l’ac · académiedufestivald’aix-en-provence.it’s foundation by stéphane lissner in 1998 was...

L’AC

IE2015Hye-Yeon Choi, No Nonsense pour soprano, baryton et piano • Andrzej Kwiecinski, Per non pensare pour mezzo-soprano et

piano à quatre mains • Thomas Lacôte, Torpeurs pour soprano,

baryton et quatuor à cordes • Sarah Lianne Lewis, Although You

Sit in a Room that is Gray pour baryton et piano • Sarah Lianne Lewis, Relativity and Revelation pour mezzo- soprano, piano et

bols tibétains • Samy Moussa, The Sick Rose pour ténor et piano.

Éditions Durand-Salabert-Eschig / Universal Music Publishing

Classical • Alexandre Ouzounoff, Vent noir pour mezzo-soprano

et piano •

2014Jérôme Combier, Parler longuement de fantômes, Commande de

Musique Nouvelle en Liberté – Ville de Paris. Éditions Henry

Lemoine • Ahmed Essyad, Quatuor avec voix pour quatuor à cordes

et mezzo-soprano. Co-commande Fondation Royaumont. •

Sebastian Rivas, Stains in the Carpet – quintette avec contrebasse.

Éditions Le Chant du Monde • Francesca Verunelli, Sky and

Decaying Sinusoids – contrebasse et électronique. Co-Commande

GMEM-Centre National de Création Musicale-Marseille •

2013Laurent Durupt, Super8 pour octuor à cordes. Co-commande

Villa Médicis • François Meïmoun, Untitled – selon Pollock pour

quatuor à cordes. Éditions Durand-Salabert-Eschig / Universal

Music Publishing Classical • Vasco Mendonça, The House Taken

Over – opéra. Co-commande Ictus. Éditions Henry Lemoine •

2012Mauro Lanza, Der Kampf zwischen Karneval und Fasten, octuor

à cordes. Éditions Durand-Salabert-Eschig / Universal Music

Publishing Classical • Magic Malik, Empathie forcée – pièce

avec improvisation pour quatuor à cordes, flûte et musicien

électronique en temps réel • Vasco Mendonça, Boys of Summer

pour mezzo-soprano et trio à cordes. Co-commande Aldeburgh

Music (Britten-Pears Young Artist Programme) et Académie du

Festival de Verbier • Gilbert Nouno, Punkt ! – quatuor à cordes,

mezzo et électronique à temps réel •

2011Karol Beffa, Mes heures de fièvre pour trio pour voix, alto et piano.

Éditions Billaudot • Oscar Biancchi, Thanks to My Eyes – opéra.

Commande de T&M-Paris. Éditions Durand-Salabert-Eschig /

Universal Music Publishing Classical • Francisco Coll Garcia,

Sguardo verso l’interno – quintette avec clarinette. Co-commande

Aldeburgh Music (Britten-Pears Young Artist Programme)

et cadémie du Festival de Verbier. Éditions Faber Music • Zad Moultaka, Maadann – huit voix, piano, cymbalum et percussions.

Onoma éditions musicales • Yann Robin, Crescent Scratches –

quatuor à cordes n°2. Éditions Jobert •

2010Mark Andre, iv 8 pour trio à cordes. Éditions Peters • Charlotte Bray, Verre de Venise pour ténor et quatuor à cordes.

Co-commande Aldeburgh Music (Britten-Pears Young Artist

Programme) et Académie du Festival de Verbier. Composers Edition

• Jonathan Harvey, Songs and Haiku pour soprano et piano.

Éditions Faber Music • Felix Ibarrondo, Botsbi – 3 miniatures pour

deux mezzo-sopranos, deux sopranos et chef • Betsy Jolas, Ruht

wohl pour piano et alto • Piotr Moss, Lien entre les jours, d’après

un poème de Miriam Van Hee – quatuor et voix • Oscar Strasnoy,

Un retour – opéra. Co-commande Musicatreize. Éditions Gérard

Billaudot •

2005Bruno Mantovani, Blue Girl with Red Wagon pour quatuor à cordes

et piano. Co-commande Académie de France à Rome – Villa

Médicis. Éditions Lemoine •

2001Georges Aperghis, Profils, pour violoncelle et zarb. Éditions

Durand-Salabert-Eschig / Universal Music Publishing Classical •

1999Yan Maresz, Festins pour douze percussions •

1998Vsevolod Chmoulevitch, Le Rossignol et la Rose – œuvre lyrique

• Juan Jose Eslava – œuvre chorégraphique • Jonathan Golove,

Moisson Rouge (Red Harvest) – œuvre lyrique • Juha T. Kostinen,

Madame de Sade – œuvre lyrique • Alexandraos Markeas, Rondo

notturno (Jardin secret) – œuvre chorégraphique

2018Ondrej Adámek, Seven Stones – Opéra a capella. Éditions Gérard

Billaudot • Charlotte Bray, In Black Light pour alto solo • Bastien David, Impatience pour quatuor à cordes • Samy Moussa, Fanfare.

Éditions Durand-Salabert-Eschig / Universal Music Publishing

Classical • Diana Soh, Sssh pour quatuor à cordes • Fabien Touchard, Ici même – Mélodies pour ténor et piano •

2017Ondrej Adámek, Throwing – ensemble vocal et percussions.

Éditions Gérard Billaudot • Sivan Eldar, The White Princess – deux

sopranos, percussions et électronique • Matthew Herbert,

Requiem – quatuor à cordes et musique électronique, création live

• Raphaël Languillat, Sauve, Éternel (Ps. 12) – mezzo-soprano,

baryton, harpe et deux bols chantants • Oliver Leith, The Bow

– électronique • Oliver Leith, Folk’s Questions – ténor, baryton-

basse et piano • Camille Pepin, Lyrae – quatuor à cordes, harpe et

percussions. Co-commande ProQuartet – CEMC. Éditions Jobert

• Pascal Robert, Obscure lumière

pour quatuor à cordes • AD2016Moneim Adwan, Kalîla wa Dimna – opéra • Gilbert Amy, Le

Poète inachevé pour violoncelle et baryton • Benjamin Attahir,

Asfar pour trio avec piano. Éditions Durand-Salabert-Eschig /

Universal Music Publishing Classical • Nuno da Rocha, Ecce Puer

pour mezzo-soprano, baryton et piano • Benjamin de la Fuente,

Ricochets pour octuor à cordes, batterie et bande enregistrée.

Co-commande ProQuartet – CEMC • Sébastien Hervier, D’abord,

la fin (donc) – batterie et bande enregistrée. Éditions Alfonce,

collection de Jean Geoffroy • Jug Markovic, Ultraterreno – soprano,

mezzo-soprano et piano • François Meïmoun, Tsimtsoum pour

quintette à deux altos. Éditions Durand-Salabert-Eschig /

Universal Music Publishing Classical • Rene Orth, A

Dialogue between Death and Youth pour soprano,

baryton et piano • Luca Vago, Dredd pour

quatuor à cordes. Commande du

Quatuor Tana •

ÉM

2009Francesco Filidei, Concertino di Aix pour quintette à vents,

quatuor à cordes et piano. Éditions Rai Trade •

2008Christian Bertrand, Satka pour flûte, clarinette, violon,

violoncelle, piano et percussions. Éditions Novello •

2007Franck Bedrossian, Tracés d’ombres, pour quatuor à cordes.

