiated a
workshop with young creative women that will extend through
next year, the results of which will be shared with the profession.
Invited on several occasions, Peter Sellars also marked our
Festival: a charismatic stage director who is adulated by all the
artists and teams he works with, he was able to touch the public
of Aix by the density of his theatrical language and the depth of
his approach in Iolanta / Persephone in 2015 and Oedipus Rex /
Symphony of Psalms in 2016.
This year we presented the world premiere of Kalîla wa Dimna,
an opera written by Moneim Adwan on a libretto in Arabic
and French. Since 2008, this Franco-Palestinian artist has
developed an ongoing collaboration with our Festival, including
the direction of the Ibn Zaydoun choir, which rehearses every
week alternating between Aix and Marseille. Without this
residency, without the links that have been built over the
years and without the stepping-stone of The Dove, the Fox and
the Heron (a small opera written and staged in June 2014), the
composition of Kalîla would never have obtained the impact it
enjoyed this summer.
Cellist Jean-Guihen Queyras and saxophonist Raphaël Imbert
were associated artists for this edition of the Festival. Jean-
Guihen Queyras gave several concerts, participated in the last
two public performances given by the Arcanto Quartet and gave
master classes for string quartet. Raphaël Imbert opened the
Festival on 4 June during a musical walk involving marching
bands from school orchestras, gave several concerts and
accompanied an intercultural session of the Mediterranean
Youth Orchestra, where he joined his friend Jean-Guihen.
These two artists demonstrated a commitment and a sense of
sharing that was as enthusiastic as it was communicative.
Beyond these residencies, we must also underline all the
relationships that have been built over the years with Louis
Langrée, Jérémie Rhorer, Esa-Pekka Salonen and many other
artists from the Académie... These loyalties, residencies and
relationships are built over time with patience, passion and
creativity, and yield results that would be unimaginable under
other conditions. They permeate the identity of our Festival and
contribute to make it a unique event in the world.
Bernard Foccroulle
Director General of the Festival d'Aix-en-Provence
Œdipus Rex
3
*Les plus grandes partitions (…), interprétées avec raffinement et dans des mises en scène à la fois réfléchies et stimulantes.
New York Times
"Music’s greatest scores (…), all played and sung exquisitely and staged with stimulating seriousness."
Pelléas et Mélisande
LE MONDE
Set under the burning sun of Africa, this Così disturbs us. Christophe
Honoré’s inflexible stage direction explores every scenic space,
delves into the souls of the characters and chisels out their fates.
(…) Honoré has given much to his singers, who have given their
utmost in return. Beginning with Despina, portrayed by a stunning
Sandrine Piau, whose solar voice and radiant presence captivates the
stage from one end to the other. Singing with one voice throughout
the first act (magnificent duo), the two sisters gradually abandon
their twinhood. Kate Lindsey’s electric and sexual Dorabella only
strengthens her predatory temperament, while Lenneke Ruiten’s
lively Fiordiligi little by little ceases to mime her sister as she
discovers her true nature. (…) With absolute joy from the pit, where
magician Louis Langrée doses and dares, through colour and mad
inventiveness, to offer us a volatile and vigorous Mozart that is both
powerful and intoxicating, offsetting the natural sound loss of open
air performance and the intimate volume of the ancient instruments
played by the excellent Freiburger Barockorchester.
FRANCE INFO
Christophe Honoré leaves the beaten track. With the eye of a film
director who lays bare the emotions of youth, Christophe Honoré has
revealed the gravity of the libretto by Lorenzo Da Ponte. (…) He very
intelligently bases his work on the racist bias of these young people
and the caricatured vision of women that emerges from this work.
(…) It is a highly beautiful, sensual, almost choreographed Così
fan tutte. Louis Langrée highlights the subtleties of Mozart’s music,
the Cape Town Chorus from South Africa are wonderful extras and,
among the female roles, Sandrine Piau as Despina and Kate Lindsey
as Dorabella delighted the public of Aix.
LES ÉCHOS
The jeers that accompanied Christophe Honoré and his team on the
evening of the premiere of Così fan tutte in Aix were particularly
inappropriate: their work is indeed the high point of the performance.
(…) The director has had the insight to consider the characters as
an ultimately rather unpleasant mixture of brainless and annoying
people. (…) He shows it with both relevance and finesse in his
meticulous stage directing, even if the transposition to Mussolini’s
Africa is not always entirely convincing. But his laser-sharp reading
of the libretto, aware of the toughness of human relations and the
pitfalls of the heart, reveal a rare effectiveness.
LIBERATION
Christophe Honoré politicises Mozart’s opera bouffe, transposed to
the Eritrea of the 1930s. A risky wager. (…) The interest of this type of
mechanism is that it develops over time. If the first act is quite dull,
the second explodes. (…) Honoré brings out his joker in the finale:
whereas in the libretto the reconciled lovers are reunited and leave arm
in arm, here one of the girls does not participate in the celebration. She
has understood the cruelty of the betrayal and the wager made by her
lover. She has taken the full blow of the bitter nature of the staging that
Honoré was seeking, as if she had already seen the performance.
L’OBS.COM
The orchestra is conducted with infinite subtlety, as light as a cloud, as
deep and reflective as the thought of a philosopher. A pleasure throughout
the performance, where the intelligence of the conducting is never
overbearing but delicately unveils its attractions. With three singers who
magnificently serve Mozart and Da Ponte’s Così fan tutte: Lenneke
Ruiten as Fiordiligi, Kate Lindsey as Dorabella and Sandrine Piau as
Despina, who is a wonder in the figures of composition that her role
demands. (…) And even if Christophe Honoré’s transposition does not
seem to be the most convincing, at least his stage directing is excellent.
No edition of the Festival would be complete without a Mozart masterpiece. This year, it was the turn of one of the most emblematic operas of
the repertoire, Così fan tutte, to return to the stage of the Théâtre de l’Archevêché. Transposing the action to colonial Eritrea under Mussolini,
this new production by film director Christophe Honoré revealed all the brutality of a deceptively light plot by questioning the notion of desire
and the struggle for power that it engenders. A dark interpretation, accompanied from the pit by distinguished Mozartian Louis Langrée and
the Freiburger Barockorchester, which raised debate and invited us to renew our vision of the opera.
THE NEW YORK TIMES
The use of the opera to understand the relationships between different
cultures and to experiment with several ways of linking them is no longer
a mere aesthetic possibility, it is a moral necessity. The staging of Così
has endorsed this responsibility as if it were a battle with no quarter. (…)
As a spectator, one feels the outrage that Così should always inspire. (…)
Dark, demanding staging that speaks all too clearly to our time.
EL WATAN
We are embraced by an ineffable sense of happiness with this realistic
Così, so close to the human condition, nourished by the torments of
men and women who are prey to a vain and uncontrollable desire
that is brandished like a banner of victory.
OPERA LIVELY
Someone has finally shone a light on the darkness of this opera,
which has often been stifled by its aspects of light comedy. (…) The
Festival d'Aix strikes again by staging an extraordinary performance.
OPERA NEWS
It is an intense exploration of desire and violence. According to the
Marquis de Sade, human nature is in constant quest of amusement.
(…) Maestro Louis Langrée is elegant and precise. He directs a Così
that is as clear and pure as an unbridled fountain, without dwelling
on sentiment.
LE SOIR
It is far from the spirit of the Enlightenment but the approach, served
in all its crudeness and cruelty by razor-sharp directing, remains
coherent. But, fortunately, an opera also consists of music and here
our happiness is immense. Attentive to every inflection, weaving
secret dialogues between the instruments or between the singers and
the instruments, Louis Langrée’s conducting offers us three hours of
theatrical chamber music. The cast is dominated by the ladies, led by
the ironic but disillusioned Despina portrayed by a radiant Sandrine
Piau.
FORUM OPERA
The transposition works, thanks to ruthlessly directed acting. (…)
Christophe Honoré took the public by surprise with the element
that was absent from the two previous operas he had directed:
humour. (…) But the end of the first act refutes this impression,
with a quiver of gags that corresponds well to the atmosphere of
the moment. Musically speaking, Louis Langrée offers us a very
lively interpretation of the work. His vigorous conducting obliges
the excellent instrumentalists of the Freiburger Barockorchester to
constantly push forward, with ever quickening tempi. (…) In a work
with so many ensembles, one is particularly gratified not to hear a
mosaic of individuality, but a true ensemble, whose teamwork is one
of the keys to this successful Così.
Così fan tutte
COSì FAN TuTTE
6 7
LE MONDE
Laurent Naouri’s haunted, subtle and neurotic Golaud is a perfect
musical and dramatic accomplishment. Stéphane Degout’s
faultless Pelléas is powerful, almost too adult already, despite his
pigeon toes and autistic waddle. Chloé Briot’s frank and brazen
Yniold, Franz Josef Selig’s steadfast Arkel, and the magnificent
timbre of Sylvie Brunet-Grupposo that makes the ‘letter scene’ read
by Geneviève a pure moment of elegy. And Barbara Hannigan. She is
excellent all down the line, including on the prosodic level (…). She
captured the very essence of Debussy-esque humming.
LIBÉRATION
The British stage director has won her bet: her chimera, with its
light tones and damp walls invaded by trees, matches the symbolist
nature of the work perfectly and leaves spectators with the mists of a
fascinating enigma floating before their eyes.
LES INROCKS.COM
What we have before our eyes is the dream-like expression of images
produced by our heroine’s subconscious. This exhilarating postulate
scrambles our points of reference. (…) In a musical showcase
where Debussy shines under the exceptional direction of Esa-Pekka
Salonen, Katie Mitchell’s production dazzles us once again.
LE FIGARO
Have you ever had this experience? You leave a performance, review
its different components, observe that each was close to perfection,
and yet your overall impression remains divided. This is precisely
what happened to us with this Pelléas et Mélisande. (…) In short,
we admired the fabulous machine, while remaining somewhat
outside it.
LA CROIX
If Katie Mitchell has once again demonstrated dazzling virtuosity in
orchestrating the ballet of characters in a sophisticated stage setting,
she has, however, somewhat stifled the mysterious poetry of Pelléas
under a shower of sometimes cumbersome situations and images.
TÉLÉRAMA.FR
Staged by British director Katie Mitchell as the heroine’s dream,
admirably played and sung, Claude Debussy’s opera oscillates
between realism and fantasy (...) and touches us deeply. This
Pelléas et Mélisande is an exceptional performance. (…) First,
by its musical quality: with a vocal cast that is close to perfection,
an orchestra in top shape, with conducting that takes your breath
away by its intelligence and sensitivity. (…) But if this production
enchants us (…), it is also for Katie Mitchell’s reading of the work,
which is both dreamlike and realistic. (…) Pelléas et Mélisande,
which had not been presented at the Festival d'Aix since 1972 (…),
returns to the Provencal city in grand style, and leaves a lasting
impression on our eyes and ears.
LES ÉCHOS
A fabulous Pelléas et Mélisande in Aix-en-Provence. There is
nothing new about a dream-like Pelléas, but to represent it through
Mélisande’s imagination is an innovation. (…) The exceptional
dramatic force of this performance is based on Katie Mitchell’s
capacity to respect the smallest details of the libretto but also to
grasp the different levels of reading. (…) Delving the depths of this
singular opera required a team that was prepared to make a giant
leap forward. Recognised for her performance and risk taking, the
Canadian soprano is the ideal Mélisande: she slips as seamlessly
into the different facets of her character as she does with her dresses,
as if they were so many combat outfits. (…) Unforgettable.
Spectacular scenography, meticulous staging, intelligent dramaturgy: the new production by Katie Mitchell combined all the characteristic
ingredients of her work and marked the culmination of her partnership with the Festival d'Aix. Staged as Mélisande’s dream, this inventive
reading of Debussy’s masterpiece was served by an exceptional cast which brought together Barbara Hannigan, Stéphane Degout, Laurent
Naouri and the Philharmonia Orchestra in the expert hands of Esa-Pekka Salonen. Undoubtedly one of the highlights of this edition, welcomed
by an enthusiastic public.
FINANCIAL TIMES
Katie Mitchell tells Pelléas et Mélisande as a dream, a surreal
and fevered sequence that would have given Jung a field day. (…)
On the podium, Esa-Pekka Salonen makes us believe and feel with
the characters, maintaining Mitchell’s sense of waking trance by
combining fastidious control and transparency with sensitivity and
warmth. The Philharmonia Orchestra responds with lush playing;
the music is dizzyingly, seductively good.
EL PAÍS
No praise is high enough for Barbara Hannigan. The Canadian has
asserted herself as a great Mélisande, as did British singers Mary
Garden and Maggye Teyte when they sang this role over a century
ago. Through her voice, beauty, fragility, and stage talent, she is a
perfect Mélisande. (…) Esa-Pekka Salonen’s conducting is one of the
wonders of this show.
CLASSIC VOICE
The choice of the staging convinces us in that it combines reality and
fiction, without precisely defining the contours of either. It manages
this especially thanks to the quality of the cast: in particular Barbara
Hannigan’s totally empathic Mélisande, as well as Laurent Naouri’s
Golaud and Stéphane Degout’s Pelléas. Possibly the best cast you
could bring together today.
THE TELEGRAPH
Shaping opera with utmost flexibility, the conductor Esa-Pekka
Salonen gets the Philharmonia Orchestra to play with cultivated
warmth and diaphanous beauty. (…) Katie Mitchell fills the sets
with dream-like action and Lizzie Clacham’s virtuosic design
supplies one visual coup after another.
RTBF.BE
Katie Mitchell’s intelligent vision, transcended by the subtle tones
of a Philharmonia Orchestra in a state of grace under the flexible
authority of Esa-Pekka Salonen, transform this Pelléas into a
moment of pure joy. A version that will become a reference through
the successful mixture of a music that reaches indescribable limits
and a fascinatingly intelligent dramaturgical vision.
FRANKFURTER ALLGEMEINE ZEITUNG
Pelléas et Mélisande is a production with depth, loaded with detail,
made with love and benefiting from a stunning cast; Esa-Pekka
Salonen masterfully conducts the Philharmonia Orchestra with
transparency and tenderness.
EL PERIÓDICO
The stage director offers a debauchery of visual, emotional and intellectual
riches. And she does it not only by perfectly adapting the work (…). She
manages to ensure that everything in the score becomes real and intelligible.
PElléAS ET MélISANDE
Pelléas et Mélisande
8 9
LE FIGARO
What Sabine Devieilhe has done is simply miraculous. Not only
because she sang all evening like an angel descended from heaven,
with a supernatural range of nuances and technical skill, but she
also theatrically embodied the affects which beset her character.
Miraculous is also the word that best qualifies the cast, a deluge of
festival stars. Franco Fagioli’s Pleasure is staggering with scope and
virtuosity, Michael Spyres’s Time stuns us with valour and vocal range,
Truth as portrayed by Sara Mingardo captivates us by the androgynous
colour of her amber timbre. (…) And in addition, to make this evening
a total success, Emmanuelle Haïm’s conducting obviously unified the
ensemble. (…) An Aix Festival evening the way we like them.
LE MONDE
Sabine Devieilhe, a subjugating Beauty. Sometimes things, indeed
life itself, hang on by a thread: if there were only one scene to
remember from Il Trionfo del Tempo e del Disinganno, (…) it
would have to be the final one. And it would be a salvation in itself.
(…) The most amazing, breathtaking and hair-raising thing is
Sabine Devieilhe’s performance as Bellezza. In addition to her true
gifts as an actress, the soprano subjugates us by her almost ethereal
high notes and incarnates the bitter heartbreak of renunciation with
consummate art.
L’HUMANITÉ
Krzysztof Warlikowski’s staging reflects our contemporary world
and demonstrates that a transposition of period can be relevant,
impertinent and successful. It can also convey emotion. Sabine
Devieilhe, Franco Fagioli, Michael Spyres and Sara Mingardo touch
the hearts of the audience through the interplay of their voices.
LESINROCKS.COM
Krzysztof Warlikowski sensitively and accurately grasps the desperate
torment of the loss of youth and Handel shines like a black star under
the direction of Emmanuelle Haïm. (…) So there are no characters
(…) Only allegories embodied on the apron by four magnificent
singers who transformed the evening into a pure journey of emotion.
From Emmanuelle Haïm’s conducting to the two antagonistic
couples formed by Sabine Devieilhe (Bellezza) and Franco Fagioli
(Piacere) in the controversy which opposes them to Sara Mingardo
(Disinganno) and Michael Spyres (Tempo), all deserve praise. Sabine
Devieilhe offers us a moment of absolute grace with this suicidal
and final vision of succumbing Beauty. Like a saint in tears, her
face harmonises with her unforgettable singing to create the perfect
embodiment of an icon with ‘no future’.
LA CROIX
This bitter vision, set in the beautiful and cold decor of a cinema
haunted by mannequin-puppets, night owls dressed in glitter and
sadness, is based on explicit elements of Cardinal Pamphili’s libretto
which leave no room for the sweetness of life and only addresses youth
to signify its early demise. To show off his precocious talent in the
Eternal City, Handel imagined shimmering music and intoxicating
orchestration, so familiar to Emmanuelle Haïm and so voluptuously
mastered by the Concert d’Astrée. As for the dizzying vocality, it is
sometimes voluble, sometimes suspended, alone capable of taming
the unstoppable race of time.
