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

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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

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*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

AIx EN juINFESTIVAl

PARADE[S]Free concert by the Cape Town ChorusCours Mirabeau

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

THE FESTIVAl ACADéMIE

Mozart Residency Concert

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

THE AuDIENCES

Théâtre de l'Archevêché

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

THE TEAMS

The technical teams of Pelléas et Mélisande

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 - clubdesmecenes@festival-aix.com

48 49

APPENDIx

Così fan tutte

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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