Éditions Billaudot •

2006Jérôme Combier, Noir azur pour trio à cordes • Julien Dassié,

œuvre pour quatuor à cordes, mezzo-soprano et baryton – quatuor

à cordes, mezzo-soprano et baryton •

20 YEARS OF CREATION

AND OF PERSPECTIVES

CONTENTS

4 EditorialÉmilie Delorme

6 TwentyyearsofhistoryAurélie Barbuscia

8 Let’smeetagainintenyearstimeJulie Fuchs

CREATE NEW ARTISTIC FORMS

10 IntroductionJean-Noël Tronc

12 DomesticateoperaOndrej Adámek

15 RethinkandrevaluethepositionofwomencreatorsinoperaBernard Foccroulle, Katie Mitchell

16 Creation&animpromptuencounterCordelia Lynn

18 MinimalistperfectionJean-Guihen Queyras

20 TheAcadémie’sworldpremieresandcommissions

PROMOTE AN INTERCULTURAL DIALOGUE

22 IntroductionPauline Chaigne

24 Share,experiment,buildtogetherFabrizio Cassol

26 TheMediterraneanYouthOrchestra(MYO)Leïla Soldevila, Marie Lestrelin

28 LSO&MYOKathryn McDowell

30 MedineaSaima Samoud, Davinia Galea, Hara Kalomiri, Bujar Sykja

32 TheButterflyeffectMohamed Bouslama

TRAIN TOMORROW’S ARTISTS

34 IntroductionChristiane Louis

36 WhyMozart?Susanna Eken

38 AMusicaldramaticandtheatricalMarathonLeah Hausman

40 Outreachskills-artistsÉmilie Delorme, Mark Withers, Geneviève Sorin

42 SonicandpictorialvibrationsFabienne Verdier

45 TheHSBCLaureatesoftheAcadémiePaul Briottet, Beate Mordal, Alphonse Cemin, Rupert Charlesworth, Quatuor Van Kuijk

10 22 34

T heyear2018marksthetwentiethanniversaryoftheAcadémieduFestivald’Aix-en-Provence.It’sfoundationbyStéphaneLissnerin1998wasavisionaryactwhich

enablednewgenerationsofartiststotrainandtoparticipateintheFestivald’Aix.ThenewdevelopmentimpulsedbyBernardFoccroullefrom2007transformedtheveryidentityofthefestival.Oursocietyhasprofoundlychangedin20years:thedigitalrevolution,globalisation,geopoliticalupheavals…Theworldofoperahastofaceuptothesechanges.Bycreatingnewforms,newnarratives,newrelationshipswiththeaudience,itcanplayamajorroleintheevolutionofoursocieties.Howshouldwetacklethesetransformationsandhowcanweassistthenewgenerationsofartistsfaceuptothesechallenges?

TheAcadémiewasconceivedasameetingpointfortrans-missionandexperimentation.Itistheseexperimentsandtheseavenuesforreflectionthatwewishtoshareandthatthispublicationgivesustheopportunitytodo.FarfrombeingisolatedtheAcadémieduFestivalbecameenrichedbyitsexchangeswiththeyoungartistswhotookpartinthisadventure,withthemoreexperiencedartistswhocameandgaveoftheirtimetothetransmissionandtothereflection,aswellaswithagroupofpartners,foremostamongstwhomwerethemembersofthetwonetworksthatitmanages:enoa(Eu-ropeannetworkofoperaacademies)andMedinea(TheMediterraneanIncubatorforEmergingArtists).

Thefirstpartofthispublicationisdevotedtocreation.TheAcadémieduFestivald’Aixsetupaplantoaccompanybothmaleandfemalecomposersoverseveralyearswiththeaimofenablingthemtocreateanopera,stepbystep,inthebestconditions,totryoutnewformsandtoencourageartistsfromotherculturesandotherdisciplinestocomeandenrichtheworldofopera.ThesecondpartisatestimonytothenumerousrelationshipswhichwerecreatedwithdifferentartistsandpartnersaroundtheMediterranean,thebenefitswhichweretobehadonallitsshores.Aparticularaccentwasputonthesessionsofinterculturalcreation,aprogrammewhichwasinitiatedin2015andwhichcarriestheambitionofopeninguptotheworldwhichisalsothatoftheFestival.ThisprogrammewillinfactbedevelopedinthecomingyearsthankstothesupportoftheEuropeanUnion.

Finally,thelastpartdealswithnewpractices,notablytrainingandmediation,whichisattheheartofouroutreachskills

workshops:artistsofdifferentculturesthuslearntoexchange,enhanceandsharethemostdiverseculturalheritagewhilstinteractingwithnewaudiences.

Diversity,inclusionandequityarethevalueswhichemergeinalltheseaccountswhichaboveandbeyondthereviewoutlinedduringthecourseofthesepagesseemtoustobethebackbonewhichwillenableustoinventafuturecommonheritageresemblingoursociety.

Ahugethankyoutoalltheartistswhohavehadconfidenceinthismagnificenthumanandartisticadventure.ThankyoutoourinstitutionalandprivatepartnerswhosesupporthasenabledtheAcadémieduFestivald’Aixtodevelopinaspiritofstimulatingcollaboration.ThanksalsotoalltheteamswhohavefoundedandaccompaniedthisprojectfromitscreationandnotablyEvaWagner-Pasquier,BéatricedeLaage,AntoineManceauandStéphanHugonnier.ThankstoallthosewhosegoodwillcreativityandgenerosityhaveenabledtheAcadé-mieduFestivald’Aixtogrowandnotably:OliviaModesti,

LouisGeisler,AlainPerroux,FannyRoustan,PaulBriottet,Marie-CélineLesgourgues,HelenNaulot-Molmerret,Ma-rie-LaureFavier,PaulineChaigne,SébastienPécot,VirginiaPisanoandAnne-FlavieGermain.ThankstothosewhohavecontributedtoitsstandingandnotablyÉliseOrtega,AliceSeninckandCécileRobert.AndthankstoValérieBenedettoandherteamfor20yearsoftechnicalaccompanimentaswellastoalltheFestival’steams.

LetthejoywhichmotivatestheyoungartistscontinuetobeaforcefortheFestival,forallofusandforallaudiences!

EDITORIAL

ÉmilieDelormeDirector of the Académie and of the concerts du Festival d’Aix, of the Mediterranean Youth Orchestra (MYO) and of enoa (The European network of opera academies) and Medinea (The Mediterranean Incubator for Emerging Artists) networks.

4

L’ACADÉMIE SINCE 1998

Hosttoover

3,000 ARTISTS

Morethan

1,000 PUBLICEVENTSMasterclass,concerts,encounters...

70 NATIONALITIESREPRESENTED

69

COMMISSIONSOfwhich67worldpremieres

11 HSBCLAUREATESPROMOTIONSThatistosay104artists,4recordingsbyHSBCLaureatesco-producedwithAlphaClassics.

VOICE CHAMBER MUSIC

CREATION ORCHESTRA

INTERDISCIPLINARITY

INTERCULTURALITY

CREATION

MEDIATION

enoa

13 institutionsare members

Medinea

32 institutionsare members

THE REGIONS:» Provence-AlpesCôted’AzurRegion» Bouches-du-RhôneDepartment» Aix-MarseilleProvenceMetropole

IN FRANCE

IN THE MEDITERRANEAN

ABROAD

Tours

1998 – 2001, THE MAKING OF AN UTOPIATheAcadémieeuropéennedemusiquecametolifein1998,theyearinwhichStéphaneLissnerarrivedattheheadoftheFestivald’Aix.Thiswasoneofthegreatprojectsofhismandate,anambitiousprojectforwhichhereceivedthesupportofalltheFestival’steamsingeneralandtheflawlesscollaborationofBéatricedeLaageinparticular.Therefore,beforebecomingapreciselydefinedproject,theAcadémieduFestivald’Aixwasafantasticconjunctionofenergy,ideasandaboveall,enthusiasm.AlthoughbenefittingearlyonfromfinancialsupportfromtheEuropeanUnionandinspiteofthename“EuropeanAcademy”,whichitinitiallywascalled,theAcadémieduFestivald’Aixintendedopeninguptotherestoftheworld.TheprotectiveshadowofPierreBoulezlingeredoveritsmaturation.Hewasnotablytofosteraninternationallyrenownedcompositionresidency.ThefirstthreeyearsoftheAcadémieeuropéennedemusiquewhichaposterioricanappeartobelikeaphaseofexperimentationasinalaboratoryturnedouttobethecreationofasolidbaseonwhichtheAcadémieduFestivald’Aixwouldneverceasetodevelopwithoutevergivingupitsinitialintuitions.

2001 – 2008, TOWARDS STABILITYFrom2001,undertheleadershipofAntoineManceau,theAcadémieeuropéennedemusiquebegantoforgeitsownidentityandgaininautonomyvis-à-vistheFestivalwhichhadbroughtittolife.Bringingtogetherintothesamefieldoftransmissionallthedisciplinespresentinopera,thatistosay,singing,instrumentsandcreation,itproposedthreeresidenciesaheadoftheFestivalperiod–ofsinging,chambermusic,andthenoperaincreationasearlyas2007.