Closing the Handel cycle initiated at the Festival d'Aix in 2014, a sumptuous baroque jewel adorned the Théâtre de l’Archevêché this summer:
Il Trionfo del Tempo e del Disinganno. Rising to the challenge of staging this oratorio in the form of an allegory, Krzysztof Warlikowski has
delivered a disenchanted vision of the wanderings of Beauty between Pleasure, Time and Disillusionment, weaving a performance of ghostly
beauty around the theme of vanity. A proposal magnified in the pit by Emmanuelle Haïm and her Concert d'Astrée, served by a quartet of
soloists who are well versed in Handelian virtuosity: Sabine Devieilhe, Franco Fagioli, Michael Spyres and Sara Mingardo.
LE TEMPS
The staging is brilliant. (…) All that remains for us to do is to follow
the sumptuous music that becomes so evident in this setting. It would
be an understatement to say that the notes are served at the highest
level. Sabine Devieilhe’s dazzling Bellezza sets fire to the stage in a
suffocating incarnation, from the slightest breath to the explosion of
incandescent high notes. (…) With tenor Michael Spyres, Tempo has
found a worthy soloist. And supporting these exceptional singers?
The magical Emmanuelle Haïm and her Concert d’Astrée are at
work. Suffice to say it is voluptuous, vital, aerial and crystalline. A
little bit of thinness in the tone of the violin solos changes nothing.
The fifth element that was absent on stage vibrates in the pit: joy.
I/O GAZETTE
Krzysztof Warlikowski has taken visual emotion to its climax for
this premiere. As always, some purists were offended: while others
were, on the contrary, deeply moved. In this Handelian allegory, a
parable of life’s emptiness and fragility, the Polish director brought
strong imagery to the stage, amplified by video. (…) He transformed
Handel’s parable into a theatre of emotion and truth.
LUXEMBURGER WORT
The voices are superb. Sabine Devieilhe imposes her Beauty: her singing
and stage performance demonstrate both her existential energy and
the pain of the mortifying resignation to ‘wisdom’. (…) Conductor
Emmanuelle Haïm, leading her Concert d’Astrée, gives dynamics to all
this in a performance that is as convincing as it is gratifying.
OPERA TODAY
The tense, three-hour knock-down-drag-out seduction of Beauty by
Pleasure consumed our souls in this triumphal evening. Forget Time
and Disillusion as destructors, they were the very constructors of
the beauty and pleasure found in this miniature oratorio. (…) The
casting in Aix was breathtaking. (…) Sabine Devieilhe possesses
a voice of riveting purity, platinum coloured (i.e. an extravagant
silver), a range that extends well above the staff upon occasion. Her
final aria of repentance was spellbinding (as were all of her arias)
in the splendid bleakness of its despair. (…) Of equal stardom in
this extraordinary evening was the French early music orchestra Le
Concert d’Astrée and particularly its founder and leader Emanuelle
Haïm whose sculpted conducting forcefully and fully rendered the
muscular, quite architectural components of Handel’s Baroque
orchestral score.
Il Trionfo del Tempo e del Disinganno
Il TRIONFO DEl TEMPO E DEl DISINGANNO
10 11
Kalîla wa Dimna
KAlîlA wA DIMNAForging ever stronger links with the Mediterranean and its different cultures, the Festival d’Aix-en-Provence has commissioned the first opera
in Arabic and French by Palestinian composer Moneim Adwan. Inspired by Kalîla wa Dimna, a collection of fables, this small lyrical form mixes
musical influences of the East and West, bringing together artists from the different shores of our common sea. A project rich in meaning, whose
ramifications directly echo the most recent events in this part of the world and the issues of our time.
FINANCIAL TIMES
This is a beautifully crafted chamber work, unpretentious but
profound, retelling an ancient Arabic tale that speaks directly of
today’s political realities. (…) The roots of Fady Jomar and Catherine
Verlaguet’s libretto grow deep (…) yet the action and intrigue could
have been written yesterday as an allegory of the Assad family, or of
contemporary British politics. (…) Olivier Letellier’s staging, at the
Théâtre du Jeu de Paume, is simple but perfect, the space, set and props
used with consummate imagination and attention to detail. (…) This
is an eloquent offering that has found its own musical and dramatic
syntax, an impressive feat for any first opera, and a mark of how
strongly the Aix-en-Provence Festival believes in cultural diversity.
LUXEMBURGER WORT
Sparsely staged by Olivier Letellier, this opera compels us by its
freshness, its naivety (in the noble sense of the word) and its message.
The audience, which demonstrated an admirable diversity of origins
and generations, gave vent to its enthusiasm at the end of the
performance.
LE TEMPS
When the lights of the little Jeu de Paume Theatre went out, there
was a moment of silence before the applause. This came because one
of the most singular works to be seen and heard on a major lyrical
stage had just ended. It was also because the echoes of the topic and
its treatment resonate well beyond a simple operatic performance.
It was especially because we realise the extent to which the world
premiere of Kalîla wa Dimna opens a new path. (…) The work
commissioned by the Festival d'Aix-en-Provence from Palestinian
composer Moneim Adwan (also a singer and actor in his own work)
has gone beyond its goal. Not only does it strike a chord with all
audiences but it also enters the group of great lyrical ‘small forms’
and has attained artistic grace while addressing tragically topical
themes. (…) When art sets out to enlighten the world in so fine, strong
and simple a manner, it can only touch the heart.
EL WATAN
The introduction of vocality and Arab music into a festival
traditionally dedicated to western culture could not fail to intrigue.
CLASSICA
We experienced Kalîla wa Dimna by Moneim Adwan, his first opera in
Arabic, as a trial run that was necessary but too uniform to convince.
TÉLÉRAMA.FR
Kalîla wa Dimna is a tale, with all the false naivety and meaningful
power that this genre can offer. A lyrical tale that is likely to seduce
all audiences, both children and adults, whether serious music lovers
or newcomers, regardless of their origin, nationality or cultural level,
which is a fine achievement in itself. (…) The voices are beautiful,
embodied, alive. Not only a composer, but also an oudist and
singer, Moneim Adwan contributes personally by playing the role
of the deceitful Dimna. Singer and actress Ranine Chaar (Kalîla)
is a charismatic narrator who speaks and sings with warmth and
clarity. Palestinian Reem Talhami embodies an imposing Queen
Mother who is just as manipulative as Dimna but far more skilful.
With his caressing, worried or angry voice, Tunisian singer Mohamed
Kebali (King) gives life to all the hesitations of his character, and
Jean Chahid from Lebanon (the 21-year-old finalist of the Lebanese
Star Académie in 2014) not only possesses the ideal timbre but also
has all the youth, ardour and sincerity it takes for us to immediately
identify him with the assassinated poet. (…) It is difficult not to feel
directly challenged, in one way or another, by the questions raised by
this tale with its timeless and universal beauty.
DIAPASON
The creation of an opera in Arabic, of which only the spoken parts are
in French, will no doubt remain as the most emblematic event of this
opening project for the Festival. (…) Olivier Letellier’s staging, of an
eloquent sobriety too, also preserves the naivety of the tale without
blunting the force of its message. Moneim Adwan himself plays the
role of Dimna, surrounded by magnificent singers - each a star in
his or her own country. Intended for all audiences, Kalîla wa Dimna
defies our criteria of judgement but goes straight to our heart. And it
was also a triumph.
OPÉRA MAGAZINE
A fine success, which should go on an international tour and which
the Festival can be proud of.
LA MARSEILLAISE
A world premiere that reforms the lyrical stage, Kalîla wa Dimna
is a true invitation for a journey, with outstanding musicians, like
percussionist Wassim Halal or Abdulsamet Celikel on the qanûn.
With voices that are sometimes celestial and sometimes lyrical, like
the profound voice of Reem Talhami (Queen Mother) or the bright
voice of Jean Chahid in a memorable Chatraba. With a much-
applauded finale that makes you want to go back...
12 13
This year, concerts once again occupied an important place in the Festival programme. An opera in its concert version for Rameau’s Zoroastre,
a concert-ballet with the Philharmonia Orchestra… These exceptional forms were associated with the performances of the Freiburger
Barockorchester, the Pygmalion Ensemble or the Mediterranean Youth Orchestra, while the HSBC Laureates celebrated ten years of the label with
a series of recitals. Carte blanche was given to two of the Festival’s musical accomplices, jazz musician Raphaël Imbert and cellist Jean-Guihen
Queyras, who punctuated this edition with proposals marked by sharing and the mixture of genres.
THE PYGMALION ENSEMBLE – BACH MOTETS
FORUM OPERA
An almost ideal cast, an ensemble and a conductor who are the
ambassadors of Rameau.
DESTIMED
We know that Bach’s Motets are among the masterpieces of western
polyphony. Each of them is a jewel of complexity and structure based
on the frequent use of the double choir. Raphaël Pichon plunges
with delight into this organisation to magnify it with the unfailing
support of his chorus, which most evidently takes extreme pleasure
in serving these works.
THE PYGMALION ENSEMBLE – ZOROASTRE
MIDI LIBRE
Raphaël Pichon leads the tragedy with a firm baton in his left hand
and carries and sculpts the sound with his right. The musicians
respond with fervour. (…) Reinoud Van Mechelen is the ideal
Zoroaster, a heavenly 100% counter-tenor with dream-like high
notes, velvet basses and an imposing presence. (…) The other
performers (…) do not lack panache either. Like so many rays around
a solar Raphaël Pichon.
CONCERT BY JEAN-GUIHEN QUEYRAS AND ALEXANDER MELNIKOV
DESTIMED
In perfect osmosis, Jean-Guihen Queyras and Alexander Melnikov
deliver (…) a lesson of interpretation, each with extreme attention
for the other, with the precision of a Swiss clock, a hypnotic tone and
well-represented colours.
ARCANTO QUARTET
BACHTRACK.COM
With a tone that is both exquisite and precise, the four voices of the
quartet elegantly competed for the public’s attention (…), these four
magnificent players perfectly controlled the most mature of fugue-
like intrigues. (…) This concert presented the most refined western
art and these precious moments were consciously savoured and
cherished.
The Pygmalion Ensemble conducted by Raphaël Pichon
phony of Psalms
Ensemble Pygmalion direction Raphaël Pichon
CONCERTS
After the success of Iolanta / Persephone in 2015, Peter Sellars returned to the Festival d’Aix for a new triptych around two works by Stravinsky:
Oedipus Rex and The Symphony of Psalms. Linking these two works around the fate of Œdipus, the American stage director created a
dramaturgy that is rich in meaning and federated the energies of the three amateur choirs around this unprecedented project. A production
with great emotional and musical power, galvanised by the direction of Esa-Pekka Salonen conducting the Philharmonia Orchestra.
IL GIORNALE DELLA MUSICA
The staging works well and Esa-Pekka Salonen’s musical
performance is lovely. The cast also contributes to the success of
this production, with Joseph Kaiser’s intense Œdipus, the measured
tragedy of Violeta Urmana in the role of Jocaste, as well as the
prestigious presence of Sir Willard White in the triple role of Creon,
Tiresias and the Messenger.
BACHTRACK.COM
Behind the admirable work of precision and cohesion of Folke Alin
with the Orphei Drängar Choir, followed by the Gustaf Sjökvist Choir
and the Sofia Vokalensemble, we find Peter Sellars’s intention to
give the text in the form of a very free sign language. (…) Esa-Pekka
Salonen performs a remarkable work, attuned to all the colours and
nuances of the score (…) all with rare elegance and fluidity.
LA MARSEILLAISE
With Œdipus Rex and The Symphony of Psalms, Peter Sellars
has reached the most refined form or purity, he has distilled the
founding myth of Œdipus to its essence. (…) The real main character
of Œdipus Rex is the people of Thebes, embodied by the three Swedish
choirs of the Orphei Drängar, the Gustaf Sjökvist Chamber Choir and
the Sofia Vokalensemble. A male choir for the first part and mixed
for the second, they are the real victors of this exceptional evening.
(…) A superb performance that would alone justify the ticket. This is
said without injustice to the musical direction of Esa-Pekka Salonen
leading the Philharmonia Orchestra, whose subtleness and vigour
infuse Stravinsky’s score with science and sensitivity. A performance
of extraordinary emotional force in this time of affliction. To heal us
of the ‘plague of the soul’ described by Voltaire.
DIAPASON
Choral art that the performance raises to the rank of total art (...)
The magic of a gesture that flourishes in its purity.
CLASSICA
Esa-Pekka Salonen’s conducting has brought enthusiasm to the
diptych. (…) Peter Sellars resumed the mannered yet sensitive
production he gave in Salzburg in 1994, with great visual
concentration and without losing its radiant emotion.
OPÉRA MAGAZINE
Sellars plunges the music deep into the body and lodges each
individual in a world of suffering humanity. (…) without renouncing
precision, with an almost rigid pulsation, the Finnish conductor
of the Philharmonia Orchestra identifies and reveals a lyricism,
especially in the title role, whose softened contours accentuate the
fracture.
LA PROVENCE
With Œdipus Rex / Symphony of Psalms, Peter Sellars has staged a
purified, coherent and terribly topical performance.
DESTIMED
Almost all of Peter Sellars’s work lies in the ‘choreography’ of the
chorus. His stage direction refuses any ‘explanatory’ implication
of the oratorio, leaving all the space for Stravinsky’s music. (…) A
standing ovation at the end of this great festival performance.
Œdipus Rex / Symphonie de Psaumes
ŒDIPuS REx / SYMPHONIE DE PSAuMES
‘The Meyer Foundation for Artistic and Cultural Development was born
of the desire of my late father, Philippe, and my own, to create a durable
philanthropic body with which our family could support projects that it held
dear. Its main objective is to promote the expansion of human knowledge and
artistic expression through its support.
The Meyer Foundation has chosen to provide support to the Festival d'Aix
not only for the quality and seriousness of its programme, but also for the
confidence and artistic affinity that it has developed with Bernard Foccroulle.
I am very grateful to the Festival d'Aix to have developed and given life to
the Stravinsky Cycle over a period of 3 years, a project which was initiated
by a passion shared with Bernard Foccroulle and Esa-Peka Salonen for Igor
Stravinsky’s music.’
Vincent Meyer
14 15
Session of intercultural creation Placed in the expert hands of jazz musician Raphaël Imbert, this session also gave rise to a musical
encounter around the blues in which eleven young improvisers took part. The MYO also worked with a Comorian amateur choir that has
already forged links with the Festival in the framework of the Passerelles programme. A warm performance was given in the heart of
the Savine district in Marseille. Finally, the excellent cellist Jean Guihen Queyras joined the MYO on the Maynier d’Oppède stage in Aix.
THE MEDINEA NETWORK
Coordinated by the Festival d’Aix, the Medinea network consists of cultural organisations in the Euro-Mediterranean region which
train musicians, produce and broadcast artistic projects. This year, under the watchful eye of composer Fabrizio Cassol, five coaches
guided the artists in Aix-en-Provence: Raphaël Imbert (saxophone), Mark Withers (clarinet), Geneviève Sorin (choreographer),
Philippe Franceschi (choirmaster) and Léa Canu-Ginoux (choreographer).
The incubator’s projects
Developed since the autumn of 2015, Medinea’s role of incubator gives artists the possibility to go beyond their training with the
Mediterranean Youth Orchestra and to develop collective projects with smaller ensembles in partner countries. Two projects were
accompanied in 2016: ‘Cairo Jazz Station’ and ‘Zyriâb and us’.
Cairo Jazz Station: at the crossroads between jazz and contemporary Middle Eastern music
Four young artists from the world of oral and improvised music in Europe and the Middle East to create a unique new blend of
timbres, born of the need to bridge the distance between the shores and sonic worlds of a rapidly changing area: Egypt.
2 residencies in Aix-en-Provence
1 residency in Cairo (Makan Egyptian Center for Culture and Arts, Egypt)
Ziryâb and us: a new vision of the Arab-Andalusian legacy
How would five Mediterranean artists of the 21st century reinvent the
legacy of the Iraqi musician, Ziryâb? From medieval Spain to the present-
day imaginary, this project offers a new way of embracing and revisiting
the Arabic-Andalusian musical heritage.
2 residencies in Aix-en-Provence
1 residence in Spain (Berklee College of Music-Valencia Campus and the
Casa Arabe of Madrid)
‘The project aimed not so much to defend the tradition as to
establish a common musical language based on the skills of each
of the members. In a very short time, the musicians put together a
varied and demanding repertoire that they performed with energy
and professionalism.’
Matthew Machin-Autenrieth, researcher at Cambridge University
Concert Cairo Jazz Station
Since 2008, the Festival d’Aix has maintained a policy of openness towards artists from the countries of the Mediterranean basin.
Solicitous both to initiate and perpetuate fruitful intercultural dialogue, the Festival enriches its programme with creators and
performers from many different backgrounds, mixing written and oral
traditions with ‘serious’ and improvised music. The fruit of this mixture,
the creation of Kalîla wa Dimna, composed by Moneim Adwan and staged
by Olivier Letellier, united the Arabic and French languages this summer
in a work combining western form and eastern music.
In addition to the development of the sessions of the Mediterranean
Youth Orchestra, the creation of the Medinea (Mediterranean Incubator
of Emerging Artists) network in 2015 has contributed to tighten the links
between the Festival, which is ideally located in a region marked by great
cultural and ethnic diversity, and the countries of the Mediterranean
basin. Convinced that education and culture are the best tools to build
the world of tomorrow and with a desire to promote the opera beyond
its borders, the Festival d'Aix ensures the reciprocity of these exchanges
which support mutual enrichment. By promoting the circulation of Mediterranean artists based on shared experience, the Festival
contributes to the emergence of a common space and thus provides a concrete response to the identity-based tensions that assail
the world today.
THE MEDITERRANEAN YOUTH ORCHESTRA
Symphonic session Supervised by the musicians of the London Symphony Orchestra (LSO) and directed by Slovenian conductor
Marko Letonja, the 83 musicians of this session played the closing concert of the Festival’s 2016 edition. A bold programme that
brought together major works of the symphonic repertoire, such as Shostakovich’s Symphony n°9 or Richard Strauss’s symphonic
poem Till Eulenspiegel and less-performed works such as Burlesque, a creation by Vito Žuraj. Singer Aude Extremo also joined the
orchestra to interpret the Songs and Dances of Death by Mussorgsky. After two concerts in the Provence-Alpes-Côte d’Azur region, this
session was followed by two concerts in the Balkans.
THE FESTIVAl D’AIx AND THE MEDITERRANEAN
Among the goals of the Festival d'Aix for these next few years, we
can cite "intercultural creations as a barrier against the violence of
this world". Under its thoughtful director, Bernard Foccroulle, the
Festival has created mentorships between French and Tunisian
string quartets, promoted the Mediterranean Youth Orchestra,
coordinated Medinea, a network of emerging artists from around
the region, and fostered projects that have brought together artists
from different traditions.’
New York Times, Zachary Woolfe
Concert de la session de création interculturelle de l'OJM
16 17
The Cape Town Chorus at l’Abbaye de Silvacane
ET TÁCHONS D’ÉPUISER LA MORT DANS UN BAISER
The AIX EN JUIN programme is a privileged venue for innovative small
format performances. Echoing Debussy’s opera, Pelléas et Mélisande,
the 2016 edition proposed a musical show around the composer’s
correspondence and his unfinished opera, The Fall of the House of Usher.
Commissioned by the Académie of the Festival d’Aix and enjoying the
support of Fondation La Poste, this show staged by Marc Lainé brought
together two singers, an actor and a pianist and introduced us into the
intimacy of Debussy at the end of his life.
THE SILVACANE VOICES
A highlight of AIX EN JUIN, in 2016 the Silvacane Voices offered a
programme of three concerts celebrating vocal polyphony: Sacred Music
of Africa and Europe with the Cape Town Opera Chorus, Amore Contraffatto,
a work that explores the relationship between the viola and voices and
interpreted by the Ensemble Soloists XXI, and modern and contemporary
melodies interpreted by the singers of the Melody and Creation residency
of the Académie.
PARADE[S]
The tradition of PARADE[S], the big free concert that closes AIX EN JUIN
and opens the July Festival, continued this year in Cours Mirabeau before
several thousand spectators. PARADE[S] offered an enthusiastic audience
a selection of songs drawn from the repertoire of the Cape Town Opera
Chorus, who were also present in July for the operas Così fan tutte and
Pelléas et Mélisande. A memorable evening under the starry sky of Aix-en-
Provence.
‘African angels who came to dazzle the Cours Mirabeau.’
La Provence
‘This performance entitled Et tâchons d’épuiser la mort dans
un baiser is treated in very contemporary style with a great deal of
poetry. It is based essentially on the performance and the singing
of the cast, who are all very expressive. The public accompanies
Debussy in his reflections and composition. He reveals himself
through the letters he sent to his editor and friends up to his death.
We also discover the moving correspondence of his wife, Emma.’
Le Progrès
‘For this fourth year of collaboration with the Festival d’Aix-en-
Provence, the majestic Cistercian abbey welcomes the colourful voices
of the Cape Town Opera Chorus, the deep tones of the viola and voices
of the Ensemble Solistes XXI, and illuminates in the glow of the young
artists of the Festival Académie.’
Destimed
Musical walk in Gilbert Vilers Park
For its fourth year of existence, the prelude to the Festival d’Aix-en-Provence has once again left its footprint on the regional cultural
landscape. Nourished as always by the Académie’s many events and by incursions into the world of opera offered in July, AIX EN JUIN
enabled over 17,000 spectators to discover renowned artists and promising young talents in 2016. This varied programme, aided by a
controlled pricing policy, keeps AIX EN JUIN in line with the fundamentals of the Festival d’Aix: accessibility, creativity and artistic ambition.
OUVERTURE[S] inaugurated this 4th edition on 4 June with a musical
walk through the Jas de Bouffan neighbourhood that brought together
students and both professional and amateur artists. Everyone was
invited to take part in this festive stroll punctuated by three key moments
led by the musicians and music directors Raphaël Imbert and Mark
Withers, choirmasters Philippe Franceschi and Vincent Cladere, and
choreographers Geneviève Sorin and Léa Canu-Ginoux, and which closed
with a concert by oudiste Moneim Adwan and violinist Zied Zouari.
OUVERTURE[S] was organised thanks to the collaboration of Fondation
Vasarely and Bois de l’Aune, and was welcomed in Jas de Bouffan with
the help of non-profit organisations, schools and families from the
neighbourhood.
‘The panorama of a Festival d’Aix that is more open than ever to new
horizons.’
La Provence
‘This AIX EN JUIN, the prelude to the great Festival d’Aix that opens in
July, is shared among various venues during almost a month. It is the
occasion for a wide and varied public to discover very beautiful and
very high quality music for a modest amount, or even for nothing at
all, as a large number of the concerts are free of charge. We can never
tire of highlighting such initiatives…’
Zibeline
20 21
III. CREATION
Creation and the contemporary repertoire are at the heart of the Académie, which works to strengthen the links between today’s
artists and creators. The abundance and diversity of the artists present during the festival period are the occasion for the Académie
to open a cycle of workshops dedicated to the creation of opera. Young composers, dramaturges, authors, stage directors,
choreographers and other creators are invited each year to explore and work on different themes related to today’s lyric creation
through meetings, conferences and debates:
• ‘Women Creators of Opera’ Workshop, which tackled a social issue: the place of women in the world of opera. The workshop, led by
stage director Katie Mitchell, aimed to identify and analyse the causes that hamper the careers of women today and attempted to
provide tools to remedy this;
• Opera in Creation Workshop: dedicated to sharing experiences and reflection on the opera, this year’s workshop was led by dramaturge
Willem Bruls. Various personalities participated in the workshop, including stage directors Katie Mitchell, Christophe Honoré,
Krzysztof Warlikowski, Olivier Letellier, videographer Denis Guéguin, etc.
• Creation and Innovation Workshops: three teams of creative artists and performers benefited from this new training programme,
which offered a setting for study, experimentation and creation promoting the constitution of innovative musical projects. Hidden
in Plain Sight, a musical walk, Making’Op, an interactive outreach session, and Voilà, That’s My Life, a new media performance: these
three projects were coached by teaching artists Geneviève Sorin, Sybille Wilson and Christine Coulange. Each project was followed
by a public presentation.
In addition, seven young creators (composers, conductors, stage directors and set designers) attended rehearsals of Festival
productions in the context of job-shadowing programmes. In all, fourteen composers were present in Aix and seven of them
presented several of their works, played by the Académie’s artists during public master classes: Gilbert Amy, Benjamin de la Fuente,
Raphaël Imbert, Jug K. Markovic´, François Meïmoun, Rene Orth and Nuno da Rocha.
IV. RELAY MUSICIANS
The Festival d’Aix Académie offers an outreach training programme for relay musicians related to questions of transmission,
initiation and discovery of music for young and ‘remote’ audiences through creativity and interaction. The course is organised in
one-off themed training sessions held in Aix-en-Provence over the course of the year. They are led by renowned artists who share
a love for pushing boundaries by creating innovative projects. Tutors include clarinettist and outreach project leader Mark Withers
(LSO Discovery), dancer and choreographer Geneviève Sorin, saxophonist Raphaël Imbert and stage director Sybille Wilson.
Gerhard Quartet Concert
Gerhard Quartet Concert
Since 1998, the Festival d’Aix-en-Provence Académie has been a reference for advanced vocal and instrumental training, a workshop
for reflection, experimentation and the creation of opera, and a place for the professional development of young artists. It offers young
professionals the opportunity to participate in residencies and to perform on the stage at the Festival d’Aix, to tour throughout the year in
France and abroad, and also to be cast in the Festival’s operatic productions.
In 2016, the Académie offered four branches of training:
I. THE VOICE
The Académie enables lyric artists and pianist vocal coaches to study the style, technique and interpretation of a repertoire during
master classes and meetings with renowned specialists. In 2016, two advanced repertoires led to a series of master classes and
concerts, both in Aix and in the department of Bouches-du-Rhône (thanks to the tour by Jeunes Voix Lyriques) in partnership with
the Departmental Council:
• Melody and creation: under the direction of pianist and vocal coach Jeff Cohen and baritone François Le Roux, this residency, a real
springboard towards the creation of opera, gave six singers and three pianists the opportunity to develop in a repertoire of French
melody (Debussy) while discovering new forms of writing through three world premieres commissioned by the Festival Académie
from young composers who benefited from this exceptional setting for the development of vocal composition;
• Mozart and Stravinsky: an essential element of the Académie, the Mozart residency, which was flavoured this year by Stravinsky,
was led by a loyal team which included Susanna Eken, Leah Hausman, Ouri Bronchti, Bertrand Halary and Rod Gilfry.
II. CHAMBER MUSIC
The Académie hosts established chamber music ensembles which benefit in Aix from the experience and guidance of internationally
renowned artists through various workshops and master classes. This year, two chamber music residencies enabled six string
quartets and two piano trios to develop in different repertoires:
• Debussy, Stravinsky, Webern, Schoenberg and Berg: for the second consecutive year, Johannes Meissl, violinist of the Artis Quartet,
led this residency, to which choreographer Leah Hausman brought a spatial dimension;
• Classical, romantic, modern and contemporary: alongside Andràs Keller and David Alberman, the presence of the Arcanto Quartet
(Jean-Guihen Queyras, Antje Weithaas, Daniel Sepec and Tabea Zimmermann) was a strong element of the residency, during which
the young string quartets and trios were also able to work with composers Benjamin de la Fuente, Benjamin Attahir and Gilbert
Amy. This residency also offered an approach to entrepreneurship and artistic outreach.
Mozart Residency Concert
Mozart Residency Concert
24 25
This year, the musicians of the Mediterranean Youth Orchestra have benefited from various training programmes:
• The Symphonic Session brought together 83 young
classical musicians conducted by Marko Letonja and with
the educational supervision of the London Symphony
Orchestra. Mussorgsky, sung by the mezzo-soprano Aude
Extremo, Shostakovich and Strauss were preceded during
this programme by ‘Burlesque’, a composition by the young
Slovenian, Vito Žuraj. Four concerts were given during the
closing of the Festival d’Aix at Théâtre National de La Criée
(Marseille), the ‘Nights of St Donat’ Festival in Zadar (Croatia), and the Festival of Ljubljana (Slovenia).
• The Session of intercultural creation brought together 11 improvising musicians from the world of jazz and Mediterranean traditional
music around saxophonist Raphaël Imbert. This original creation was given in concert on four occasions in the context of the Passerelles
project in the heart of the Cité de la Savine district in Marseille with an amateur Comorian chorus, followed by a performance at the
Festival d’Aix with guest artist Jean-Guihen Queyras (cello), at Villa Méditerranée in Marseille and at the Unicredit Pavilion in Milan.
• The Relay musicians’ sessions, during which 66 Mediterranean musicians participated in creative workshops for experimentation
and improvisation, thus benefiting from unique and lively outreach training provided by experienced contributors: Mark Withers,
Sybille Wilson, Geneviève Sorin and Raphaël Imbert.
>> 99% of the participants reported that the MYO programmes strengthened their motivation to become professional musicians.
>> 98% of the musicians say that the MYO programmes enabled them to acquire the professional skills necessary for a musical career in
ensembles and orchestras (professional English, better knowledge of the sector of activity, increased autonomy in their musical practice,
work experience and networking).
THE MEDITERRANEAN YOuTH ORCHESTRA
169 MUSICIANS, INCLUDING 40,7% WOMEN
23 NATIONALITIES FROM THE MEDITERRANEAN AREA
28 TRAINERS
‘It was a marvellous programme, very
useful and valuable. To describe it
in one phrase: it is a life-changing
programme.’
Ghazi Kanchouch, 22 years old, ney
and zokra, Tunisia – 2016 session of
intercultural creation
‘The rigorous and exciting musical
training is associated with a wonderful
human atmosphere. It all ended with
a very fine tour: it was a magnificent
adventure!’
Clément Stauffeneger, 18 years old,
cello, Avignon
‘To be surrounded by excellent coaches
(and conductors) who are attentive to
our personal progress, to the quality of
the conducting (both musically and
humanly speaking) and to the overall
result is the best way to make progress
while enjoying what we do.’
Matéa Ibanez, 23 years old, viola,
Saint-Chamas
Concert symphonique de l'OJM
THE HSBC LAUREATES OF THE ACADÉMIE
Since 2006, the Académie has enjoyed the support of HSBC France which each year supports the HSBC Laureates, among the young
artists of the Académie. As we approach the 10th anniversary of the label of the HSBC Laureates of the Académie of the Festival d’Aix,
this partnership today enables young artists (singers, pianists / vocal coaches and chamber music ensembles) to benefit from media
visibility as well as opportunities to perform in major concerts, thanks to loyal partnerships with top-level cultural institutions. The
names of the 2015 HSBC Laureates of the Académoe were revealed on 25 November 2015 at the Philharmonie de Paris, in the context
of the partnership between the Festival d’Aix and that institution. During the 2014-2015 season, the HSBC Laureates performed on
tour in many institutions (see. p.73).
As a partner of the Académie and its laureates, the Alpha Classics label (Outhere Music) co-produced two new albums by HSBC
Laureates in 2016: Grieg, Wolf, Strauss and Grøndahl interpreted by Mari Eriksmoen and Alphonse Cemin (rated classical album
of the month by FIP), and Mozart interpreted by the Van Kuijk Quartet (Choc Classica). These two programmes were performed in
concert during the 2016 edition of the Festival.
In addition to providing support throughout the year, the Festival offered a privileged venue to the HSBC Laureates of the Académie
during its summer programme, with six concerts dedicated to the Laureates of previous editions: Andri Björn Róbertsson and
Edwige Herchenroder; Mari Eriksmoen and Alphonse Cemin; the Van Kuijk Quartet; Katharina Melnikova, Scott Conner and Hélio
Vida; Chloé Briot and Michalis Boliakis; and the Tana Quartet.
Also in 2016, HSBC Laureates were cast in major roles in Festival productions: Sabine Devieilhe (Bellezza) in Il Trionfo del Tempo e
del Disinganno, Chloé Briot (Yniold) in Pelléas et Mélisande.
Since 2014, certain businesses have chosen to contribute part or all of their apprenticeship tax to the Académie of the Festival d’Aix. The Festival d’Aix thanks them for their commitment.
Accès Scène, Aixia, Artcom Diffusion, Association Entracte, Banque Lazard Frères, Bel Air Média, Cargo, Cargolog, Centrakor Stores, CL Sport BTZ, Cogex,
Décor Automates de St Cannat, Dr Recipon and Associates, Edenred France, Eurazeo, Finopsys, Fondation Royaumont, IMG Artists, Jullier Négoce Bois,
La Maison de la Chine, Le Concert d’Astrée, Merch et Cie, Musiques Échanges, Opera of Dijon, Opera of Lille, Opera of Lyon, Opera and National Orchestra
of Montpellier, Orchestra of Paris, Organisation Voyage Planche, Nouveaux établissements Michel, Roldan, Rove, Servicarte, Solea Management, Sologne
Finances, T2S, Texen, Théâtre national de l’Opéra Comique, Turbocar.
Recital of the HSBC Laureates - André Björn Róbertsson - Edwige Herchenroder - Fondation Vasarely
26 27
ACCOMPANYING YOUNG TALENT AND ENCOURAGING THE CREATION OF OPERA
Driven by the Académie of the Festival d’Aix, the enoa network was born of the desire of several institutions of the lyric world - academies,
festivals, foundations, opera producers - to collaborate more closely to support the most talented young artists in their professional
careers and in the development of their artistic ambitions.
With the backing of the European Commission’s Culture Programme since 2011 and the Creative Europe programme since 2016,
enoa works to promote the training and mobility of emerging artists, while encouraging the creation and performance of new operas
all over Europe.
On the strength of its first five years of experience, the enoa network has renewed its commitment to artists at the beginning of their
professional careers and launched its Young Opera Makers programme in May 2016.
Young artists who have come to complete their training and exchange experience on the theme of creation
Every year, the Académie of the Festival d’Aix hosts several artists recommended by the network’s member institutions. In 2016,
enoa enabled 9 artists – performers and creators – to take part in the Académie’s training programme and creation workshop.
Two of the Académie’s residencies received financial support from enoa:
• Training session for relay singers on the questions of transmission, initiation and discovery of music, from 22 to 25 January 2016
• ‘Reflection’ Opera in Creation Workshop, from 21 to 30 June 2016
MEMBER INSTITUTIONS OF THE NETWORK
Festival d’Aix-en-Provence & its Académie, France / Aldeburgh Music, United Kingdom / Calouste Gulbenkian Foundation,
Portugal / Queen Elisabeth Musical Chapel, Belgium / Dutch National Opera & Ballet, Netherlands / Fundación Albéniz - Escuela
Superior de Música Reina Sofía, Spain / Helsinki Festival, Finland / La Monnaie, Belgium / LOD Music Theatre, Belgium / Operosa,
Serbia, Montenegro, Bulgaria / Teatr Wielki - Polish National Opera, Poland / Theaterakademie August Everding, Germany /
Theatres of the City of Luxembourg, Luxembourg.
receives the support of the Cultural Programme of the European Union.This project has been funded with the support of the European Commission.This publication is the sole responsibility of its author and the Commission is not responsible for any use made of the information contained therein.