Takinguptheirpilgrim’sstaffEvaWagnerandAntoineMan-ceaucriss-crossedEurope’scapitalsinsearchofmusiciansandsingerswhosetalentwaswaitingtobebroughtintothedaylight.IftheFestivalofAixwasaboveallconsideredasatempleofoperaticart,theAcadémieeuropéennedemusiquegaveprideofplacetoinstrumentalmusicthankstothecreationin2002ofthe“ChamberMusicCentre”.Whilstthelarge-scaleoperaproductionswerebeingputtogetherononeside,theAcadémieduFestivald’Aixgaveitfirstconcertswhichthepublichadaccesstobymeansofapassport,theancestorofthecurrentPass.TheartistsoftheAcadémieduFestivald’Aix

AurélieBarbusciaDramaturge at the Festival d’Aix-en-Provence

TWENTY YEARS OF HISTORY

INTRODuCTION

L’ACADÉMIE 20 YEARS OF CREATION AND OF PERSPECTIVES

6

weresoontobemakingtheirwayacrosstheregionswithwhatisthetrademarkoftheFestival(opera),butalsowithrecitalsandchambermusicconcerts.Itwasclearthat,assoonasitwascreated,l’AcadémieduFestivald’AixproducedanobjectwhoseidentityreferredtotheFestival’sspeciality.WhetheritbeaproductionentirelyproducedbytheAcadémie,orthatthestudentsoftheAcadémiebetheunderstudiesfortheofficialcastorthathalfofthecastofalargeproductioncomefromtheAcadémie,itremainsneverthelesstruethateveryyearanoperaisgivenattheAcadémieduFestivald’Aix.AmongsttheprinciplepartnersoftheAcadémieeuropéennedemusiqueduFestivald’AixshouldbementionedLaPoste,theSACD,butalsothegroupHSBCFrancewhoasearlyas2006committedthemselvestosupportingandaccompanyingthe

mostpromisingtalentsoftheAcadémieduFestivald’AixbyimmediatelypromotingthemtotherankofHSBCLaureates.

2009 – 2018, ENLARGEMENT AND DIVERSITYAttheheadoftheAcadémieeuropéennedemusiqueduFestivald’Aixsince2009,ÉmilieDelormehasplayedavitalroleinfavourofitsexpansionanditsstandingonaninternationalscale.TheAcadémieduFestivald’Aixhaslittlebylittlebe-comeareferenceintherealmoftalentspotting(creatorsandperformers),whichmeansforAlainPerroux,ÉmilieDelormeandPaulineChaignecountlesstripstotheconservatoiresand

operastudiostheworldover.Imposingartisticexigencyasaprerequisiteanddiversityasavalueofthefirstorder,theAcadémieisinvolvedinamultitudeofactivitieswhichdivideintofourprincipleaxesbeingthevoice,chambermusic,creationandtheorchestra.LoyaltotheMozartiantraditionoftheFestivald’Aix.thevocalcentreoftheAcadémiedevotesoneofitsresidenciestotheAustriancomposer.NumerousproductionscarrytheAcadémielabel.Itwasnecessarytowaituntil2010fortheAcadémietocommissionanopera.SoonafterthebrightideastartedtogerminateofcreatingaEuro-peannetworkofoperaacademies.ThesupportoftheCultureProgrammeoftheEuropeanCommissionwhichbenefitsenoa(EuropeanNetworkofOperaAcademies)since2011allowsittodevelopthisprojectbyforminganartisticcommunity–apoolofcreativity–ofinnovationandofexcellence.Aixenjuin,joyfulpreambletotheFestivald’Aixcameintobeingin2013undertheimpetusofBernardFoccroulle,whowishedtoopenuptheFestivaltoanevenlargerandmorediversifiedaudience.In2014,attheendoffouryearsofcollaborationandattherequestofthepublicauthorities,TheMediterraneanYouthOrchestrabecameakeycomponantoftheAcadémieeuropéennedemusique,whichthereuponchangeditsnameinordertoopenuptoalargergeographicalandculturalentitytobecometheAcadémieduFestivald’Aix.Itsprogrammeisenrichedbycreatorsandperformersofamultitudeofhorizons,thusmixingwrittenandoralmusicaltraditions,artmusicandimprovisation.CoordinatedbytheFestival,thenetworkmadeupofculturalorganisationsfromtheEuro–MediterraneanRegiontookthenameofMedinea(MediterraneanIncubatorofEmergingArtists)in2015.

Increaseculturaldiversityandopeningupbyencouraginginter-culturaldialogue;intensifylocalanchorage;supportcreationandinnovationinordertoreplytotomorrow’sissuesandtomaketransmissionthecorollaryofexcellence:sucharetheprinciplemissionsdefendedbytheAcadémieduFestivald’Aixwhosehistorycontinuestobewritten.

Pier

reB

oule

zatt

heF

esti

vald

’Aix

in2

000

Will

iam

Chr

isti

eat

the

Fest

ival

d’A

ixin

200

0

INTRODuCTION


7

When you first participated in the Académie in 2009 you were coming up to your 25th birthday and still a student at the Conservatoire national de Paris. What did this opportunity represent for you?

Iverymuchwantedtocompletemytrai-ningwithanexperienceattheheartoftheAcadémieduFestivald’Aix.So,Iwentforanaudition–oneofmyfirst!–totakepartintheMozartresidency.FortheyoungsingerthatIwas,tocometoAixwastheperspectiveofrubbingshoulderswithanetworkofsingersandofprofessorsfromthewholeworld.Ihadnevercomeacrosssuchaninternationalgroupofpeopleduringmystudies.IwasalsoveryattractedbythemythicalsideoftheFestival,itshistoryanditsrelationshipwiththeworksofMozart.

How did you live this experience?

Theprogrammeofmasterclassesandofconcertswasveryrich,Iadoredthisintensity.Iarrivedwiththeideaoftakingeverythingthatthisexperiencecouldof-ferme,ofstoringupalltheadviceoftheteachers:thesingingprofessorSusannaEken,thechoreographerThierryThieûNiangandtheconductorLouisLangréewhoImetforthefirsttime.IwasalsoabletotakeintheatmosphereoftheFestivalbyattendingrehearsalsandperformancesoftheoperasprogrammedthatsummer,inthecompanyofthesingersandpianistsfromtheresidency,withwhombythewayIhaveremainedincontact.

LET’S MEET AGAIN IN TEN YEARS TIME

What was the impact of this residency on the beginning of your career?

ThisfirstexperienceattheAcadémieenabledmetocreateaveritablerelationshipwiththeFestival.TwoyearsafterIwasinvitedtosingtheleadingroleinAcis and GalateabyHandel,presentedatthedomainoftheGrandSaint-Jean.Itwastrulywonderfultoworkinsuchaninspiringsetting,inwhichyoufeelaformafreedom.Morerecentlyin2017IsangtheroleofZerlinainthenewproductionofDon GiovannistagedbyJean-FrançoisSivadierattheThéâtredel’Archevêché.MyrelationshipwiththeFestivalgoesbeyondisolatedengagements.Arealrelationshipofconfidencehasdeve-lopedwithitsteamswhoknowmeandwhohavefollowedmycareerforyearsanddonothesitatetocomeandhearmeelsewhere.

The baritone Stéphane Degout made his debut on the stage of the Académie du Festival d’Aix in 1998. He has always said that he wanted to give his first master classes at the Festival d’Aix, after twenty years of career. He has kept his promise since this summer together with Alain Planès he will be in charge of the The Art of recital song residency. Can you imagine yourself in ten years time giving master classes at the Académie?

TeachingisanactivitywhichdoesattractmeandIhavealreadydonealittle.ItisarolewhichimpliesahugeresponsibilityandIamveryimpressedbygoodpedagoguesandprofessors.IthinkthattheAcadémieduFestivald’AixisaplacewhereIwouldfeelhappytopasson,oneday,myexperience.

The French soprano Julie Fuchs took part in the 2009 Mozart vocal residency devoted to the works of the Austrian composer. She has come back since that time on many occasions to sing at the Festival d’Aix and leads a brilliant international career. Looking back at her experience and her connection with the Académie du Festival d’Aix.

INTERVIEW WITH JULIE FUCHSInterviewbyLouisGeisler

INTRODuCTION


JulieFuchsSoprano (France)

» ParticipantintheMozartresidency(2009)» GalateainAcis and Galatea(2011),Alphise

inLes Boréades(2014–concertversion)andZerlinainDon Giovanni(2017)

» GabrielDussurgetPrize(2014)» HSBCLaureate(2013)

Julie

Fuc

hs,Z

erlin

ain

Don

Gio

vann

i,20

17

INTRODuCTION

9



Phon

e Cal

l to

Had

es,2

017



10

C ontemporarymusic,newmusic,art-music,musicoftoday,writtenscore,musicofcrea-tion…Somanydifferentdenominationstodescribemusicalcreation.Itcanbeserial,minimalist,repetitive,tonal,atonal,electronic,concrete,spectral.Itispartofaclassical

traditionoronthecontraryisthefruitofalongmusicalsearch,ofasoundexperimentation.Itiswrittenforasoloist,achamberformation,asymphonyorchestra,anensembleofvariabledimensions,instrumentandelectroacoustics,acousmonium.Musicalcreationisthereforejustasdiverseregardingdesignations,aestheticsandformsasitisregardingcomposers.