, THE EuROPEAN NETwORK OF OPERA ACADEMIES
Workshop for singers around Lucia di Lammermoor, led by tenor Raúl Giménez of the Dutch National Opera
MEDINEA MEDITERRANEAN INCuBATOR OF EMERGING ARTISTSCoordinated by the Académie of the Festival d’Aix, the Medinea network consists
of cultural organisations from the Euro-Mediterranean region which train musicians
and produce and broadcast artistic projects.
The main objective of the network is to provide support for emerging artists
Efrom the Mediterranean area for the conception, production and broadcast
of innovative artistic projects. The network also provides a platform for
the exchange of ideas between cultural stakeholders and to promote their
circulation in both the Mediterranean basin and Europe while stimulating
reflection on artistic creation in the Provence-Alpes-Côte d’Azur region.
THE INCUBATOR’S PROJECTS
Since the autumn of 2015, Medinea’s role as an incubator has offered artists the possibility to go beyond their training with the
Mediterranean Youth Orchestra to develop smaller-scale joint projects in the partner countries.
Two projects have been accompanied: ‘Cairo Jazz Station’ and ‘Zyriâb and us’ (see p. 17).
Outreach workshops with the public and training in cultural entrepreneurship complete these training residencies.
These residencies have given rise to presentations to both the public and professionals to report on the results obtained.
These presentations were held both in Aix and abroad (Egypt, Spain, Morocco and Algeria).
THE MEDINEA MEETINGS
‘Art and social links in the Mediterranean’
What is the importance of art in the creation of social links? From Cairo to
Marseille and Aix-en-Provence, from Tunis to London, inspiring testimonials
have nourished the debate. Moderated by Arnaud Laporte, this public meeting
was held on 20 July at Villa Méditerranée and was attended by a large public
of professionals. It was preceded by 2 days of work for the members of the
network, who had already met in Valence in March.
9 ARTISTS FROM 8 COuNTRIES
5 COACHES
7 CONCERTS IN 6 COuNTRIES
1500 SPECTATORS
28 DAYS OF RESIDENCY
‘In Cairo, we discovered a very fertile environment
in which to work on the construction of our
artistic identity.’
Loris Lari, bassist
Medinea Meeting at Villa Méditerrannée
28 29
FREE SCREENINGS
Launched in Aix-en-Provence in 2003 with the Instants d’Eté d’Aix-en-Provence,
the free broadcasts of the Festival d’Aix on big screens have widely extended their
regional and international influence thanks to the support of Fondation Orange, CIC
Lyonnaise de Banque and the partnership of Arte. Three operas, Così fan tutte, Kalîla
wa Dimna and Oedipus Rex / Symphony of Psalms, were screened live or rebroadcast on
the big screen in the Provence-Alpes-Côte d’Azur region and abroad. Many venues
have now established a regular calendar with ‘seasons’ to screen the operas of the Festival d’Aix.
TV AND RADIO BROADCASTS
Going beyond the theatre, the Festival extends its policy of accessibility and live and recorded broadcasting to a wider audience
through the implementation of partnerships with television, radio and the internet media. All the operas of the 2016 edition
were broadcast live on Arte, Mezzo, France Musique, Arte Concert, CultureBox, Medici.tv and The Opera platform (www.
theoperaplatform.eu). The concerts of the Freiburger Barockorchester, the Mediterranean Youth Orchestra, the Arcanto Quartet
and the exceptional concert by Jean-Guihen Queyras and Alexander Melnikov were broadcast on France Musique, ClassicAll, TV
Sud and YouTube.
A DIGITAL FESTIVAL
To enable the public to discover the opera and productions of the Festival d’Aix wherever they may be in France or abroad, the
Festival continues to create web documentaries that are accessible on its website, with a large amount of interactive multimedia
content concerning the opera (history, composers and repertoire) and the productions of the Festival: animated films, interactive
comics, podcasts, interviews, texts, photo galleries and audio clips.
Launched on 8 May 2015 with the support of the European Union’s Creative Europe programme, The Opera Platform is the first
free digital platform entirely dedicated to broadcasting operas, accessible in 6 languages. A partner of this platform, this year the
Festival d’Aix-en-Provence enabled the live broadcast of Pelléas et Mélisande and Così Fan Tutte.
CULTURE NUM: DIGITAL REVOLUTION, CULTURE AND CREATION
In partnership this year with Audiens, the Festival d’Aix organised a time for reflection around the new challenges and opportunities
introduced by digital technology in cultural industries and, more specifically, in the world of live performance.
Moderated by Arnaud Laporte and held on 13 July, this third edition of Culture Num brought together specialists of culture and
digital technology around three round-tables to exchange views on the role of digital technology in the democratisation of culture
and the creation of social links, on the importance for a cultural institution to know its audiences in the digital era, not only for
greater democratisation, but also to anticipate the new needs of its audiences, and, finally, to share new artistic experiences made
possible by digital technology.
MEDINEA MEETINGS
The Medinea network, coordinated by the Festival d’Aix, this year organised a debate on the role of artistic creation in the
development of social links at the local level, through original initiatives carried out in various Mediterranean countries: What is
the importance of art in the creation of social links, particularly in contexts where public artistic expression or the collective voicing
of opinions become acts of resistance? How can artistic practice consolidate the social links and create a feeling of belonging to the
community? The inspiring testimonials of participants from Cairo, Marseille, Aix-en-Provence, Tunisia or London nourished the
debate.
32 SCREENINGS IN FRANCE
42 SCREENINGS ABROAD
8,000 SPECTATORS
The attendance rate of the operas this year reached 97.9%, confirming the strong support of the public for the Festival’s artistic
project. While spectators from Provence-Alpes-Côte d’Azur region predominate (44.3%), spectators from the rest of France are
ever more numerous (28.9%) and the attendance of the foreign public remains stable (17.3% this year).
In addition to the significant offer of free seat, the Festival has renewed
its determination to open its paid performances to as wide and diverse
audience as possible: in 2016, the share of seats sold at less than €55 has
been maintained at over 40% of the total number of seats sold for the operas
and concerts.
Still within the context of its policy of accessibility, the Festival has engaged in two important new pricing measures:
• the decrease in the price of seats for young people and ‘action’ seats, reserved for the participants of outreach programmes, which
went from €15 for operas and €10 for concerts to only €9.
• the creation of a rate reserved for welfare recipients, also at €9 for both operas and concerts.
Thus, in 2016, nearly 1,200 seats for young people were sold to people under the age of 30 (including 300 for the Opera On
programme - see p. 37) and the number of seats sold at the ‘action’ rate increased by 35%.
In addition, 534 people benefited from the ‘children’s discovery’ offer, which consists of an invitation for any child sitting next to
an adult.
Every year, the Festival also offers an opera with audio-description thanks to the support of Accès Culture Association. In 2016,
around 30 visually-impaired people were able to benefit from this specific facility accompanied by another person.
The 4th edition of AIX EN JUIN recorded an attendance rate of nearly 90%, confirming
that this formula and its many free performances are now very well-identified by the
public, in particular by public from Aix-en-Provence and its region. The success of the
PARADE[S] concert on Cours Mirabeau with 3,000 spectators in June 2016 testifies to
this.
The Académie enables the Festival to offer a very broad range of nearly 60 events in June and July during which more than 12,000
spectators were able to discover today’s talents, and, for a large share of them, to discover the lyric repertoire.
The Preludes, which allow spectators to prepare themselves before each performance thanks to a dramaturgical presentation of the
Festival’s works and productions, received a large audience. With an audience of over 2,000 in 2016, the attendance of the Preludes
testifies to the growing willingness of the public to enrich its festival experience.
A BROAD AuDIENCE
40,4% OF THE TICKETS SOlD
FOR lESS THAN €55
Festival d’aix en Juin :
17,004 SPECTATORS
3,000 SPECTATORS FOR PARADE[S]
32 33
INTERNATIONAl RENOwN 2016 was marked by numerous international tours and collaborations for the Festival d'Aix, both in Europe and the rest of the world (see p.60).
Spearheads for the Festival’s reputation, the productions of previous years
have largely contributed to its renown during their tours. Created in 2014,
Trauernacht went on a long European tour to Amsterdam, Valencia, Lisbon and
Paris (in a collaboration of the Festival with the Philharmonie de Paris) and
initiated a new collaboration with Le Tandem, the national theatre of Arras/
Douai. The tour of Winterreise, another success from 2014, has also helped to
forge links with new partners: the International Arts Festival of Singapore and
the Settimana Senese in Siena. It was the same for George Benjamin’s opera,
Written on Skin, which, after having created a sensation when it premiered at the Festival in 2012 and seduced the audiences of
the major international stages in London, Vienna, Amsterdam, Toulouse and Paris, won resounding success at the Mostly Mozart
Festival in New York.
Also worthy of note is the inclusion of the productions of La Traviata (2011) and Rigoletto (2013) in the repertoire of the co-producers,
respectively the Vienna Staatsoper and the Bolshoi Theatre, which provide these productions with major visibility on prestigious
stages.
In the same way, the new productions of the 2015 Festival have already received the promise of a bright future beyond Aix-en-
Provence. Requested to tour in France and abroad for the next two or three seasons, Svadba (see p. 14) will give rise to collaborations
not only with French national stages but also, for the first time, with European festivals such as Ars Musica in Brussels and the
Ljubljana Festival. Co-commissioned by the Festival d'Aix-en-Provence, the London Symphony Orchestra and the Berliner
Philharmoniker, and co-produced in its French version by the operas of Lille and Montpellier, The Monster of the Maze (see p. 15)
also seduced several foreign cultural officials present at the 2015 Festival: the Gulbenkian Foundation in Lisbon, the Cervantino
Festival in Mexico, the Lincoln Center in New York, the Opera of Chicago and the Grand Theatre of Luxembourg. Convinced by the
quality and the relevance of this unprecedented project, these venues will take up the concept with their own forces.
9 OPERA PRODuCTIONS
57 PERFORMANCES IN 16 CITIES
42 SCREENINGS IN 10 COuNTRIES
A reprise of Benjamin Britten’s A Midsummer Night's Dream at the Beijing Festival in October 2016
lOCAl ATTACHMENT Over the past few years, the Festival d'Aix-en-Provence has been committed to intensifying its international development while
strengthening its attachment to the local and regional territory.
Thanks to its Passerelles service, which groups its outreach and socio-artistic services, the Festival develops partnerships with
educational institutions (primary and secondary schools), universities (AMU) and numerous non-profit organisations and social
structures to co-develop its projects of cultural action and to participate in the cultural development of contrasting territories
(urban and peri-urban neighbourhoods, villages, but also in hospitals or prisons). A project like OUVERTURE[S], conducted in
2016 in the Jas-de-Bouffan district of Aix (see p. 20), illustrates the strength of these approaches, which are capable of creating a
real link with the populations.
The collaborations between Passerelles and the Festival Académie intensified during the 2016 season. The emblematic examples
are Zyriâb and us and Cairo Jazz Station. These two young Mediterranean ensembles in residence at the Académie of the Festival were
created in the wake of the Mediterranean Youth Orchestra and supported by the Medinea (Mediterranean Incubator of Emerging
Artists) network. They conducted a week of workshops from 13 to 19 July with a group of twenty amateur choristers from different
cultural backgrounds: experienced adult choristers (from Antequiem, Ibn Zaydoun and gospel chorus), students in musicology,
young people from La Gare Franche theatre group in Marseille, young newcomers from the Modac classes of Lycée Gambetta in Aix
and Lycée St-Exupéry in Marseille, and young people from the École de la Deuxième Chance.
At the same time, the Rencontres en Musique and Jeunes Voix Lyriques once again proposed a series of concerts given by young artists
of the Académie in the communities of the Aix-Marseille urban area and the department of Bouches-du-Rhône, often accompanied
by outreach activities.
The local attachment of the Festival is also demonstrated through innovation. Since 2014 the Culture Num digital meetings have
rooted new technologies into the priorities of the Festival by granting a large space to local stakeholders. During the 2016 season a
new collaboration with the Festival of Avignon and French Tech Culture was created, with a premiere in July: the broadcast on the
France Télévisions Culturebox platform of a series of short 360° virtual reality films shot during the rehearsals of performances in
Aix and Avignon.
Finally, the live broadcasts of the Festival’s operas in the communities of the Provence-Alpes-Côte d’Azur region continue their
extension and in 2016 were welcomed by more than thirty communities, ranging from the large cities of the region to rural villages.
These screenings are now accompanied by reduced ticket rates for Festival performances reserved for screening audiences and the
possibility for the communities to organise groups to attend a Festival performance at special rates.
Medinea intercultural creation concert at Cité de la Savine in Marseille
34 35
Opera On is specifically designed for students of Aix-Marseille
University and young professionals under the age of 30. It takes the
form of an outreach programme built around two of the season’s
productions, the highlight being a night at the opera under
exceptional conditions.
Within the framework of the partnership agreement signed with
Aix-Marseille University, Opera On has been enriched with new
proposals intended for students, in particular with twelve voice
workshops proposed on the Marseille and Aix campuses.
Reduction of the student rate: in 2016, the Festival d’Aix reduced the student rate from €15 to €9, thus allowing students holding
the AMU cultural pass, who benefit from an additional reduction of €5, to access Festival d’Aix productions for the price of €4.
MEETING THE PUBLIC
Welcomed to the Festival, audiences from schools and non-profit organisations can also attend artistic discoveries in the heart of
their urban neighbourhood, village or school. Festival artists, young singers and musicians of the Académie offer concerts and
meetings that are open to all and provide an easily accessible musical experience.
In 2016, 18 Musical Discoveries were proposed, taking lyrical art outside of its usual venues.
OPeRa On 2016:372 YOuNG PEOPlE300 OPERA TICKETS SOlD109 TICKETS SOlD AT THE YOuTH RATE70% NEw PARTICIPANTS
‘The students really enjoyed working on this project (...). A real performance, a real stage, and musical backing in addition to the libretto,
of course. The interesting thing about working on an opera is the fact that although the projects are not produced, they are of a professional
level and reveal themselves to be close to what is produced on the market.’
Technical secondary school - Celony - teacher feedback
‘The opera isn’t so bad after all, and I won’t be afraid of it anymore!’
Collège Cousteau – Rognac – secondary school student
‘Thank you for your support for this fine cultural project. I received very positive feedback from my students, who were really captivated by
this opera. They didn’t see the time go by (nor did I) (...) which must be a very good sign.’
Collège Lakanal – Aubagne – teacher feedback
OUVERTURE[S]
As an innovative stakeholder for the democratisation of art and culture, the Festival d'Aix-en-Provence has been developing
outreach and socio-artistic projects in the Provence-Alpes-Côte d’Azur region for many years. These actions, named Passerelles,
are an ideal experimental platform for introducing opera to young people, families and new or disadvantaged audiences. They
create a dynamic within the Festival thanks to the dedication of a
wide network of teachers, community workers, non-profit organisations
and teaching artists. In 2016, the Passerelles outreach and socio-
artistic services associated 6,600 participants with their projects, in
complicity with the teams of more than 100 schools and 100 non-
profit organisations and social institutions of the region.
DISCOVERY OF THE OPERA
Opera discovery programmes invite school children and non-profit
organisations to enter the world of the opera; they offer a series
of workshops with instructors, visits to the Venelles workshops
and production sites, meetings with artists and members of the
Festival’s technical team. The teaching methods involved are creative
and involve participation: an approach through artistic experimentation, discussion of the works, encounters with the professionals
involved in the Festival, articles published in the blog, etc. The programmes adapt to a wide range of audiences: children and
teens, students, young people in professional integration programmes, students of music schools, families, adults receiving social
support, intergenerational groups, residents of health care structures, etc.
Several educational performances provided an entertaining and participative approach to the opera and its multiple facets (baroque
music, the profession of lyrical artist, stage directing, etc.) to several hundred young spectators.
This series of events, which take place throughout the year with classes and non-profit organisations, creates a familiarity with the
works and the Festival and is followed by an invitation to a dress rehearsal for one of the productions under performance conditions.
In 2016, over 3,000 school children, over 1,000 students and 1,600 people from community groups participated in these opera
discovery programmes.
PASSEREllES
4,370 PuPIlS AND STuDENTS106 INSTITuTIONS133 ClASSES, FROM PRE-SCHOOl TO SECONDARY SCHOOl136 PARTICIPANTS IN CREATIVE PROjECTS 157 SESSIONS AROuND THE THEME OF OPERA70 VISITS TO THE VENEllES wORKSHOPS35 COMMuNITIES> 50 INSTRuCTORS
OUVERTURE[S] – A musicall walk through Gilbert Vilers Park
36 37
From Fondation Vasarely to the Bois de l’Aune, through
the wooded lanes and the Théâtre de Verdure in
Parc Vilers, the musical and creative proposals
echoed Stravinsky’s modes of composition and the
Festival programme, thanks to the strings of the
Korsec School Orchestra and the Cité de la Musique
of Marseille, the secondary school brass bands
from Versailles Marseille / Cité de la musique of
Marseille, Lei Garrus in Saint-Maximin, and Paul
Eluard in Port-de-Bouc, and the voices of the
chorists of Antequiem, Ibn Zaydoun, Libre Voce,
Canta l’Aigo and the Maîtres Chanteurs.