Allcomposersofwhich2800knownas«symphonists»registeredwiththeSacemaremo-tivatedbythevitalneedtocreate.Everyyear,youngcomposersleavetheconservatoireswiththeirdiplomasandthedesiretocompose,thedesiretoenableanaudiencetodiscovertheirworks.Ifcreationisacatharticexperiencewhichstemsfromaquestioningoftheessenceofbeing,ofhumanity,withforexampleSeven Stones,theoperabyOndrejAdámekfirstperfor-

medduringthe70thFestivald’Aixthequotation“Time–thedifferencebetweenmanandstone,is time–whenmangoesbacktobeingdust,thestoneconservesitsform”:itisalsoameansforcomposerstotranslatea(orthe)reality(ies)andisatestimonytocontemporarytensionsandpreoccupations.Thework ultimatumbyPierreJodlowski,commissionedbyMusiqueNouvelleenLibertéaspartoftheGrandPrixLycéendescompositeurswasinspiredbytheeponymousworkbyFernandoPessoawhoaccusesthe“power(political,bourgeois,industrial)tohaveledtheworldintoadeepstateofdilapidation.”isagoodexampleofit.

Creation,althoughassociatedwithsensitivity,theaffectofcomposers,isnotasimplepassionbutarealprofession.Composersmustthereforebeabletomakealivingfromtheirartanditisbecauseofthisthatthecommissionisessential.

Thecommission,thecreator’sonlysalarytogetherwithroyaltiesisvital.Itistheresponsibilityofthosewhocommission,orchestrasensembles,culturalinstitutionstopaycomposerssothattheyneverceasetocreateandtobethememoryofoursocieties.

Inacontextwherecomposersarefacedwithdifficultiesincirculatingtheirmusic,inbeingpresentinthemedia,inbeingproperlyrenumerated;inacontextwhereweobservethattheyoungaredistancingthemselvesfromculture,itismorethanimportantthatculturalcentrescommitthemselvesinfavourofcreation,supportyoungcomposers,andalloweverybodytohaveaccesstoit,mostnotablytheveryyoung.

TheAcadémieduFestivald’Aixinitsroleasalaboratoryforyoungartists,asaspringboardforyoungcomposers,asaplatformforexchangesandmediationfortheattentionofallaudiencetypesisareferenceforthemusicindustry.Ithasintwentyyearscontributedtothecommis-sioningandcreationofaroundsixtyworks.TheSacemasleadingpartneroftheAcadémieisdelightedtohavebeenatitssidefor20yearsandwillcontinuetosupportitscommissioningpolicyanditscommitmentinfavourofcreation.

Jean-NoëlTroncGeneral director of the SACEM



11

DOMESTICATE OPERAThe Czech composer Ondřej Adámek presented at the Festival d’Aix-en-Provence in July 2018 his first opera, Seven Stones, at the Théâtre du Jeu de Paume. This work would probably have not come into being if it had not been for its association with the Académie du Festival d’Aix as well as that of the Festival over a period of several years.

INTERVIEW WITH ONDŘEJ ADÁMEKInterviewbyLouisGeisler

IcametotheFestivald’Aixforthefirsttimein2011toparticipateintheChamberMusicResidency.ThatsummertheAcadémiehadproposedtoensemblestoworkoncontem-porarycreationswiththeircomposer.IwasinvitedtosupervisetherehearsalsofmypiecesRapid Eye MovementetLo que no ’contamo’interpretedrespectivelybytheAgoraandGirardstringquartetsandperformedinconcertattheHôtelMay-nierd’Oppède.Duringtheresidency,theDirectoroftheAcadémie,ÉmilieDelorme,confidedtomethatshefoundmymusicvery«theatrical»andsuggestedtometoconsidercomposinganopera.IthankedherbutatthesametimeexplainedthatIdidnotreallyhavethetimetodiveintosuchanadventurewhichrequiresalotofenergyandavailability.Iwasnotagainsttheideaofworkingonamusicalformwhichfollowsadramaticalconstruction,butIwasalittlereluctantaboutcomposingmusicforoperaticvoices.Thisartificialplacingofthevoicecameintobeingforapurelyacousticalreason.Isitstilllegitimatetosystematicallyresorttotheoperaticvoicetoday?Nowadays,thankstoamplification,wehaveaverylargepalletofcoloursandvocalexpression.

Afterthisfirstexperience,Iwasinvitedtocomebackthefollowingsummer,inJuly2012,toparticipateintheOperaCreationWorkshop.Thiswasaresidencyofabouttendayswhichproposedtoyoungartists–composers,librettists,setdesigners,dramaturges,etc.–toexchangeontheirprofessionandtheirprojectsandtoreflectuponthecreationofoperatoday.Ifoundthisconceptofaworkshopveryinteresting,butonceagain,Iwasreticentattheideaofonlybeinginaprocessofexchangeand

discussionsittingaroundatable.WhatIlikeisbeingin“directcontact”withartistsinconcretecreativeaction.Ithereforepro-posedtoorganiseaveritableexperimentalworkshop which would bring togethertheartisticteaminitsentiretyaswellassingerschosenbytheAcadémie.TheideawasacceptedandsoIcamebacktoAixwiththestagedirectorÉricOberdorff–whomIhadmetatIRCAMonanotherproject,theIcelandicwriterSjónandthemusicianHélèneBreschand.TheFestivald’AixwaspresentingtheworldpremiereofWritten on SkinbythecomposerGeorgeBenjamin.WethereforeworkedwiththeunderstudiesofthesoloistsofthisproductionusingfragmentswrittenbySjón.Togetherwedevelopedamusicalandtheatricalformwhichlastedabouttenminuteswhichwepresentedtoprofessionals.ThisresidencyinspiredinSjónthesynopsisofanewopera.TherestitutionpleasedBernardFoccroulleandhisteam.Webegandiscussinghowtofollowupthisexperience.ItwasthusthatSeven Stones cametolife.

Weimmediatelytackledthequestionoftheformatofthisnewwork,thedateforitscreation,thescoring.Ihadinmindtheideaofanoperawithjustafewsoloistsarelativelysmallchoruswhichwoulditselfformanorchestra,byusingatypicalins-truments,someofwhichwerecreatedfortheoccasion,orelementsofthescenogra-phy.TheprojectgrewandcametogetherthankstoseveralexperimentalworkshopsandrehearsalsorganisedbytheFestivalbetween2013and2016,bringingtogetherthewholeoftheartisticteamandalltheperformers.Everybodycontributedenor-mouslytotheworkoftheircolleaguesduringhighlycreativephases.Thesetdesignerand



OndrejAdámekComposer (Czech Republic)

» Participantinthechambermusicresidency(2011)

» ParticipantintheOperaCreationworkshop(2012)

» CoachforthePinocchioresidencyandchambermusicresidency(2017)

» WorldpremiereofThrowing(2017)» Commissionandworldpremiere

ofSeven Stones(2018)

Ond

rejA

dám

ek

lightingdesignerÉricSoyerandmyselfhadworkedtogetheronthescenography,itsacousticpossibilitiesandtheinstru-ments,Sjónlistenedtoourexperimentswhilstcontinuinghisresearchinordertodeepenandstrengthenhislibretto,inwhichcertainIcelandicnarrativetraditionscanbefound.WeaddedascenewhichtookplaceinJapan,ashelikemyselfhadlivedsometimeinKyotoandwearepassionateaboutthehistoryofthiscountry.ÉricOberdorffinsistedontheimportanceofgivingtheStoryTeller–theStoneCollector–whoismentionedthroughouttheopera–hisownstory.Thenewworkofmusic-theatreonwhichIamcurrentlyworkingfortheMunichBiennaleAlles Klappt,isinfactsetinthesamecreativeprocess,punctuatedwithworkshopsandexchangesbetweeneverymemberoftheartisticteam.

Aposteriori,IrealisethatmyrelationshipwithoperahaschangedenormouslybyfrequentingtheFestivald’Aixeveryyearfrom2011-2016.Ihaveseenthereanenor-mousnumberofworksfromthebaroquerepertoireuptocontemporaryworks.IremembernotablyWritten on SkinbyGeorgeBenjamininthestagingbyKatieMitchell,David et JonathasbyCharpentier,SimonMcBurney’sThe Magic Fluteproductionin2014andofcoursetheworldpremiereofKalîla wa Dimna byMoneimAdwanin2016.ItseemstomethatSeven Stonesalsocametolifeoutoftheseencountersanddiscoveries.