The event was hosted in Jas de Bouffan with the
complicity of neighbourhood schools and non-profit
organisations: with the participation of over 220 amateurs, 20 artists and 1,450 spectators.
IBN ZAYDOUN MULTICULTURAL CHOIR
This year, the Ibn Zaydoun multicultural choir, directed by Moneim Adwan and composed of around 50 amateur singers, enriched
its repertoire of ancient and contemporary Arab poems, set to music by their choir leader. It gave six performances in different venues
and cultural events in the Aix-Marseille region, such as the Train Bleu in Ensuès, or for an evening entitled On Air at the Friche de
la Belle de Mai.
EPHEMERAL CHOIR
During the residency of the young ensembles Zyriâb and us and Cairo Jazz Station, and with the support of the Medinea network,
a week of workshops was offered to a group of amateur singers of different ages, backgrounds and origins. Within a few days, they
formed a vocal ensemble and created a vocal work set to music and staged with the nine Medinea artists, with the educational
accompaniment of choir leader Philippe Franceschi, choreographer Léa Canu-Ginoux and composer and artistic adviser Fabrizio Cassol.
The purpose was to experience a collaborative, creative and educational project in which exchanges, the ensemble and the cultural
and musical influences of each participant played a central role. This vocal and instrumental experience was presented to the public
in the form of short presentations on 19 July during a concert at the Hôtel Maynier d’Oppède.
2,260 ADulTS
110 NON-PROFIT ORGANISATIONS AND SOCIAl STRuCTuRES
170 OPERA OuTREACH SESSIONS
60 ARTISTIC PRACTICE wORKSHOPS AND 8 PERFORMANCES
11 MuSICAl ENCOuNTERS
2,679 INVITATIONS TO REHEARSAlS
30 TOwNS
56 INSTRuCTORS
45 SPEAKERS, FESTIVAl ARTISTS
Interactive session - Making Op' – Académie / Creation and innovation Workshop
Relay singers and enoa meeting lower secondary students in the Jas de Bouffan neighbourhood
In 2016, the Festival d’Aix Académie offered a Relay Musicians’ training session for the first time, exclusively dedicated to singers
and initiated in the framework of enoa.
Twelve singers from different backgrounds gathered in Aix-en-Provence around musician and teacher Mark Withers and stage
director Sybille Wilson to learn how to transmit the keys of their art to different audiences. At the end of the weekend, the relay
singers put these approaches and tools into practice by meeting students from the general and vocational education classes of the
Jas de Bouffan lower secondary school.
A rare opportunity came with the presence in Aix-en-Provence of one of the composers in residence at the Festival and his
willingness to share his music enabled the organisation of several friendly meetings with Passerelles audiences: young people and
their families demonstrated their interest in the musical world of Moneim Adwan and the discussions around the opera Kalîla wa
Dimna.
On 15 July 2016, Musiques à la Savine created a musical discovery with the musicians of the intercultural session of the Mediterranean
Youth Orchestra, an amateur chorus of traditional Comorian songs and three relay musicians from the Académie, all led by jazz musician
Raphaël Imbert. Organised in partnership with
the Sound Musical School cultural association,
which has been established in the heart of
Cité de la Savine in Marseille for 25 years, this
festive event transformed the intercultural
elements of the neighbourhood into a breeding
ground for Mediterranean musical creation. It
ended with an open-air meal shared with the
local public and others who had come specially
for the occasion.
AMATEUR ARTISTIC PRACTICES
Artistic and educational projects provide an
approach to the works and the music: choral
singing, orchestral practice, staging, sound and
visual arts.
OUVERTURE[S]
One of the flagship projects for Passerelles in 2016, OUVERTURE[S] inaugurated AIX EN JUIN and opened the festival season with a
musical itinerary in the heart of Jas de Bouffan, in Aix-en-Provence on 4 June 2016. The public was invited to take part in a walk
that brought together school orchestras and amateur choirs, with the complicity of the artists who had accompanied the project
throughout the year: with Raphaël Imbert, Mark Withers and the Béla Quartet conducting, Philippe Franceschi assisted by Vincent
Cladere for the direction of the chorus, and Geneviève Sorin assisted by Léa Canu-Ginoux for the staging and choreography.
‘The interactivity of the sessions encourages the young participants to
express themselves. The fact of meeting professionals also helps you realise
the possibilities that are still open to us. We enable them to enter and see
what is around them, to open their eyes. The meeting with the costume
designer was striking: the taste, the research, the details of the work, the
passion.’
Vocational trainer – Aix
‘This is not just about music. We are not playing for the sake of playing, but
also for everything that music allows us to share: shared emotions and a new
way of perceiving each other and our respective countries.’
Musician of the Mediterranean Youth Orchestra intercultural session
Voice workshop around Kalîla wa Dimna
38 39
Aware of the environmental impact that the constant evolution of its activities can generate throughout the year, the Festival d’Aix
has put sustainable development at the heart of its concerns since 2010.
Travel, natural resources, responsible procurement and waste management are among the priorities of this approach, which comes
as the result of a carbon assessment carried out for the Festival in 2012.
The only festival with a permanent official responsible for sustainable development, it considers this approach as part of its policy
for continuous improvement, as recommended by the ISO standards for environmental management.
INNOVATION AND ECO-DESIGN
With the support of ADEME and the Provence-Alpes-Côte d’Azur region, the expertise of Pôle Éco-Design and the participation
of its scenographers, the Festival launched an eco-design research and development project for its sets in 2014. Following an
in-depth impact study associated with the construction of its sets and taking into account their entire life cycle (raw materials,
manufacturing, use, transport and end of life), in 2016 the Festival’s workshops reached a 98.2% recyclability rate for its sets, in
particular with the set of Pelléas et Mélisande.
Major work has also enabled the creation of tools, such as a methodological guide, a ‘materials library’ and an impact calculator. In
response to its commitment to share and disseminate the results of its research, the Festival d’Aix is collaborating on this subject
with many opera houses in France and abroad, such as the operas of Lyon and Nice, Théâtre Royal de la Monnaie in Brussels and
France Télévisions. It also participates in the Green Team of the Opera Europa network, of which it is a member. This project was
also presented to international cultural stakeholders during ArtCop 21, which was held in the margin of the COP21 conference in
Paris in December 2015.
TRAVELS
Established as a priority in 2012, the Festival strives to reduce its carbon footprint through the use of hybrid or electric vehicles,
in partnership with Club Écomobile and Nissan Couriant, and by encouraging the use of carpooling and public transport. Thus, in
2016, a partnership with Cartreize enabled the organisation of public transport for festival goers to return to Marseille after two
opera performances at the Théâtre de l’Archevêché.
This effort by the Festival d’Aix is supported by the Provence-Alpes-Côte d’Azur Regional Council, the Departmental Council of
Bouches-du-Rhône, the Communauté d’Agglomération du Pays d’Aix and ADEME PACA.
A member of the Eco-Responsible Festivals Group of the Provence-Alpes-Côte d’Azur region (COFEES), created in 2014, the
Festival d’Aix participates in the dissemination of good practices in the field of sustainable development.
SuSTAINABlE DEVElOPMENT
Installation of the set for Triomfo del Tempo
Composed of around 50 permanent employees, the Festival teams are organised into six main divisions, which are shared between
the sites of Aix-en-Provence, Venelles and Paris:
- Artistic department and the Académie (including the Mediterranean Youth Orchestra), in charge of the artistic programme and
residencies of young artists;
- Technical department, in charge of the implementation of the programme in all its technical aspects: creation, operation, logistics
and security;
- Production department, in charge of the contractual, budgetary and organisational implementation of the programme;
- Department of patronage and development, responsible for making a significant contribution to the financing of the Festival by
collecting private contributions from businesses and individuals;
- Administrative and financial department, in charge of the administrative and financial management of the institution and human
resources;
- The general secretariat, which federates services in relation with the public: the department of communication, Passerelles
(outreach and socio-artistic services), ticketing, reception of the public, protocol, press, as well as the coordination of the Festival’s
audiovisual broadcasts and digital projects.
The graph below illustrates one of the specificities of the Festival, i.e. the great variability of its staff, which continues to grow from
September to July to reach over 700 people in July 2016, comprising the permanent administrative staff, temporary reinforcements,
technicians and individually hired artists.
Added to this figure are the artists of the guest ensembles (choirs and orchestras, approximately 270 people) and the 300 young
artists in residency with the Académie and the Mediterranean Youth Orchestra.
The major commitment of the technicians and artists throughout the year is also reflected in the many tours undertaken and the
work of the workshops.
THE TEAMS
0
200
400
600
800
1,000
September - December 2015
January - March 2016
April - May 2016
June - August 2016
Artists
Technical Intermittents
Temporary contracts
Permanent contracts
Installation of the set for Così fan tutte
42 43
THE FESTIVAl BuDGETBudGet 22 445 000 €
stRuCtuRal Revenue 36,2 %
OPeRatinG Revenue28,1 %
aRtistiC Revenue
and tOuRs 34,8%
Fixed COsts 25,4%
aRtistiC exPenses
48,9%
enoa netWORK Revenue0,9%
enoa netWORK exPendituRe0,9%
aRtistiC and tOuRinG Revenue (co-productions, ticketing, audiovisual, sale of productions, etc.) €7,817,000
OPeRatinG Revenue (patronage, media partnerships, etc.) €6,303,000
Subsidies from the State and public authorities €7,676,000
Reversals on equipment grants, investment financing and provisions €459,000
Co-production revenue €1,455,000
Ticket revenue €3,695,000
Audiovisual revenue €1,165,000
Touring income and associated activities €1,502,000
Patronage and sponsorship revenue €4,325,000
Participation of the Casino of Aix-en-Provence, a historical patron of the Festival €1,655,000
Media partnerships €140,000
Other operating revenue €183,000
aRtistiC exPendituRe (operas, concerts, outreach and socio-artistic programmes, audiovisual, tours, etc.) €10,985,000
OPeRatinG exPenses (presentations to patrons, site operation, reception of the public, communication, etc.) €5,565,000
Fixed COsts (total payroll, overheads, investment expenditure, etc.) €5,435,000
Académie - MYO enoa - €800,000
Concerts €260,000
lyric productions €7,300,000
Passerelles service €330,000
AIx EN juIN €270,000
Conferences, symposia, exhibitions €25,000
Audiovisual €1,000,000
Touring €1,000,000
Presentations to businesses €575,000
Technical expenses €3,190,000
Communication, publication, press €615,000
Media partnership expenditure €90,000
Other operating expenditure €1,095,000
Staff structure €3,805,000
Overheads €1,380,000
Endowments and exceptional expenses €520,000
enoa netWORK Revenue (European Network of Opera Academies) €190,000
enoa netWORK exPenses (European Network of Opera Academies) €190,000
stRuCtuRal Revenue (investment and operating subsidies, etc.) €8,135,000
OPeRatinG exPenses
24,8 %
tHe audienCe
distRiButiOn aCCORdinG tO GeOGRaPHiCal ORiGin distRiButiOn OF Paid seats exCludinG invitatiOns
events
THE FESTIVAl AuDIENCES
attendanCe
OveRall attendanCe: 75,526 OPeRa attendanCe Rate: 97,9%GlOBal attendanCe Rate: 94,2%39,972 SPECTATORS FOR THE FESTIVAl’S Paid events24,883 SPECTATORS FOR ReHeaRsals and FRee events, INCluDING 3,000 FOR PaRade[s]
aix en Juin Festival: 17,004 SPECTATORS aCadÉMie events: 12,134 SPECTATORSFestival sCReeninGs IN FRANCE AND ABROAD: 7,969 SPECTATORS (julY)PReludes TO OPERAS: 2,209 SPECTATORStiCKet Revenue: €3.72 M exCl. tax
PRess
197 JOuRnalists FROM 22 COuntRies(TElEVISION, RADIO, wRITTEN PRESS)30 neWs stORies and RadiO PROGRaMMeS19 tv RePORts and inteRnet
BROadCasts
5 OPeRa BROadCasts ON TElEVISION AND ON THE wEB8 RadiO BROadCasts OF OPERAS AND CONCERTS ON FRANCE MuSIQuE
OtHeR FRenCH ReGiOns 28,9%
FOReiGneRs 17,3%(inCludinG euROPeans 9,4%)
undeFined ORiGin 9,4% PROvenCe-alPes
-Côte d’aZuR 44,3%
€31 tO €55 14,2%
≤ €55 40,4%
≤ €30 26,3%
€56 tO €110 5,2%
> €190 30,2%
OPeRa PeRFORManCes
31 14 48 62 56COnCeRts (ExCluDING THE ACADéMIE)
MeetinGs / COnFeRenCes / seMinaRs
events duRinG aix en Juin
aCadÉMie events (juNE AND julY)
sCReeninGs (32 IN FRANCE, 42 ABROAD)
74OPeRas and MusiCal PeRFORManCes
5
€111 tO €190 24,2%
44 45
THE lOYAl SuPPORT OF THE PATRONS AND PARTNERS OF THE FESTIVAlFor its 2016 edition, the Festival was once again able to rely on the loyalty of its patrons and partners. Through their commitment to
the Festival, companies and private patrons are essential to the development of the Festival d’Aix-en-Provence. In 2016, their support
represented almost 19% of total resources, with more than 4.3 million euros, remaining stable with respect to the 2015 edition. These
supports are the Festival’s primary resource.
PRIVATE PATRONAGE AND THE CREATION OF AN ENDOWMENT FUND
The Festival has been able to count on the support of over 200 private members of the Patrons Club and the associations of English
and American friends who renew their support to the Festival’s projects year after year.
In the past few years, certain private patrons have committed themselves to the Festival in a very ambitious manner. In 2016, several
donors made major donations to the Festival: The Meyer Foundation for Cultural and Artistic Development, Mr and Mrs Rupert Hambro.
The support of the Meyer Foundation for Cultural and Artistic Development for the Stravinsky cycle was particularly crucial for the
production of Iolanta / Persephone in 2015 and Oedipus Rex / Symphony of Psalms in 2016.
Beyond a significant financial commitment, the patrons of the Festival are aware that long-term investment is essential both for
future programming and to enable ambitious artistic decisions.
This is the spirit in which the Endowment Fund of the Festival d’Aix was established in the spring of 2016. Designed as a tool for the
collection of donations from major private donors, the Endowment Fund of the Festival d’Aix-en-Provence must allow it to ensure
the sustainability of the Festival, thanks to a consolidation and an increase in self-financing, and to make mid-term artistic and
strategic commitments.
This Endowment Fund is also open to businesses willing to concentrate the amount of their multi-year commitment into a single
gift.
LOYAL BUSINESSES
Representing nearly 80% of the support in 2016, the partner companies of the Festival d'Aix have played a major role in the
patronage resources of the Festival.
An official partner for the second year, Altarea Cogedim and its president, Alain Taravella, strengthened its support for the Festival
in 2016.
Once again this year, the Académie has been able to count on the loyal support of HSBC (whose HSBC Laureates label has been
present throughout the year in many cultural institutions in France), Fondation La Poste, the SACEM and the SACD.
The Mediterranean Youth Orchestra and Medinea, the incubator network for young Mediterranean artists, have been supported
this year by the musical patronage of Société Générale. Art Mentor Foundation Lucerne has also continued its support for these two
projects.
Opera broadcasts have been a great success in the Provence-Alpes Côte d’Azur region and have seen important development abroad
thanks to the support of CIC Lyonnaise de Banque and Fondation Orange.
The renewed confidence and loyalty of KPMG, EDF, LVMH, Groupe Ponticelli Frères and Saint Gobain, and the company foundations of
Orange, Roederer, Total and CMA CGM, have enabled the creation of the Festival’s ambitious artistic projects. These companies were
joined in 2016 by the Audiens Group, which has given its support to the Culture Num meetings, and by Air France.
Partner of the Festival since 2001, the Cercle des économistes joined the participants of the Rencontres économiques of the Festival
d’Aix for the 16th consecutive year.