13


Trau

erna

cht r

ehea

rsal

s,2

014



14

KATIE MITCHELL • STAGE DIRECTOR (UNITED KINGDOM)

» StagedirectorofWritten on Skin(2012),The House Taken Over (2013),Trauernacht(2014),Alcina(2015),Pelléas et Mélisande(2016)andAriadne auf Naxos(2018)

» CoachfortheOperaCreationWorkshop(2012–2015–2018)

» TutorintheWomenOperaMakersWorkshopsince2016andtheOperaCreationWorkshop(2017)

“Theequalityofthesexesinallthedomainsofope-raticproductionisanessentialelementforthegoodhealthandsurvivaloftheuniqueartformwhichisopera.Thisquestionconcernstheveryvisible–therepresentationofwomenonstage–butalsotowhathappensbackstage–theawarenessofthoughtlessprejudices.Tosucceedinpromotingaveritableequalityofsexeswillenableustoimprovetheexerciseofourprofessions,torenewstagedirectionandincreaseourcapacitytoattractalargeraudience.”

RETHINK AND REVALUE THE POSITION OF WOMEN IN OPERA

Diversity and equality women-men are questions which have started to be dealt with fairly recently in the world of opera. However, the contribution of female creators and great female performers to operatic life is not in any way a matter of doubt: it is decisive, crucial… and insufficient!

I nquantitativeterms,theFestivald’Aixdoesnotbreakawayfromthisrule:thepositionoffemalecreatorsinitsearlyandrecenthistoryisnotinphasewiththeexpectationsof

present-daysociety.Butthemajorityoffemaleartists(wearethinkingofEmmanuelleHaïm,Marie-EveSigneyrolle,AnaSokolovic tomentionafewnamesotherthanthegreatsingers)havebeenwarmlywelcomedbythepublicandtheprofessionals.In2018wehadthepleasureofinvitingKatieMitchell,thestagedirectorandlibrettistMartinaWinkel,theauthorMaylisdeKerangal,thesetdesignersChloeLamfordandAurélieMaestre...Thereisprogress.Wemusthowevergofurtherandweareadheringtotherecom-mendationsoftheMinistryofCultureandtheSACD.

Thewomen-menequalityresultsaremuchmoresatisfyingintheAcadémiewhichhasbeenabletoattractagooddealoffemalecreativeartists.Iremainconvincedthatthiscommit-menttotheyoungergenerationwillgiveresultsinnottoolongatime.Itremainsforustoidentifyandfixthemechanisms

BernardFoccroulleGeneral Director of the Festival d’Aix

whichareattheoriginoftheweakfemininepresenceintheFestival’sprogramme.

InresidenceattheFestivald’Aixsince2012,KatieMitchelproducedsomewonderfulstagingsofWritten on SkintoPel-léas et Mélisande,andalsoThe House Taken Over,Trauernacht,AlcinaandAriadne auf Naxos.InconversationswithKatie,agoodnumberofthemovertheyears,opera,music,theatrehaveoccupiedanimportantplace,butalsosubjectsrelatedtoourtime:globalwarmingandthemajorchallengesthatit

poses.Katiedidnotjustcontentherselfwithcallinguponnumerousyoungartistsintoherteams,shealsoencouragedustoseriouslytacklethequestionofequality.Weareextremelygratefultoher.Theworkshopwhichsherantogetherwithadozenyoungfemalecreatorsin2016and2017,enabledustohaveabetterunderstandingofacertainnumberofissues.SheputusincontactwithLucyKerbelwhonowaccompaniesourworkonthistypeofquestion.



15

TRIBUNE BY BERNARD FOCCROULLE

I metthecomposerSivanEldarduringanOperaCreationWorkshopin2016directedbythedramaturgeWillemBruls.DuringthosetwoweeksIspentmostofmytime

makinggrandandhastydeclarationsaboutoperaingeneralanditscurrentsituationinparticular.Sivan,morethoughtfulandreservedthanIam,wonderedwhoonearththisextravertdramaturgetalkingwilly-nillycouldbe.Inspiteofthisratherunpromisingstarttoourfuturecollaboration,theworkshopprovideduswiththeidealenvironmenttodeveloparelationshipwhichwasbothpersonalandprofessionalbasedonacommoncreationandfriendship,are-lationshipwhichwebelievedsufficientlysolidtolast.

TheAcadémieduFestivald’Aixprovi-deduswithanintellectualandsocialframeworkwhichenabledustolearnhowtogettoknowotherpeople’swork,tofamiliariseuswiththeirworkandtheirideas/dreams.EverydaywaspunctuatedwithintensiveexchangeswithWillemandtheotherparticipantsoftheworkshop,encounterswithexperiencedartistswhowereinvitedtotheFestivalandendedwitharehearsaloraperformanceofopera.Inthecourseofthisexperienceandofourconversations,wehadthedesire,withSivanaswelltodevelopcreationstogether.Sincethisworkshopwehaveworkedtogetheronthreecreationsforvoice:You’ll Drown, Dear formezzo-sopranoandelectronics(worldpremierein2017aspartofthefestivalManiFesteattheCentquatreinParis),The WhitePrincessfortwosopranos,electronicsandpercussion(worldpremierein2017attheFestivald’AixandHeavepourvocalensembleandelectronics(worldpremierein2018,(FestivaldeRoyaumont/IRCAM).TheAcadémieteamsprovidedtheirhelpandgoodwillateverystageofour

CREATION & AN IMPROMPTU

ENCOUNTER

collaboration.Thusin2017wewereinvitedtotakepartinaresidencydevotedtocontemporarycreationdirectedbythepianistandvocalcoachJeffCohenandthecomposerOndrejAdámekaformerresidentoftheAcadémie.AfterhavingcommissionedanewpiecefromSivan,theAcadémiegene-rouslyproposedtometojointheprojectasthelibrettist.Itwasauniqueopportunitytorehearseanddeveloptogetherawork,underthewatchfuleyeofourmentorsinafriendly

environment.ThisexperienceturnedouttobecrucialandreacheditsculminationwiththeperformanceofThe White PrincessattheHôtelMaynierd’Oppède.

TheAcadémiealsoaskedustoparticipateintheWomenOperaMakersWorkshopsdirectedbythestagedirectorKatieMitchell.Ithereforetookpartinthesessionsin2016and2017andSivanintheonewhichtookplacein2018.Thecreationoftheseworkshopsisafundamentalpolicypositionwhichisveryimportant:theAcadémiethereforerecognisesthatopera,itsrepertoire,itsassociatedprofessionsaredeeplymarkedbygenrediscriminationandsexism.Thiscommitmentto

The Opera Creation Workshop is a session of exchanges proposed every year by the Académie du Festival d’Aix to young creators who wish to be involved with the development of innovative artistic projects. For certain participants it is also the beginning of a passionate artistic collaboration, as was the case for the dramaturge Cordelia Lynn and the composer Sivan Eldar in 2016. Two years after having met at the Festival d’Aix, the two young women had already presented three projects together.

CordeliaLynnDramaturge (united Kingdom)

» ParticipantintheOperaCreationWorkshop(2016)» ParticipantintheWomenOperaMakersWorkshop(2016–2017)» ParticipantinthePinocchioresidency(2017)» CommissionandworldpremiereofThe White Princess(2017)



16

CORDELIA LYNN’S EXPERIENCE

theimprovementoftheconditionofwomenintheworldofoperaistranslatedintoactsratherthansimplecustomarydeclarationsandhasencouragedtheemergenceinrecentyearsofapowerfulnetworkoffemalecreatorssurroundingKatieMitchell.Infact,Iamconvincedthatinthenextfewyears,whenwewillapproachartisticmaturity,wewillbegintoseetheeffectsofitonthecreationofopera.

IwouldprobablyneverhavemetSivanwithouttheAcadémie.Thisartisticcollaboration,whichhasbecomesoimportantinbothourcareers,couldnothavedevelopedwithoutthesupportandencouragementofitsteams.Thereareanumberofresidenciesaround,buttheAcadémiestandsoutbecauseofitscommitmenttoyoungartistswhichitaccompaniesoveralongperiodoftime.



17

SivanEldarComposer (Israel/United States)

» ParticipantintheOperaCreationWorkshop(2016)» ParticipantintheWomenOperaMakersWorkshop(2016–2017)» ParticipantinthePinocchioresidency(2017)» CommissionandworldpremiereofThe White Princess (2017)

Crea

tion

sCo

ncer

t20

17

How would you describe the Chamber Music Residency of the Académie?

Thisresidencyisanencounterbetweengreatutopians–becauseyouhavetobeutopianinordertodevoteyourselftothisformwhichissodemandingandrefined–withononesidehighlycompetentcoachesandontheotherside,youngstersfromtheupcominggenerationallofwhomarepassionateaboutchambermusic.Together,theywillgivethemselvesuptoworkondetail,onarticulation,vibrato,speed,bowdepth…Thisisnever-endingwork,patienceisattheheartofchambermusic.TheAcadémieandtheFestivald’Aixarealsoarealopendoorfortheseensembles.Theyareplungedintoawonderfulmusicalrecruitingground:theycanbeheardbyprofessionals,extendtheirnetwork,meetjournalistsandagentswhowillperhapsfollowthem.Itisimportantatthebeginningofacareer.

What is a string quartet doing in an opera festival?

Toreachthequintessenceofchambermusicyouhavetobemadaboutsymphonicmusicandopera.Ioftensaytomypupils:ifyouwanttoworkontheBachSuitesitisnotne-cessarytolistentoalltherecordedversions,eventhosebythegreatestperformers.Itisabetterideatolistentosomecantatasandtofeelthewayinwhichthismusic“breathes”andrepliestothelanguageandtothevoice.Allthegreatworksforstringquartethaveaverystrongrelationshiptolyricismandthevoice.Ithinkforexample,thatyoushouldplayeachnoteofaMozartstringquartet

MINIMALIST PERFECTION

asiftheywerepartofanopera.TakehisQuartet n°15 K421 indminor.Wearealmostdealingwithaquotationhere:theviolinpartiswrittenlikeanaria,thetonalityofd minoristhatoftheCommanderinDon Giovanniwiththesameoctaveleapatthebeginning.

For a long time you were part of the Arcanto Ensemble along with Antje Weithaas, Daniel Sepec (violins) and Tabea Zimmermann (viola). What is your relationship to the string quartet and its repertoire?

Ihavealwaysbeenfascinatedbythestringquartet.WhenIwas13yearsoldduringmyfirstyearattheLyonConservatoireIworkedontheFmajor quartetbyRavel.Thisunforgettableexperienceimbuedmewithapassionwhichhasneverleftmesince.TheArcantoQuartetcametolifeaftermyencounterwithTabeaandAntje–IknewDanielwithwhomIhadworked.Whatevermighthappentomeinmymusicallife,IcanmaketheassertionthatthosetwelveyearsspentwiththemwerethehighpointofwhatIcouldexpectfromachambermusicensemble,thankstothehumanandartisticqualitiesofmythreecolleaguesandtothemannerinwhichweresonatedwitheachother.

Some see in the string quartet a veritable « laboratory » for composers. Do you think that writing such a piece is therefore an obligation?

Utopian and passionate is how Jean-Guihen Queyras likes to describe artists who choose to devote themselves to chamber music. In 2014 and 2016 the Festival d’Aix gave him two carte blanches for a series of concerts. The cellist’s periods of time spent in Provence enabled young string quartets at the Académie du Festival d’Aix to discover his approach to music.

INTERVIEW WITH JEAN-GUIHEN QUEYRASInterviewbyMarie-LaureFavierandLouisGeisler



Jean-GuihenQueyrasCellist and member of the Arcanto Quartet (France)

» CoachforChamberMusicresidencies(2014–2016)

» ConcertsattheFestivald’Aix(cartesblanchesin2014and2016–2018)

» CoachforthesessionofinterculturalcreationoftheMediterraneanYouthOrchestra(2016)

Thestringquartetisarelativelyrecentgenre.ItwasHaydnwhomadeitsreputationandputitatthecentreofmusicalproduction.Itisoneoftheraregenrestohavegonethroughbothepochsandaestheticswhilstalwaysbeingwelltreatedbycomposers.Takeforexamplethesonataforcelloandpiano:asearlyastheendoftheromanticperiodit’sagenrewhichhasrunoutofsteam,duringthewholeofthetwentiethcenturytreatedlikeanobsoleteform.The

stringquartetpossessesa«minimalistperfection»evenifitdoeslimititselftothefamilyofbowedstringedinstruments,itallows–throughthisverylimitation–theachievementofprofoundandexistentialtruths.Itisstrikingtorealisethatmanycomposershavegiventhebestofthem-selvestothisformationeventhoughitisapriorimorelimitedintermsofcoloursandnuancesthanasymphony.Itisasifthis

limitationpushedcomposerstowardsanextraordinarysubtletyandbeauty.

Gabriel Fauré described the string quartet as « the purest form of instrumental music ». What do you think of that?

Hewasabsolutelyright!


19


Publ

icm

aste

rcla

ssb

yJe

an-G

uihe

nQ

ueyr

as,2

016

2018Ondrej Adámek,Seven Stones –AcapellaOpera.ÉditionsGérardBillaudotCharlotte Bray,In Black Light forviolasoloBastien David,Impatience forstringquartetSamy Moussa,Fanfare.ÉditionsDurand-Salabert-Eschig/UniversalMusicPublishingClassicalDiana Soh,Sssh forstringquartetFabien Touchard,Ici même –Melodiesfortenorandpiano

2017Ondrej Adámek,Throwing –vocalensembleandpercussion.ÉditionsGérardBillaudotSivan Eldar,The White Princess –twosopranos,percussionandelectronicsMatthew Herbert,Requiem –stringquartetandelectronics,liveworldpremiereRaphaël Languillat,Sauve, Éternel (Ps. 12) –mezzo-soprano,baritone,harpandsingingbowlsOliver Leith,The Bow –electronicsOliver Leith,Folk’s Questions –tenor,baritone-bassandpianoCamille Pepin,Lyrae –stringquartet,harpandpercussion.Co-commissionProQuartet–CEMC.ÉditionsJobertPascal Robert,Obscure lumière forstringquartet

2016Moneim Adwan,Kalîla wa Dimna –operaGilbert Amy,Le Poète inachevé forcelloandbaritoneBenjamin Attahir, Asfar for trio with piano. ÉditionsDu-rand-Salabert-Eschig/UniversalMusicPublishingClassicalNuno da Rocha,Ecce Puerformezzo-soprano,baritoneandpianoBenjamin de la Fuente,Ricochets forstringoctet,drumsandrecordedtape.Co-commissionProQuartet–CEMC

Sébastien Hervier,D’abord, la fin (donc) –drumsandre-cordedtape. ÉditionsAlfonce,fromJeanGeoffroy’scollectionJug Markovic,ultraterreno –soprano,mezzo-sopranoandpianoFrançois Meïmoun,Tsimtsoum pourquintetwithtwoviolas.ÉditionsDurand-Salabert-Eschig/UniversalMusicPubli-shingClassicalRene Orth,A Dialogue between Death and Youth forsoprano,baritoneandpianoLuca Vago,Dreddforstringquartet.CommissionedbytheTanaQuartet.

2015Hye-Yeon Choi,No Nonsense forsopranobaritoneandpianoAndrzej Kwiecinski,Per non pensare formezzo-sopranopianofourhandsThomas Lacôte,Torpeurs forsoprano,baritoneandstringquartetSarah Lianne Lewis,Although You Sit in a Room that Is Gray forbaritoneandpianoSarah Lianne Lewis,Relativity and Revelation formezzo-so-prano,pianoandTibetanbowlsSamy Moussa,The Sick Rose fortenorandpiano.ÉditionsDu-rand-Salabert-Eschig/UniversalMusicPublishingClassicalAlexandre Ouzounoff,Vent noir formezzo-sopranoandpiano

2014Jérôme Combier,Parler longuement de fantômes,CommissionbyMusiqueNouvelleenLiberté–VilledeParis.ÉditionsHenryLemoineAhmed Essyad,Quartet with voice forstringquartetandmezzo-soprano.Co-commissionFondationRoyaumont.Sebastian Rivas,Stains in the Carpet –quintetwithdoublebass.ÉditionsLeChantduMondeFrancesca Verunelli,Sky and Decaying Sinusoids –doublebassandelectronics.Co-CommissionGMEM-CentreNationaldeCréationMusicale-Marseille

WORLD PREMIERES & COMMISSIONS

BY THE ACADÉMIE

1998 – 2018



20

2013Laurent Durupt,Super8 forstringoctet.Co-commissionVillaMédicisFrançois Meïmoun,untitled – selon Pollockforstringquartet.ÉditionsDurand-Salabert-Eschig/UniversalMusicPubli-shingClassicalVasco Mendonça,The House Taken Over–opera.Co-commissionIctus.ÉditionsHenryLemoine

2012Mauro Lanza,Der Kampf zwischen Karneval und Fasten,stringoctet.ÉditionsDurand-Salabert-Eschig/UniversalMusicPublishingClassicalMagic Malik,Empathie forcée–piecewithimprovisationforstringquartet,fluteandelectronicmusicianinrealtimeVasco Mendonça,Boys of Summerformezzo-sopranoandstringtrio.Co-commissionAldeburghMusic(Britten-PearsYoungArtistProgramme)andtheAcadémieduFestivaldeVerbierGilbert Nouno,Punkt!–stringquartet,mezzoandelectronicsinrealtime.