Joined in 2016 by ORKIS and CG Immobilier, the members of Club Campra accompanied the 68th edition of the Festival with a great
deal of commitment and through their support participated in the cultural influence and attractiveness of their territory
PATRONS AND PARTNERS
47
THE FESTIVAl D’AIx-EN-PROVENCE AND ITS ACADéMIE ARE SuPPORTED BY:
the Rencontres Économiques of aix-en-Provence were held on 1 - 3 July 2016
aiR FRanCe, GROuPe POntiCelli FReRes, lvMH, MÉCÉnat MusiCal sOCiÉtÉ GÉnÉRale, saint-GOBain
alsO suPPORtinG tHe FestivalAudiens, British Council, Butard Enescot, Coffim, diptyque, Fondation CMA CGM, Fondation Crédit Coopératif, les Vins de Provence.
supporting Members GPI & associésBenefactor Members Durance Granulats, Société Ricarddonor Members CEA Cadarache, Colas Midi-Méditerranée, Crédit Agricole Corporate & Investment Bank, GrDF, Groupe SNEF, Original System, Orkis, Roland Paix Traiteurassociate Members Affiche +, Alpinea Shipping, Bellini joaillier – horloger, Boutiques Gago, Bouygues Bâtiment Sud-Est, CG Immobilier, Calissons du Roy René, Finopsys, john Taylor, Mas de Cadenet – Grand Vin de Provence, Ortec, SEMEPA, Société de Courtage des Barreaux
PROFessiOnal PaRtneRs
Media PaRtneRs
THE FESTIVAl D’AIx-EN-PROVENCE THANKS THE FOllOwING FOR THEIR SuPPORT:
Partner of the Festival d’Aix-en-Provence since 1948
OFFICIAl PARTNER
THE PATRONS OF THE FESTIVAl D’AIx-EN-PROVENCE
FOuNDING PATRONSM. et Mme laurence Blackall
M. et Mme Christopher Carter
M. Nicolas D. Chauvet
The Ettedgui Charitable Trust
M. et Mme André Hoffmann
M. Michael lunt
M. et Mme Christian
Schlumberger
PRINCIPAl PATRONS M. et Mme jean Baudard
M. jean-louis Beffa
Mme Diane Britz lotti
M. et Mme Didier de Callataÿ
M. Nabil Chartouni
Mme Ariane Dandois
M. et Mme Bechara El Khoury
M. et Mme Nicholas l.D. Firth
M. et Mme Barden N. Gale
M. et Mme Burkhard Gantenbein
Mlle Nomi Ghez et Dr. Michael
S. Siegal
M. et Mme jean-Claude Gruffat
M. et Mme Alain Honnart
Baron et Baronne Daniel janssen
M. et Mme Richard j. Miller
Mme Marie Nugent-Head
et M. james C. Marlas
M. Pascal Tallon
M. et Mme Henri-Michel
Tranchimand
BENEFACTOR MEMBERSBaron et Baronne jean-Pierre
Berghmans
M. et Mme jacques Bouhet
M. et Mme walter Butler
M. François Casier
M. et Mme François Debiesse
M. Michel Frasca
M. Alain Guy
Mme Sophie Kessler-Matière
M. et Mme xavier Moreno
M. Alessandro Riva et M. Nicolas
Bonnal
M. Bruno Roger
M. Etienne Sallé
M. et Mme Denis Severis
DONOR MEMBERSM. jad Ariss
M. et Mme Thierry Aulagnon
M. et Mme Thierry d’Argent
M. et Mme Erik Belfrage
M. et Mme André Benard
M. et Mme Michel-Yves Bolloré
M. et Mme François Bournerias
M. Eric Bowles
M. et Mme jordi Caballé
Mme Bernadette Cervinka
Mme Christelle Colin
et M. Gen Oba
Mme Nathalie Coll
M. et Mme Virgile Delâtre
M. Roland Descouens
M. et Mme Alain Douteaud
M. et Mme Dominique Dutreix
M. et Mme Charles-Henri Filippi
M. Pierre-Yves Gautier
M. et Mme Pierre Guenant
Mme Marceline Gans
Dr. john A. Haines et Dr. Anand
Kumar Tiwari
Mme Yanne Hermelin
M. william Kadouch-Chassaing
M. et Mme Raphaël Kanza
M. et Mme Samy Kinge
M. jean-Paul labourdette
Mme Danielle lipman w. Boccara
M. et Mme Michel longchampt
M. et Mme jacques Manardo
Mme Anne Maus
M. et Mme Meijer-Bergmans
M. Henri Paret
M. Philip Pechayre
M. Olivier Schucht
Mme Catherine Stephanoff
M. Michel Vovelle
M. et Mme Philip wilkinson
M. et Mme Robert Zolade
ACTIVE MEMBERSMlle Pascale Alfonsi
Mme laure Ayache Sartore
M. et Mme jean-Paul Bailly
M. François Balaresque
M. Constant Barbas
Mme Patricia Barbizet
M. Bernard Barone
M. et Mme Christian Bauzerand
M. et Mme Olivier Binder
Mme Annick Bismuth-Cuenod
M. et Mme Daniel Caclin
Mme Christine Cayol-Machenaud
Mme Marie-Claude Char
Mme Nayla Chidiac-Grizot
Mme Myriam de Colombi-Vilgrain
Mme Paz Corona et M. Stéphane
Magnan
M. Alan Cravitz
M. Pierre-louis Dauzier
M. laurent Diot
M. et Mme Olivier Dubois
M. et Mme Philippe-Henri Dutheil
M. et Mme Peter Espenhahn
M. et Mme Christian Formagne
M. jean-Marie Gurné
M. Elias Khoury
Mme Gabriele Kippert
M. Didier Kling
M. jean-Pol lallement
M. jean-Marc la Piana
M. jacques le Pape
M. et Mme jacques latil
Mme Marie-Thérèse le liboux
Mme janine levy
M. Thierry Martinache
M. Nicolas Mazet
M. et Mme jean-Pierre Mégnin
M. et Mme Guillaume de
Montrichard
Baronne Sheila et Sir Barry
Noakes
Mme Sylvie Ouziel
M. Didier Poivret
M. Olivier Renaud-Clément
M. et Mme Yves Roland-Gosselin
M. et Mme jimmy Roze
M. et Mme Anton van Rossum
M. et Mme leonard Schrank
M. et Mme jacques-Olivier
Simonneau
Mme Ninou Thustrup et M. jean-
Marc Poulin
M. et Mme jean-Renaud Vidal
M. Philippe Villin
Mme Carole weisweiller
BOARD OF TRuSTEESIFIlAF uSAM. jean-Claude Gruffat Président
M. Richard j. Miller Trésorier
M. jérôme Brunetière Secrétaire
Mme Diane Britz lotti
M. Nabil Chartouni
Mme Edmée de M. Firth
Mme Flavia Gale
Mme Marie Nugent-Head Marlas
Dr. Michael S. Siegal
The Honorable Anne Cox Chambers
Membre Honoraire
M. jacques Bouhet
Membre Honoraire
IFIlAF uKMme jane Carter Présidente
M. Peter Espenhahn Trésorier
M. laurence Blackall
M. jérôme Brunetière
Mme Béatrice Schlumberger
M. David Syed
Many French and foreign patrons support the development of the Festival d’Aix. We thank them all for their commitment and more particularly
our major donors:
Mr and Mrs Rupert Hambro and the Meyer Foundation for Artistic and Cultural Development.
Several of our patrons wish to preserve their anonymity.
If you would like to become a patron of the Festival, you can contact us on +33 (0)4 42 17 43 56 - [email protected]
48 49
Il Trionfo del Tempo e del Disinganno Kalîla wa Dimna
Il TRIONFO DEl TEMPO E DEl DISINGANNOLe Triomphe du Temps et de la DésillusionGeORG FRiedRiCH Haendel (1685-1759)
Oratorio en deux partiesLivret du cardinal Benedetto PamphiliCréé en 1707 à Rome
Direction musicale Emmanuelle HaïmMise en scène Krzysztof warlikowskiDécors et costumes Małgorzata SzczeniakDramaturge Christian longchampLumière Felice RossChorégraphie Claude BardouilVidéo Denis GueguinAssistant Musical David BatesRépétitrice de langue Rita de letteriisAssistante à la mise en scène Marielle KahnAssistante aux décors et costumes Barbara CreutzAssistant vidéo Fabien laubry
Bellezza Sabine Devieilhe*Piacere Franco FagioliDisinganno Sara MingardoTempo Michael SpyresFigurants Mama Bouras, Margot Briosne Frejaville, Sherine Colin, johanna Costa, léa De Carvalho Massabo, Amani Djelassi, Thaïs Drujon D'astros, Hélène Fouque, Rui jin, Colette levron, Elena Parniere, Pablo Pillaud-Vivien, Nangué Sabaly, Marina Saïd, Marie Signoret-Ollive, Emilia Sitek, juliette Vetillard, lucie weller, Clara weller, Agathe williamson
Orchestre le Concert d'AstréeContinuo Violoncelle Felix Knecht, Oleguer Aymami Contrebasse Nicola Dal Maso Luths laura Monica Pustilnik, Rémi Cassaigne Clavecins Benoît Hartoin, Philippe Grisvard Orgue Benoît Hartoin
Nouvelle production du Festival d’Aix-en-ProvenceEn coproduction avec : Opéra de lille, Théâtre de Caen
*anciens artistes de l’Académie
KAlîlA wA DIMNAMOneiM adWan (1970)
Opéra en arabe et françaisLivret de Fady Jomar et Catherine Verlaguet d'après Le Livre de Kalîla et Dimna attribué à Ibn al-Muqaffa’Commande du Festival d’Aix-en-ProvenceCréation mondiale
Direction musicale Zied ZouariMise en scène Olivier letellier*Décors Philippe Casaban et éric CharbeauCostumes Nathalie PratsLumière Sébastien RevelAssistant à la mise en scène Sacha Todorov
Kalîla Ranine ChaarDimna Moneim AdwanLe Roi Mohamed jebaliLa Mère du roi Reem TalhamiChatraba jean Chahid
Violon Zied ZouariVioloncelle Yassir Bousselam*Clarinette Selahattin Kabacı *Qanûn Abdulsamet Celikel*Percussions wassim Halal
Nouvelle production du Festival d’Aix-en-Provence 2016En coproduction avec : Opéra de lille, Opéra de DijonAvec le soutien du Festival d’Abu Dhabi
*anciens artistes de l’Académie
Pelléas et Mélisande Così fan tutte
PElléAS ET MélISANDEClaude deBussY (1862-1918)
Drame lyrique en cinq actes et 12 tableaux de Maurice MaeterlinckD'après sa pièce Pelléas et Mélisande (1892)Créé le 30 avril 1902 à l'Opéra Comique
Direction musicale Esa-Pekka SalonenMise en scène Katie MitchellDécors lizzie ClachanCostumes Chloe lamfordLumière james FarncombeResponsable des mouvements joseph w. AlfordDramaturge Martin CrimpAssistant Musical Adrien PerruchonChefs de chant David Zobel / Ouri BronchtiAssistants à la mise en scène Robin Tebbutt / Gilles RicoAssistante aux décors Blanca AñónAssistante aux costumes Marie Szersnovicz
Pelléas Stéphane Degout*Mélisande Barbara HanniganGolaud laurent NaouriArkel Franz-josef SeligGeneviève Sylvie Brunet-GrupposoYniold Chloé Briot*Le Médecin Thomas DearActrices Sarah Northgraves Sacha Plaige Mia Theil Have
Chœur Cape Town Opera ChorusChef de chœur Marvin KernelleOrchestre Philharmonia Orchestra
Nouvelle production du Festival d’Aix-en-ProvenceEn coproduction avec : Teater wielki - Opera Narodowa / Polish National Opera, Beijing Music Festival
*anciens artistes de l’Académie
COSì FAN TuTTEWOlFGanG aMadeus MOZaRt (1756-1791)
Dramma giocoso en deux actesLivret de Lorenzo Da PonteCréé le 26 janvier 1790 au Burgtheater de Vienne
Direction musicale louis langrée / jérémie Rhorer (17, 19 juillet)Mise en scène Christophe HonoréDécors Alban Ho VanCostumes Thibault VancraenenbroeckLumière Dominique BruguièreAssistant musical Nicolas KrugerPianiste répétiteur Mathieu PordoyRépétitrice de langue Roberta FerrariAssistante à la mise en scène Sandrine lannoAssistante aux décors Ariane BrombergerAssistante aux costumes Nathalie PallandreCasting des figurants Sébastien lévy
Fiordiligi lenneke RuitenDorabella Kate lindseyDespina Sandrine PiauFerrando joel PrietoGuglielmo Nahuel di PierroDon Alfonso Rod GilfryFigurants Thierry Ambengat, julien Antonini, Christophe Dossou, Mathilda Doucouré, Tibo Drouet, joel Koné, Antoine lacroix, Hichimoudine Mondoha,Thibault Morel, jean Schabel, Nicolas Sutter, N'Nabintou Touré
Chœur Cape Town Opera ChorusChef de chœur Marvin KernelleOrchestre Freiburger BarockorchesterContinuo Roberta Ferrari
Nouvelle production du Festival d’Aix-en-ProvenceEn coproduction avec : Opéra de lille, Korea National Opera, Edinburgh International Festival
52 53
CONCERTSDISSONANCES • lAuRéATS HSBC DE l'ACADéMIE2 Juillet – 12H – COnseRvatOiRe daRius MilHaud, auditORiuM CaMPRa Quatuor Quatuor Van Kuijk (lauréat HSBC 2014)Concert à l’occasion de la sortie du disque du Quatuor Van Kuijk, consacré aux quatuors de Mozart. Dédicace à l’issue du concert.
uNE CIGOGNE DE NuIT • EMMANuEl BAIlY6 Juillet – 21H30 – Hôtel MaYnieR d'OPPède Cornet à bouquin lambert ColsonClarinette jean-François FoliezPercussions xavier Rogé‘Ûd & chant Khaled AljaramaniGuitare & chant Emmanuel Bailyle guitariste et compositeur Emmanuel Baily invite à un voyage poétique à la croisée du jazz, du baroque et de la musique traditionnelle.
lES PéCHéS DE ROSSINI • lAuRéATS HSBC DE l'ACADéMIE7 Juillet – 20H – tHÉâtRe du Jeu de PauMe Soprano Katharina Melnikova (lauréate HSBC 2014)Basse Scott Conner (lauréat HSBC 2013)Piano Hélio Vida Œuvres de Rossini.
FREIBuRGER BAROCKORCHESTER7 Juillet – 21H30 – tHÉâtRe de l'aRCHevêCHÉ Direction musicale / violon Petra MüllejansFlûte Daniela liebClavecin Sebastian wienand Œuvres de Bach et de Haendel.
RAPHAËl IMBERT NEw QuINTET INVITE MARION RAMPAl8 Juillet – 21H30 – Hôtel MaYnieR d'OPPède Chant, récit Marion RampalSaxophones, clarinette basse Raphaël ImbertGuitares Thomas weirich, Pierre DurandOrgue, piano, accordéon, trombone Simon SiegerBatterie, voix jean-luc Di Frayaun nouveau quintet pour une création originale en hommage à Paul Robeson, dans le cadre de la carte blanche à Raphaël Imbert.
MélODIES TZIGANES • lAuRéATS HSBC DE l'ACADéMIE9 Juillet – 12H – tHÉâtRe du Jeu de PauMe Soprano Chloé Briot (lauréate HSBC 2014)Piano Michalis Boliakis (lauréat HSBC 2011)Œuvres de Duparc, Debussy, Faure, Ravel, Dvorák, Rachmaninov...
PHIlHARMONIA ORCHESTRA • CYClE STRAVINSKI9 Juillet – 20H – GRand tHÉâtRe de PROvenCe Direction musicale Esa-Pekka SalonenChorégraphie Karole ArmitageDanseurs Armitage Gone! Dance Œuvres d’Igor Stravinski.
jEAN-GuIHEN QuEYRAS ET AlExANDER MElNIKOV11 Juillet – 20H – COnseRvatOiRe daRius MilHaud, auditORiuM CaMPRa Piano Alexander MelnikovVioloncelle jean-Guihen QueyrasSonates de Beethoven, dans le cadre de la carte blanche à jean-Guihen Queyras.
Orchestre de Paris, direction Esa-Pekka SalonenŒdipus Rex / Symphonie de Psaumes
ŒDIPuS REx / SYMPHONIE DE PSAuMESCycle StravinskiiGOR stRavinsKi (1882-1971)
Œdipus RexOpéra-oratorio d'après Sophocle, livret de Jean Cocteau traduit en latin par le cardinal Jean DaniélouTexte parlé : adaptation d'après Sophocle par Peter Sellars, traduite en français par Alain Perroux et Vincent HuguetCréé le 30 mai 1927 en version de concert au Théâtre Sarah-Bernhardt, ParisSymphonie de PsaumesCréée le 13 décembre 1930 à Bruxelles
Direction musicale Esa-Pekka SalonenMise en scène Peter SellarsSculptures Elias SimeCostumes Dunya Ramicova / Helene SiebritsLumière james F. IngallsAssistant musical Natalie MurrayPianiste répétiteur Nino PavlenichviliAssistant à la mise en scène Vincent Huguet*Assistante aux décors Véronique ChazalAssistante aux costumes Clémence Pernoud *
Œdipe joseph KaiserJocaste Violeta urmanaCréon / Tirésias / le Messager Sir willard whiteLe Berger joshua Stewart*Antigone (récitante) Pauline ChevillerIsmène (danseuse) laurel jenkins
Chœurs Orphei Drängar, Gustaf Sjökvist Chamber Choir, Sofia VokalensembleChef de chœur Folke AlinOrchestre Philharmonia Orchestra
Production révisée pour le Festival d'Aix-en-Provence en coproduction avec le Philharmonia Orchestra, d'après une production du los Angeles PhilharmonicAvec le soutien de la Fondation Meyer pour le développement culturel et artistique
*anciens artistes de l’Académie
54 55
VENDREDI 1ER juIllET
CONCERT DE CHANT EN TOURNÉERésidence Mozart / Jeunes Voix Lyriquesles artistes de la résidence interprètent des œuvres du répertoire mozartien.Rognes, Anciennes Carrières – 19h
CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉEQuatuor Van Kuijk / Lauréat HSBC de l'AcadémieŒuvres de Mozart et de Kurtág.Simiane Collongue, Parc de la Mairie – 19h
SAMEDI 2 juIllET
CONCERT DE CHANTRésidence Mozartles artistes de la résidence interprètent des œuvres du répertoire mozartien.Conservatoire Darius Milhaud, Auditorium Campra – 20h
luNDI 4 juIllET
MASTER CLASS DE CHANT ET DE PIANORésidence MozartOuri Bronchti travaille le répertoire mozartien avec les jeunes chanteurs et pianistes de la résidence.Hôtel Maynier d'Oppède – 12h
MARDI 5 juIllET
MASTER CLASS DE MOUVEMENTRésidence Mozartleah Hausman, chorégraphe et metteuse en scène, fait travailler les jeunes chanteurs et pianistes de la résidence.Hôtel Maynier d'Oppède – 12h
CONCERTRésidence de musique de chambreles ensembles de l’Académie interprètent des œuvres classiques, romantiques et contemporaines.Hôtel Maynier d'Oppède – 21h30
MERCREDI 6 juIllET
MASTER CLASSRésidence de musique de chambreDavid Alberman, violoniste et ancien membre du Quatuor Arditti, fait travailler les ensembles de la résidence de musique de chambre.Hôtel Maynier d'Oppède – 12h
CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉEQuatuor Giocoso / Lauréat HSBC de l'AcadémieŒuvres de Mozart et Bartók.Saint-Marc-Jaumegarde, Parvis de la Mairie – 19h
julY ACADéMIE
Jeunes Voix Lyriques à Saint-Chamas
NuIT DE lA CRéATION12 Juillet – 21H30 – Hôtel MaYnieR d'OPPède Batterie Sébastien HervierŒuvres contemporaines de Benjamin de la Fuente, Sébastien Hervier, Benjamin Attahir et Gilbert Amy, par les ensembles de la résidence de musique de chambre. Commandes de l’Académie du Festival d’Aix et de ProQuartet – Centre européen de musique de chambre, en partenariat avec la SACEM et Copie Privée.