2011Karol Beffa,Mes heures de fièvretrioforvoice,violaandpiano.ÉditionsBillaudotOscar Biancchi,Thanks to My Eyes–opera.CommissionbyT&M-Paris.ÉditionsDurand-Salabert-Eschig/UniversalMusicPublishingClassicalFrancisco Coll Garcia,Sguardo verso l’interno–quintetwithclarinet.Co-commissionAldeburghMusic(Britten-PearsYoungArtistProgramme)andtheAcadémieduFestivaldeVerbier.ÉditionsFaberMusicZad Moultaka,Maadann–eightvoices,piano,cimbalomandpercussion.OnomaéditionsmusicalesYann Robin, Crescent Scratches – string quartet n°2.ÉditionsJobert

2010Mark Andre,iv 8 forstringtrio.PetersEditionCharlotte Bray,Verre de Venisefortenorandstringquartet.Co-commissionAldeburghMusic(Britten-PearsYoungArtistProgramme)andtheAcadémieduFestivaldeVerbier.ComposersEditionJonathan Harvey,Songs and Haiku forsopranoandpiano.ÉditionsFaberMusicFelix Ibarrondo, Botsbi –3miniaturesfortwomezzo-sopranos,twosopranosandconductorBetsy Jolas,Ruht wohl forpianoandviolaPiotr Moss,Lien entre les jours,afterapoembyMiriamVanHee–quartetandvoiceOscar Strasnoy,un retour –opera.Co-commissionMusi-catreize.ÉditionsGérardBillaudot

2009Francesco Filidei,Concertino di Aixforwindquintet,stringquartetandpiano.ÉditionsRaiTrade

2008Christian Bertrand,Satka forflute,clarinet,violin,cello,pianoandpercussion.ÉditionsNovello

2007Franck Bedrossian, Tracés d’ombres,forstringquartet.ÉditionsBillaudot

2006Jérôme Combier,Noir azur forstringtrioJulien Dassié,workforstringquartet,mezzo-sopranoandbaritone–stringquartet,mezzo-sopranoandbaritone

2005Bruno Mantovani, Blue Girl with Red Wagon for stringquartetandpiano.Co-commissionAcadémiedeFranceinRome–VillaMédicis.ÉditionsLemoine

2001Georges Aperghis, Profils, for cello and zarb. ÉditionsDurand-Salabert-Eschig/UniversalMusicPublishingClassical

1999Yan Maresz,Festins fortwelvepercussioninstruments

1998Vsevolod Chmoulevitch, Le Rossignol et la Rose –operaticworkJuan Jose Eslava –choreographicworkJonathan Golove,Moisson Rouge (Red Harvest) –operaticwork Jufta T. Kostinen, Madame de Sade –operaticwork Alexandraos Markeas,Rondo notturno (Jardin secret)–Choreo-graphicwork



21

Publ

icm

aste

rcla

ssb

yCh

arlo

tte

Bray

,201

0

PROMOTE INTERCULTURAL DIALOGUE

Conc

erta

tthe

MuC

EMa

tMar

seill

e,2

013

22

PaulineChaigneProduction Manager for the Mediterranean Youth Orchestra

1.MediterraneanIncubatorforEmergingArtists

M ultiplyperspectivesandknowledge,diversifyexpressionandexpressivity,questionperformancesandexpertise,increaseconfidenceinthefaceoftheunknownarejustsomeoftheskillsthattheAcadémieduFestivald’Aixidentifiestodayasabsolutely

necessarytothedevelopmentandexcellenceoftheartistsoftomorrow.Interculturaldialogueundeniablyfostersandstimulatestheiracquisition.Withthispracticeofmutuallisteningandexchangewhereculturesbumpintooneanother–withrespectandgoodwill–arerevealedjustasmuchthesingularityasthesimilarity,theknownandtheunknown,thesolidityofmemo-riesandthedreamsofcreation.Interculturaldialogueisthereforeapathtowardsmobility:geographicalofcourse,butalsoandaboveallspiritual,somemovingtowardstheothersandsomewiththeothers.

TheMediterraneanisattheentrancetotheFestivald’Aix.ItwasquitenaturallythatwiththearrivalofTheMediterraneanYouthOrchestrain2014attheheartoftheAcadémie,followedbythedevelopmentofMedinea1(MediterraneanIncubatorforEmergingArtistsnetwork)thatafertileinterculturaldialoguedevelopedbetweentheFestivalanddifferentpartnersandartistsontheotherhandcomingfromMediterraneancountriesontheother.Adialoguewhichturnedouttobemorethanevernecessaryinthesegloballytroubledtimesoftensionandculturalandidentitywithdrawal,sometimesviolentandalwaysdramatic.Proposingaculturalencounter,invitingexchangesandencouragingcollectivecreationbasedonacommonmusicalpassionbringingintoplaydifferentinfluencesoftheMediterranean(summarily,theLatininfluence,

theBalkans,theAfricanandtheoriental)seemtobeobviousnecessities.

WiththedevelopmentoftheMediterraneanprogrammesoftheAcadémie,itisaquestionofassumingcollectiveresponsi-bilitieswithalloftheMediterraneanpartnersandartists:ofinspiringpossibleculturalinteractions,tocreatemobilityinallitsforms,andtocommittohandingoverthispowerfulinterculturaldialoguetooltofuturegenerationsofartists.ItisalsofortheAcadémie,totaketheresponsibilityandhavethejoyofwelcomingmusicalandpoeticMediterraneanaes-thetics-whichforthatmatterarepoorlyrepresentedontheFrenchandEuropeanstages–andtobeabletosharethesemusicaldiscoveriesandemotionswiththeFestivald’Aixaudience.ThenfinallyitisalsoapleasurefortheAcadémietoproposetoMediterraneanartistsandpartnersaccesstotheenvironmentandtheexperienceoftheFestivald’Aix:thepassionforoperainallitsformsandthediscoveryofwesternmusic,bothclassicalandcontemporary.

Itisfullyinthisdynamicofinterculturaldialogue,andwiththewilltopassontoyoungartiststhenecessaryskillstodeveloptheirprofessionalcareersthateveryyearattheheartoftheAcadémiearedeveloped:

» asymphonicsessionwithTheMediterraneanYouthOrchestrabringingtogetheraboutonehundredclassicalmusicians;

» severalsessionsofinterculturalcreationbytheMediterraneanYouthOrchestrabringingtogetheraboutfifteenmaleandfemaleimprovisors(jazz,Mediterraneantraditionalmusicetc.)takingplaceinAixandintheheartofthepartnerstructureswithinMedinea(MediterraneanIncubatorforEmergingArtists)network,(inPortugal,inItaly,inMalta,inTurkeyandinTunisia);

» differentsessionsofoutreachskillsworkshopsproposingtrainingmodulestotheelaborationofmediationactionsmodules;

» MeetingsoftheMedineanetworkfederatingculturalactorsfromaroundtwentyMediterraneancountriesonthesubjectoftheconstructionofsessionsofTheMediterraneanYouthOrchestraandareflectiononinterculturaldialogueintheMediterraneanareaandoninterculturalprojectswhichencouragedialogue,transmissionandmobilityintheMediterranean.

23

How does a session of intercultural creation take place at the Festival d’Aix?

EachsessionbringstogetheraboutfifteenyounginstrumentalistsandsingerschosenfromamongstthehundredsofcandidatesauditionedinthecountriesoftheMediter-raneanbasin.Theyallhavetheirownspecificfeaturesandtheirownculturalbaggage.TheMediterraneanisincrediblyrich:eachoneofitsregionshasdifferentpracticesandtraditions.AnartistfromtheBalkansdoesnotdevelopinthesamemusicalenvironmentasanartistfromtheMaghreborfromtheSouthofEurope,evenifcertainsimilitudesdoexistofcourse.Thestartingpointofourworkisthereforeanencounter:theyoungartistslearntoknoweachothermusically.Itisanabsolutelyfundamentalstage,duringwhichtheymustunderstandandgrasptheirdifferencesandtheirsimilaritiesinordertoapproachoneanotherartistically.Thenextstepistocreateamusicalformtogether,inafairlylimitedtime–abouttendays–whichwillthenbepresentedduringthefinalconcert.