QuATuOR ARCANTO14 Juillet – 20H – COnseRvatOiRe daRius MilHaud, auditORiuM CaMPRa Violons Antje weithaas, Daniel SepecAlto Tabea ZimmermanVioloncelle jean-Guihen QueyrasŒuvres de Purcell, Britten et Beethoven, dans le cadre de la carte blanche à jean-Guihen Queyras.
QuATuOR ARCANTO15 Juillet – 20H – COnseRvatOiRe daRius MilHaud, auditORiuM CaMPRa Violons Antje weithaas, Daniel SepecAlto Tabea ZimmermanVioloncelle jean-Guihen QueyrasŒuvres de Bach, Mendelssohn et Berg, dans le cadre de la carte blanche à jean-Guihen Queyras.
MOTETS DE BACH17 Juillet – 22H – CatHÉdRale saint-sauveuR Direction musicale Raphaël Pichon*Chœur Ensemble PygmalionŒuvres de Bach.
ZOROASTRE18 Juillet – 20H – GRand tHÉâtRe de PROvenCe Opéra de Rameau en version de concert.Direction musicale Raphaël Pichon*Zoroastre Reinoud Van MechelenAbramane Nicolas CourjalAmelite Katherine watsonErenice Emmanuelle de Negri*Zopire, La vengeance Christian ImmlerCéphie léa Desandre*Orchestre et chœur Ensemble Pygmalion
RéCITAl jEAN-GuIHEN QuEYRAS ET MARC MAuIllON19 Juillet – 20H – COnseRvatOiRe daRius MilHaud, auditORiuM CaMPRa Baryton Marc MauillonVioloncelle jean-Guihen QueyrasFlûte Olivier Girardin*Piano Alphonse Cemin* Œuvres de Britten et de Ravel et création mondiale du Poète inachevé de Gilbert Amy, dans le cadre de la carte blanche à jean-Guihen Queyras.
QuATuOR TANA • lAuRéATS HSBC DE l'ACADéMIE20 Juillet – 18H – auditORiuM CaMPRa, COnseRvatOiRe daRius MilHaud Quatuor Quatuor Tana* (lauréat HSBC 2013)Alto Garth KnoxPiano wilhem latchoumia* Œuvres de Philippe Boesmans, Francois Meimoun et luca Vago.
ORCHESTRE DES jEuNES DE lA MéDITERRANéE20 Juillet – 20H – GRand tHÉâtRe de PROvenCe 21 Juillet – 20H – MaRseille, tHÉâtRe natiOnal de la CRiÉe Direction musicale Marko letonjaMezzo-soprano Aude Extrémo Orchestre Orchestre des jeunes de la MéditerranéeŒuvres de Vito Žuraj, Modeste Moussorgski, Dimitri Chostakovitch et Richard Strauss.
Quatuor Arcanto
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VENDREDI 1ER juIllET
RENCONTRES ÉCONOMIQUES D'AIX-EN-PROVENCEDans un monde de turbulences, qu’attend-on d’un pays ?
TÊTE-À-TÊTERencontre avec Katie Mitchell, metteuse en scène de Pelléas et Mélisande.Cour du Presbytère – 18h
SAMEDI 2 juIllET
RENCONTRES ÉCONOMIQUES D'AIX-EN-PROVENCEDans un monde de turbulences, qu’attend-on d’un pays ?
TÊTE-À-TÊTERencontre avec Christophe Honoré, metteur en scène de Così fan tutte.Théâtre de l'Archevêché, Galerie gothique – 18h
DIMANCHE 3 juIllET
RENCONTRES ÉCONOMIQUES D’AIX-EN-PROVENCEDans un monde de turbulences, qu’attend-on d’un pays ?
luNDI 4 juIllET
TÊTE-À-TÊTERencontre avec Nahuel di Pierro et joel Prieto, interprètes de Così fan tutte.Cour du Presbytère – 18h
MARDI 5 juIllET
TÊTE-À-TÊTERencontre avec Moneim Adwan, compositeur de l’opéra Kalîla wa Dimna.Cour du Presbytère – 18h
MERCREDI 6 juIllET
TÊTE-À-TÊTERencontre avec Olivier Letellier, metteur en scène de Kalîla wa Dimna.Cour du Presbytère – 18h
jEuDI 7 juIllET
TÊTE-À-TÊTERencontre avec Sabine Devieilhe, interprète du rôle de Bellezza dans Il Trionfo del Tempo e del Disinganno.Cour du Presbytère – 18h
VENDREDI 8 juIllET
TÊTE-À-TÊTERencontre avec François Duplat, directeur et fondateur de Bel Air Media (société de production audiovisuelle spécialisée dans la captation de spectacle vivant).Cour du Presbytère – 18h
PROJECTIONS D'OPÉRA EN DIRECT DU FESTIVAL D’AIXCosì fan tutteDans les villes d’Aix-en-Provence (Instants d’été, Musée Granet), Coudoux, Cucuron, Digne-les-Bains, éguilles, Embrun, Gemenos, Istres, la Ciotat, la Roque d’Antheron, le Puy-Sainte-Réparade (Château la Coste), le Tholonet, l’Isle-sur-la-Sorgue, Manosque, Marseille, Martigues, Miramas, Mougins, Ollioules, Pertuis, Puyloubier, Rousset, Saint-Maximin-la-Sainte-Baume, Septemes-les-Vallons, Valréas, Vauvenargues, Venelles, Veynes (Communauté de communes Buëch Dévoluy) et Vitrolles.21h30
SAMEDI 9 juIllET
TÊTE-À-TÊTERencontre avec Laurent Naouri, interprète du rôle de Golaud dans Pelléas et Mélisande.Cour du Presbytère – 18h
MARDI 12 juIllET
RENCONTRES NATIONALES ACCORD MAJEURLa scène musicale à l'épreuve du changement
TÊTE-À-TÊTERencontre avec le violoncelliste Jean-Guihen Queyras.Cour du Presbytère – 18h
MERCREDI 13 juIllET
CULTURE NUMRévolution numérique, culture et créationConservatoire Darius Milhaud, Auditorium Campra10h30 - 17h30
TÊTE-À-TÊTERencontre avec Franco Fagioli, interprète du rôle de Piacere dans Il Trionfo del Tempo e del Disinganno.Cour du Presbytère – 18h
jEuDI 14 juIllET
TÊTE-À-TÊTERencontre avec Louis Langrée, directeur musical de Così fan tutte.Cour du Presbytère – 18h
VENDREDI 15 juIllET
TÊTE-À-TÊTERencontre avec Stéphane Degout, interprète du rôle de Pelléas dans Pelléas et Mélisande.Cour du Presbytère – 18h
SAMEDI 16 juIllET
TÊTE-À-TÊTERencontre avec Peter Sellars, metteur en scène d’Œdipus Rex / Symphonie de Psaumes.Cour du Presbytère – 18h
luNDI 18 juIllET
TÊTE-À-TÊTEEmilie Delorme, directrice de l’Académie, évoque l’évolution des projets de l’Académie du Festival d’Aix.Cour du Presbytère – 18h
MARDI 19 juIllET
TÊTE-À-TÊTERencontre avec Bernard Foccroulle, directeur général du Festival d’Aix-en-Provence.Cour du Presbytère – 18h
MERCREDI 20 juIllET
COLLOQUEPhilippe Boesmans, post-moderne ou singulier ?Hommage au compositeur qui présente son nouvel opéra Pinocchio au Festival d’Aix en 2017.Cité du Livre – 10h30-17h
LES RENCONTRES MEDINEAArt et lien social en MéditerranéeMarseille, Villa Méditerranée – 14h-17h30
TÊTE-À-TÊTEAlain Perroux, conseiller artistique du Festival d’Aix-en-Provence, présente la programmation de l’édition 2017.Cour du Presbytère – 18h
HORS-SéRIETête à tête
avec Stéphane Degout
jEuDI 7 juIllET
MASTER CLASSRésidence de musique de chambreAndrás Keller, violoniste et membre du Quatuor Keller, fait travailler les ensembles de l’Académie.Hôtel Maynier d'Oppède – 12h
CONCERT DE CHANT EN TOURNÉERésidence Mozart / Jeunes Voix Lyriquesles artistes de la résidence interprètent des œuvres du répertoire mozartien et des extraits de l’opéra de Stravinski The Rake’s Progress.Saint-Chamas, Théâtre de Verdure – 19h
CONCERTRésidence de musique de chambreles ensembles de l’Académie interprètent des œuvres classiques, romantiques et contemporaines.Hôtel Maynier d'Oppède – 21h30
VENDREDI 8 juIllET
MASTER CLASS DE COMPOSITEURRésidence de musique de chambreGilbert Amy, compositeur, fait travailler un quatuor à cordes de l’Académie.Hôtel Maynier d'Oppède – 12h
CONCERT DE CHANT EN TOURNÉELes péchés de Rossini / Jeunes Voix LyriquesKatharina Melnikova, Scott Conner & Hélio Vida / Lauréats HSBC de l'AcadémieŒuvres de RossiniTarascon, Place Frédéric Mistral – 19h
SAMEDI 9 juIllET
PERFORMANCE INTERACTIVEVoilà, That's My LifeRestitution de l’Atelier de Création et d’Innovation de l’Académie avec jagoda Szmytka et Stephen upshaw.Galerie de la Prévôté – 15h
CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉEQuatuor Giocoso / Lauréat HSBC de l'AcadémieŒuvres de Mozart et Bartók.Venelles-le-Haut, Place Jean-Pierre Saez – 19h
CONCERT DE CHANTRésidence Mozartles artistes de la résidence interprètent des œuvres du répertoire mozartien et des extraits de l’opéra de Stravinski The Rake’s Progress.Hôtel Maynier d'Oppède – 21h30
luNDI 11 juIllET
MASTER CLASS DE COMPOSITEURRésidence de musique de chambreBenjamin de la Fuente, compositeur, fait travailler les ensembles de l’Académie.Hôtel Maynier d'Oppède – 12h
MARDI 12 juIllET
MASTER CLASS DE MUSIQUE DE CHAMBRERésidence de musique de chambrejean-Guihen Queyras, violoncelliste et membre du Quatuor Arcanto, fait travailler les ensembles de l’Académie.Hôtel Maynier d'Oppède – 12h
MERCREDI 13 juIllET
MASTER CLASSRésidence de musique de chambreTabea Zimmermann, altiste et membre du Quatuor Arcanto, fait travailler les ensembles de l’Académie.Hôtel Maynier d'Oppède – 12h
CONCERTRésidence de musique de chambreles ensembles de l’Académie interprètent des œuvres classiques, romantiques et contemporaines.Hôtel Maynier d'Oppède – 21h30
VENDREDI 15 juIllET
CONCERTOrchestre des jeunes de la MéditerranéeRencontre musicale entre le jazzman Raphael Imbert, le batteur jean-luc Di Fraya et une douzaine de jeunes improvisateurs en formation – avec un chœur amateur du quartier de la Savine.Marseille, Cité de la Savine – 19h
SAMEDI 16 juIllET
MASTER CLASSRésidence de musique de chambreDaniel Sepec, violoniste et membre du Quatuor Arcanto, fait travailler les ensembles de l’Académie.Hôtel Maynier d'Oppède – 12h
CONCERTRésidence de musique de chambreles ensembles de l’Académie interprètent des œuvres classiques, romantiques et contemporaines.Hôtel Maynier d'Oppède – 21h30
luNDI 18 juIllET
MASTER CLASSRaphaël Imbert, saxophoniste et jazzman, aborde le blues avec de jeunes improvisateurs de la session de création interculturelle de l’Orchestre des jeunes de la Méditerranée.Hôtel Maynier d'Oppède – 12h
CONCERTOrchestre des Jeunes de la MéditerranéeRencontre musicale entre le jazzman Raphaël Imbert, le batteur jean-luc Di Fraya et une douzaine de jeunes improvisateurs en formation – avec la participation du violoncelliste jean-Guihen Queyras.Hôtel Maynier d'Oppède – 21h30
MARDI 19 juIllET
CONCERT DE MUSIQUE DE CHAMBREVanderbilt AcademyPar les instrumentistes de la Vanderbilt Music Academy (Nashville, Etats-unis) – avec la participation du flûtiste julien Beaudiment. Œuvres de Taffanel, de Barber, de Mozart et de Samazeuilh.Auditorium Campra, Conservatoire Darius Milhaud – 12h
CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉEQuatuor Tana / Lauréat HSBC de l'AcadémieŒuvres de Bedrossian et de Debussy.Pertuis, Chapelle de la Charité – 19h, sur réservation
CONCERTOrchestres des jeunes de la MéditerranéeRencontre musicale entre le jazzman Raphaël Imbert, le batteur jean-luc Di Fraya et une douzaine de jeunes improvisateurs en formation.Marseille, Villa Méditerranée – 20h30
CONCERTCairo Jazz Station / Ziryâb et nousDeux créations interculturelles proposées par des jeunes artistes méditerranéens en formation avec une vingtaine de choristes amateurs d’horizons et de cultures multiples.Hôtel Maynier d'Oppède – 21h30
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VENDREDI 17 juIN
CONCERT DE CHANT EN TOURNÉERésidence Mélodie & CréationArtistes de la résidence Mélodie & Création de l’Académie.La Ciotat, Place Pierre Gautier – 19h
CONCERT • LES VOIX DE SILVACANESolistes du chœur de l’Opéra de Cape TownLa Roque d'Anthéron, Abbaye de Silvacane (abbatiale) – 19h
RÉPÉTITION PUBLIQUE D'OPÉRAPelléas et MélisandeGrand Théâtre de Provence – 19h
SAMEDI 18 juIN
CONCERT • LES VOIX DE SILVACANEEnsemble Solistes xxILa Roque d'Anthéron, Abbaye de Silvacane (abbatiale) – 16h
CONCERT • LES VOIX DE SILVACANERésidence Mélodie & CréationArtistes de la résidence Mélodie & Création de l’Académie.Abbaye de Silvacane (cloître) – 19h
CONCERTRésidence de musique de chambreles ensembles de l’Académie interprètent des œuvres composées entre Paris et Vienne au tournant du xIxe et du xxe siècle.Hôtel Maynier d'Oppède – 21h30
luNDI 20 juIN
MASTER CLASS DE MUSIQUE DE CHAMBRERésidence de musique de chambrejohannes Meissl, second violon du Quatuor Artis, professeur et directeur adjoint de l’Institut joseph Haydn pour la musique de chambre de l’université de Vienne, fait travailler les ensembles de l’Académie.Hôtel Maynier d'Oppède – 12h
RÉPÉTITION PUBLIQUE D'OPÉRACosì fan tutteThéâtre de l'Archevêché – 18h, sur réservation
MARDI 21 juIN
MASTER CLASS DE DRAMATURGIEAtelier Opéra en Créationwillem Bruls, dramaturge, partage son expérience pour nourrir la réflexion sur l’interdisciplinarité dans l’art lyrique et pour échanger autour de la création d’opéras.Hôtel Maynier d'Oppède – 12h
RÉPÉTITION PUBLIQUE D'OPÉRAKalîla wa DimnaThéâtre du Jeu de Paume – 14h
MERCREDI 22 juIN
CONCERTRésidence de musique de chambreles ensembles de l’Académie interprètent des œuvres composées entre Paris et Vienne au tournant du xIxe et du xxe siècle.Hôtel Maynier d'Oppède – 21h30
jEuDI 23 juIN
RÉPÉTITION PUBLIQUE D'OPÉRAIl Trionfo del Tempo e del DisingannoThéâtre de l'Archevêché – 18h
CONCERTSolOmax – Carte blanche à Raphaël ImbertEn binôme avec Benjamin levy, Raphaël Imbert propose une performance novatrice entre improvisations contemporaines et références aux racines de la musique américaine.Hôtel Maynier d'Oppède – 21h30
VENDREDI 24 juIN
RÉCITALMélodies nordiquesMari Eriksmoen & Alphonse Cemin Lauréats HSBC de l'AcadémieRomances d’Edvard Grieg, Hugo wolf, Richard Strauss et Agathe Backer Grøndahl. Dédicace à l’issue du concert.Hôtel Maynier d'Oppède – 21h30
SAMEDI 25 juIN
DÉAMBULATION SONOREHidden in Plain SightRestitution sous forme de parcours de l’Atelier de Création et d’Innovation avec Aaron Einbond et jude Christian. une collaboration de l’Académie du Festival d’Aix et d’Opera lab Berlin.Hôtel Maynier d'Oppède – 17h
SOIRÉE MUSICALEBœuf sur le toit-terrasseConcerts aux sonorités méditerranéennes dans le cadre des soirées On Air organisées par la Friche la Belle de Mai : chanteurs et artistes de Kalîla wa Dimna, chœur multiculturel Ibn Zaydoun, Moneim Adwan (’ûd) et Zied Zouari (violon).Marseille, La Friche La Belle de Mai (Toit-terrasse) – 19h
CONCERTPrix Gabriel DussurgetÀ l’occasion des 10 ans du Prix Gabriel Dussurget, le prix 2016 est remis à la soprano Sabine Devieilhe par Andréa Ferréol.Conservatoire Darius Milhaud, Auditorium Campra – 20h
DIMANCHE 26 juIN
SOIRÉE MUSICALE • PARADE[S]Danse et musique, gospel américain, chants traditionnels africains et airs d’opéra interprétés par le Chœur de l’Opéra de Cape Town.Cours Mirabeau – 21h45
luNDI 27 juIN
SÉANCE INTERACTIVEMaking Op’Restitution de l’Atelier de Création et d’innovation de l’Académie avec Nicolas Royez et Guillaume Paire.Hôtel Maynier d'Oppède – 11h
MERCREDI 29 juIN
MASTER CLASS DE CHANTRésidence MozartSusanna Eken, professeure de chant à l’Académie royale de musique du Danemark, travaille le répertoire mozartien avec les jeunes chanteurs et pianistes de la résidence.Hôtel Maynier d'Oppède – 12h
THÉÂTRE MUSICALEt tâchons d'épuiser la mort dans un baiserSpectacle musical autour de la correspondance de Claude Debussy, mêlant des mélodies aux fragments de son opéra inachevé La Chute de la maison Usher, inspiré de la nouvelle fantastique d’Edgar Allan Poe. Conception et mise en scène : Marc lainé.Hôtel Maynier d'Oppède – 21h30
SAMEDI 4 juIN
OUVERTURE[S] • ITINÉRAIRE MUSICALDéambulation festive et en musique dans le quartier du jas de Bouffan.Quartier du Jas de Bouffan – 17h30
MERCREDI 8 juIN
PANORAMA • SOIRÉE MUSICALEAvec les artistes de la programmation de juillet.Hôtel Maynier d'Oppède – 19h
jEuDI 9 juIN
MASTER CLASS DE CHANT ET DE PIANORésidence Mélodie & Créationle baryton François le Roux fait travailler les chanteurs et pianistes de l'AcadémieHôtel Maynier d'Oppède – 12h
VENDREDI 10 juIN
CONCERT DE CHANT EN TOURNÉED’amour et de mort Andri Björn Róbertsson & Edwige Herchenroder / Lauréats HSBC de l'Académielieder de Schubert et de ses successeurs.Ensuès-la-Redonne, Parvis du Cadran – 19h
SAMEDI 11 juIN
RÉCITALD’amour et de mort Andri Björn Róbertsson & Edwige Herchenroder / Lauréats HSBC de l'Académielieder de Schubert et de ses successeurs.Fondation Vasarely – 20h
luNDI 13 juIN
MASTER CLASS DE CHANT ET DE COMPOSITIONRésidence Mélodie & Créationle pianiste et chef de chant jeff Cohen et le compositeur jug Markovic font travailler les chanteurs et pianistes de l’Académie.Hôtel Maynier d’Oppède – 12h
MARDI 14 juIN
MASTER CLASS DE COMPOSITIONle pianiste et chef de chant jeff Cohen et les compositeurs Rene Orth et Nuno da Rocha font travailler les chanteurs et pianistes de l'Académie.Hôtel Maynier d'Oppède – 12h
CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉEQuatuor Berlin-Tokyo / Lauréat HSBC de l'AcadémieŒuvres de Ravel et de Beethoven.Beaurecueil, Cour de la Ferme – 19h
CONCERT DE CHANT EN TOURNÉERésidence Mélodie & CréationArtistes de la résidence Mélodie & Création de l’Académie.Aubagne, Espace des libertés – 19h
CONCERTZied Zouari (violon)Hôtel Maynier d'Oppède – 21h30
MERCREDI 15 juIN
CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉEQuatuor Berlin-Tokyo / Lauréat HSBC de l'AcadémieŒuvres de Ravel et de Beethoven.Martigues, Chapelle de l’Annonciade – 19h
CONCERT DE CHANTRésidence Mélodie & CréationArtistes de la résidence Mélodie & Création de l’AcadémieHôtel Maynier d'Oppède – 21h30
jEuDI 16 juIN
CONCERT DE MUSIQUE DE CHAMBREles ensembles de l’Académie interprètent des œuvres composées entre Paris et Vienne au tournant du xIxe et du xxe siècle.Hôtel Maynier d'Oppède – 21h30
AIx EN juIN
Solomax, Raphaël Imbert
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Agadir – Institut français 22 octobre 2016Kiev – Institut français 26 novembre 2016
RIGOlETTOBarcelone – Institut français 19 avril 2016
lA FlÛTE ENCHANTéEBilbao – Institut français 21 juin 2016Mexico – Festival de Morelia 2016
Il TuRCO IN ITAlIAMeknès – Institut français 2 février 2016Barcelone – Institut français 17 mai 2016Prague – Institut français 17 août 2016Kiev – Institut français 8 octobre 2016
ARIODANTEBarcelone – Institut français 11 avril 2016Meknès – Institut français 3 mai 2016Madrid – Institut français 7 juin 2016Mexico – Festival de Morelia 2016
lE SONGE D’uNE NuIT D’éTéOuagadougou – Institut français 9 janvier 2016Barcelone – Institut français 9 mars 2016Madrid – Institut français 3 mai 2016
SVADBA Madrid – Institut français 12 janvier 2016
AlCINAMadrid – Institut français 2 février 2016Ouagadougou – Institut français 4 juin 2016Prague – Institut français 27 juillet 2016Kiev – Institut français 18 décembre 2016
PElléAS ET MélISANDEKiev – Institut français 9 juillet 2016Odessa – Institut français 14 juillet 2016Huesca – Institut français 14 juillet 2016Bilbao – Institut français 19 juillet 2016Prague – Institut français 20 juillet 2016Naxos – Festival de Naxos 4 septembre 2016Meudon – La Boutique du Val 13 novembre 2016Bucarest – Institut français 23 décembre 2016Athènes – Institut français 2016
COSì FAN TuTTE Kiev – Institut français 10 juillet 2016Alger – Institut français 12 juillet 2016Bilbao – Institut français 12 juillet 2016Naples – Institut français 12 juillet 2016Prague – Institut français 13 juillet 2016Odessa – Institut français 17 juillet 2016Clermont – Château de Clermont 20 août 2016Naxos – Festival de Naxos 2 septembre 2016Meudon – La Boutique du Val 9 octobre 2016Marne-la-Vallée – La Ferme du Buisson 15 novembre 2016Bucarest – Institut français 9 décembre 2016Athènes – Institut français 2016Antananarivo – Institut français novembre 2016
KAlîlA wA DIMNA Naples – Institut français 13 juillet 2016Ramallah – Institut français 23 septembre 2016Hébron – Institut français 24 septembre 2016Naplouse – Institut français 27 septembre 2016Safi – Alliance française 22 octobre 2016Bucarest – Institut français 16 décembre 2016Gaza – Institut français 2016Jérusalem – Institut français 2016Meknès – Institut français 6 décembre 2016Oujda – Institut français 18 novembre 2016
COnCeRts des lauRÉats HsBC de l'aCadÉMie Lille – Opéra de Lille 27 janvier 2016Quatuor Van Kuijk (lauréats HSBC 2014)Paris – Philharmonie de Paris 31 mars 2016Correspondance presque complète d'Erik Satiejean Bellorini (conception et mise en scène), Clémence Pernoud (costumes), léa Trommenschlager (soprano – lauréate HSBC 2011), Michalis Boliakis (piano – lauréat HSBC 2011), jacques Hadjaje (comédien)Lille – Opéra de Lille 4 mai 2016Nocturnes : Rupert Charlesworth (ténor – lauréat HSBC 2011), Edwige Herchenroder (piano – lauréate HSBC 2013)Toulouse – Grands Interprètes 23 mai 2016Nocturnes : Rupert Charlesworth (ténor – lauréat HSBC 2011), Edwige Herchenroder (piano – lauréate HSBC 2013)Montpellier – Opéra Comédie 30 mai 2016julie Fuchs (soprano piano – lauréate HSBC 2013), Alphonse Cemin (piano – lauréat HSBC 2010)Vincennes –Classique au Vert 17 septembre 2016Quatuor Van Kuijk (lauréats HSBC 2014)Nantes – Festival les Art'Scènes 13 octobre 2016Chloé Briot (soprano – lauréate HSBC 2014), Michalis Boliakis (piano – lauréat HSBC 2011)Lille – Opéra de Lille 9 novembre 2016Quatuor Berlin-Tokyo (lauréats HSBC 2015)Paris – Philharmonie de Paris 16 novembre 2016Andri Björn Róbertsson (baryton-basse – lauréat HSBC 2014), Edwige Herchenroder (piano – lauréate HSBC 2013)
COnCeRts de l'ORCHestRe des Jeunes de la MÉditeRRanÉe SESSION SYMPHONIQUEMarseille – Théâtre de la Criée 21 juillet 2016 Zadar – Zadar Festival 25 juillet 2016 Ljubljana – Ljubljana Festival 26 juillet 2016
SESSION INTERCULTURELLEMarseille – Cité de la Savine 15 juillet 2016 Milan – Pavillon Unicredit 21 juillet 2016
MEDINEA – Cairo Jazz Station Le Caire – Makan Egyptian Center for Culture and Arts 5 avril 2016 Nuoro – Festival Internazionale Nuoro Jazz 25 août 2016
MEDINEA – Zyriâb et nous Madrid – Casa Arabe 9 mai 2016
lA TRAVIATANouvelle production du Festival d’Aix-en-Provence 2011Vienne – Wiener Staatsoper 17, 20 et 23 mai 2016
ElEKTRANouvelle production du Festival d’Aix-en-Provence 2013New York – Metropolitan Opera 14, 18, 23, 26, 30 avril, 4 et 7 mai 2016Helsinki – Opéra national de Finlande du 2 au 30 septembre 2016Berlin – Deutsche Staatsoper 23, 26 et 29 octobre, 1er et 4 novembre 2016Barcelone – Gran Teatre del Liceu 7, 11, 15, 19 et 23 décembre 2016
RIGOlETTONouvelle production du Festival d’Aix-en-Provence 2013Moscou – Théâtre du Bolchoï 13, 14, 15, 16 et 17 janvier 2016
ARIODANTENouvelle production du Festival d’Aix-en-Provence 2014Amsterdam – De Nederlandse Opera 17, 20, 23, 25, 28 et 31 janvier, 3 février 2016Toronto – Canadian Opera Company 16, 19, 22, 25, 27 et 29 octobre, 4 novembre 2016
Il TuRCO IN ITAlIANouvelle production du Festival d’Aix-en-Provence 2014Dijon – Opéra de Dijon 8, 10, 12 et 14 janvier 2016
wINTERREISENouvelle production du Festival d’Aix-en-Provence 2014Sydney – Sydney Festival 7 et 8 janvier 2016 Lisbonne – Fondation Calouste Gulbenkian 19 février 2016San Francisco – San Francisco Opera 11, 12 et 13 mars 2016 Paris – Philharmonie de Paris 30 mars 2016 Lille – Opéra de Lille 3, 5 et 6 avril 2016 Barcelone – Palau de la Música 14 avril 2016 Séoul – Lotte Concert Hall 22 novembre 2016 Daejeon – Daejeon Arts Center 24 novembre 2016
BE wITH ME NOw Création du Festival d’Aix-en-Provence 2015Paris – Philharmonie de Paris 29 mars 2016 Bruxelles – Théâtre royal de la Monnaie 22 avril 2016 Aldeburgh – Aldeburgh Music 15 juin 2016
lE SONGE D’uNE NuIT D’éTéNouvelle production du Festival d’Aix-en-Provence 1991, reprise en 2015Pékin – Beijing Music Festival 15 et 16 octobre 2016
lE MONSTRE Du lABYRINTHE Création du Festival d’Aix-en-Provence 2015Lille – Opéra de Lille 4 et 5 mai 2016
SVADBA Nouvelle production du Festival d’Aix-en-Provence 2015Nantes – Nantes Angers Opéra 20, 21, 24 et 25 mai 2016 Angers – Nantes Angers Opéra 29 et 31 mai 2016
COSì FAN TuTTE Nouvelle production du Festival d’Aix-en-Provence 2016Édimbourg – Edinburgh international Festival 25, 27 et 28 août 2016New York – Mostly Mozart Festival 15 août 2016 (version concert)
KAlîlA wA DIMNA Création du Festival d’Aix-en-Provence 2016Lille – Opéra de Lille 11, 12, 13 et 14 décembre 2016
PROJeCtiOns suR GRand ÉCRanlE ROSSIGNOl ET AuTRES FABlESMeknès – Institut français 8 mars 2016Madrid – Institut français 5 avril 2016Barcelone – Institut français 7 juin 2016Bilbao – Institut français 5 juillet 2016Tres Arroyos – Sociedad Francesa août 2016Bucarest – Institut français 30 décembre 2016
lA TRAVIATABarcelone – Institut français 26 janvier 2016Abu Dhabi – Université Paris-Sorbonne 9 février 2016Oujda – Institut français 8 avril 2016Safi – Alliance française 18 juin 2016Bilbao – Institut français 28 juin 2016Tres Arroyos – Sociedad Francesa août 2016Yaoundé – Institut français 8 juillet 2016Agadir – Institut français 2 décembre 2016Meudon – La Boutique du Val 11 décembre 2016Zaporijia – Alliance française 2016
lES NOCES DE FIGAROMadrid – Institut français 1er mars 2016Safi – Alliance française 19 mars 2016Abu Dhabi – Université Paris-Sorbonne 31 mai 2016Oujda – Institut français 21 octobre 2016Zaporijia – Alliance française 016
DAVID ET jONATHASPrague – Institut français 24 août 2016Naplouse – Institut français 6 décembre 2016
ElEKTRABarcelone – Institut français 24 février 2016Beyrouth – Institut français 30 mars 2016Abu Dhabi – Université Paris-Sorbonne 19 avril 2016
BROADCASTS AND TOuRS
Svadba
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BOARD OF DIRECTORS
PHOtO CRedits:
©Artcomart / Patrick Berger: cover, pages 4, 8, 12, 18, 30, 32, 35, 40, 46, 52, 53, 62©Artcomart / Pascal Victor: inside cover and inside back cover pages 6, 10, 20, 50, 52, 53© Vincent Beaume: pages 2, 14, 16, 17, 20, 21, 22, 24, 25, 26, 27, 28, 34, 36, 37, 38, 39, 54, 55, 56, 57, 59, 60©Jean-Claude Carbonne: pages 15, 42, 43
Mr Bruno RogerPresidentMr jean-François DubosSecretary GeneralMrs Catherine DémierTreasurer
Mr Stéphane BouillonPrefect of the P.A.C.A. and Bouches du Rhone RegionMrs Régine HatchondoGeneral Director of Artistic Creation, Ministry of Culture and CommunicationMr Marc CeccaldiRegional Director of Cultural Affairs, Ministry of Culture and CommunicationMrs Maryse joissains-MasiniMayor of Aix-en-Provence, President of the Conseil de Territoire du Pays D’Aix, Vice-president of Metropole Aix-Marseille-ProvenceMr Gérard BramoulléDeputy Mayor of Aix-en-Provence, delegate for the Festival of Aix-en-ProvenceMr jean-Claude GaudinPresident of Metropole Aix-Marseille-Provence, Mayor of Marseille, Vice-president of the Senaterepresented by Mr Daniel GagnonVice-president of Metropole Aix-Marseille-Provence, delegate for Culture and Cultural Facilities, Mayor of Cornillon-Confoux
Mrs Martine VassalChairperson of the Departmental Council of Bouches-du-Rhonerepresented by Mrs Sabine BernasconiVice-president of the Departmental Council of Bouches-du-RhoneCultural DelegateMr Christian EstrosiPresident of the PACA Regional Councilrepresented by Mrs Chantal EymeoudVice-president of the PACA Regional Council, delegate for Culture and HeritageMr jean-Marc ForneriQualified person, named by the Pasino of Aix-en-ProvenceMr Alain TaravellaQualified person, named by the State
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