How do you approach the task of composing with these young musicians?

Iconsidereachensembleasagreatconstel-lation,attheheartofwhichgravitatessmallerconstellationswhicharethemselvesmadeupofuniquestars.Itrytoencouragetheyounginstrumentaliststobeconsciousof

SHARE, EXPERIMENT,

BUILD TOGETHER

theirownindividualandexpressiveforces,aswellasthoseoftheirpartners.Itisessen-tialinordertobeabletodevelopamusicalformwhichwillalloweveryonetoblossomindividually,whilstexpressinghisculturalhorizon,andinwhichhisdifferentelementsaregoingtobeabletointeractandcombine.Thisrequiresalotoflistening:wehavetoshare,experimentandbuildtogether.Theinterculturalensembleswhichwetraineverysummerdonothaveareferencetowhichtheycanreferto.Acomposerwhowantstowriteforstringquartetoraworkforsymphonyorchestracanrefertothewholeofamultiseculartradition.Thisisnotthecaseforus:wehavetoinventeverything.Wehavetodevelopaveritabledramaturgy,aswithopera,inordertobuildandgivestructuretoourcreation.Infact,themajorityoftheyoungartistswhoparticipateinthissessiondiscovertheworldofoperaforthefirsttime.ItisanexperiencewhichinfluencesthemduringthewholeoftheirtimeinAix.

Improvisation is an important element of your work with these young instrumentalists, just as much during the phase of composition as during the concert. What do you understand by “improvisation”?

That’sareallyvastsubject!Thereareagreatdealofdifferentvisionsofwhatwecall«improvisation».Forthemusicianswhotakepartinoursession,wearedealingwith

Each summer, the Académie du Festival d’Aix proposes to young improvising musicians to discover the life of an intercultural ensemble, for the duration of a session devoted to composition and to improvisation. They receive teaching and sound advice from the composer and saxophonist Fabrizio Cassol, founder of the jazz group Aka Moon, who has crossed the globe for more than twenty-five years in search of the music and cultures of the world.

INTERVIEW WITH FABRIZIO CASSOLInterviewbyLouisGeisler

PROMOTE INTERCuLTuRAL DIALOGuE


FabrizioCassolComposer Saxophonist (Belgium)

» CoachfortheprogrammeOutreachskills(2013)

» ConcertsattheFestivald’Aix(Alephbain2013andAka Moonin2017)

» CoachforthesessionofinterculturalcreationoftheMYO(2015–2017–2018)

» StagemusicianinPinocchioopera(2017)» Tutorinthemusicchamberresidency

(2017)

amethodtiedtooraltraditions.Oralityisamemorymaintainedandsustained,whichispassedonandissharedbetweenamasterandhisdisciplebutdoesnotmeanthesamethingforeverybodyanddoesnotassumethesameimportanceintraditionalmusic.Improvisationtechniquesaremul-tipleandarealsotiedtoaculturalhorizon.Jazzmusiciansforexampleareusedtoimprovisingonstructuresandharmonies,whereasinBalkanmusicimprovisationconcernstheintonationsthenotesandtherhythm.Certainmusicianshavethehabitofimprovisingonthestructureandwesternharmoniesothersonthemodesorthemaqam,byusingmicro-intervalsandorevenplayingonwesterntemperedsystems.Ithereforetrytomakesurethateachmusicianshareshisexperienceofimprovisationwithhispartners.

What do you want to communicate to these young artists?

IwantthemtobecomeconsciousofthediversityandoftherichnessofMediter-raneanmusicalpractices,thattheyimmersethemselvesinthemandthattheycomeoutofthisexperiencehavinggrown,havingacquiredadvantageswhichtheydidnotpossessbeforetheirarrival.Thegreatestchallengeisgivingthemthenecessarytoolstobeabletoparticipatelateronin

othergroupsandpotentiallytomanagethem.Dealingwithanensembleof12to15musiciansisacomplexbusiness!Ialsowantedthemtodevelopanintuitionandaninstinctincompositionandimprovisation,whilstposingtherightquestions:howdoyoucreateagroupfeelinginagroupmadeupofindividualpersonalities?Howdoyoutakeaccountofthestrengthsofeachoneofthem?Howdoyoumanagedifferentmusicalitiesandvocalitiestotryandbuildupacommonlanguage?

You know the Festival d’Aix extremely well: you have given several concerts there with your group Aka Moon and you took part in 2017 in the world premiere of Pinocchio by Philippe Boesmans. What is your perception of the Festival’s opening up to Mediterranean cultures?

Thisopeningupseemstometobefunda-mental.AllculturalstructuresshouldbeconsciousofthefabulousartisticagitationthatispresentallaroundtheMediterranean.Generallyspeaking,Ihavetheimpressionthatalotofinstitutionsarecutofffromtheirenvironmentfromtheirneighbourhoodsandfromtheirpopulations.Ithinkthatitisimportanttobreakdownthebarriersofallthat.Weliveatatimewheretheaccesstoknowledgehasneverbeensoeasy,thanksnotablytothedevelopmentofinternet

andnewtechnologies.Itisnowpossibletolistentomusicfromallaroundthewholeworldwhilstremainingathome.Thiswasunthinkabletwenty-fiveyearsago,whatwasonofferwasmuchmorelimited.But,itseemstomethatweareyetagainmissinganessentialexperience,thatwhichconsistsofgoingforanencounterwithotherpeopleinordertoplaymusictogether.Itisthereforeveryimportantthataninstitutionaspres-tigiousastheFestivald’AixshowsthewayandlooksinthedirectionofMediterraneancultures.Thisapproachwillnecessarilyhaveanimpactonotherstructures.

How do you see the development of the intercultural creation session over the following years?

TheAcadémieduFestivald’AixandTheMediterraneanYouthOrchestraonlyproposeoneresidencyperyearforthetimebeing,everysummerinAix-en-Provence.ThankstothesupportoftheEuropeanUnionandthroughitsprogrammesEuropeCreativeandErasmus+,wearegoingtobeabletoorganiseasearlyasnextyearactivitiesindifferentcountriessuchasTunisia,Italy,Turkey,Portugal,Malta.ThisdevelopmentaroundtheMediterraneanisgoingtoenableustodeepenourworkandtogiveanewdimensiontothispassionateadventure.


25


MYO

Inte

rcul

tura

lcre

atio

nse

ssio

nw

ith

Fabr

izio

Cas

so,2

015

You have both had different experiences at the heart of the Mediterranean Youth Orchestra. How did you live this experience?

Leïla Soldevila:Ihadbeeninvitedtotakepart inthe2017interculturalcreationsessiondirectedbyFabrizioCassol.Therewere14musicianscomingfromFrance,Greece,Lebanon,Syria,Turkey,Tunisia,Bulgaria,Morocco,PalestineandMalta.Weallcamefromdifferenthorizons:everyonehadtheirownculturalbaggage,theirownmusicalreferences,butweweredrivenbyanimmensewillingnesstoshareandexchange.

THE MEDITERRANEAN

YOUTH ORCHESTRA

Learningtoworktogetherrequiredofusalittletime,butitwasaveryexcitingprocessinwhicheveryonewasveryengaged.Attheendofeachday,wepursuedourdiscussionswiththedesiretosurpassourselvesevenmore,togoevenfurther.Ilearntanawfullotduringthisexperience,atthesametimemusically,culturallyandhumanly.

Marie Lestrelin:IhaveexactlythesameimpressionsasLeïla,evenifasfarasIamconcernedItookpartinthesymphonicsessionsin2012,2013,and2017.Alltheyoungmusicianschosenfortheseworkshopshaveaverydeepcommitment,whichIhavenotfoundinanyotherensemble.Irememberthefirstrehearsalwhenwecametogetherwithabsolutelyeverybody.Therewasanincredibleemulation:every-bodywasexcitedandwantedtogive100%.Webenefittedfromexceptionalworkingconditions,thankstothemusiciansoftheLondonSymphonyOrchestrawhocametosuperviseourtraining.AnotherimportantaspectofthisresidencyistheimmersionattheheartoftheFestivald’Aix:wehadtheopportunitytoattendrehearsalsandtomeetagooddealoftheartistswiththefeelingofbeinganintegralpartofthisadventure.

Every summer the Mediterranean Youth Orchestra (MYO) proposes two types of training to young Mediterranean musicians: a symphonic session, directed by professional artists and a conductor, and an intercultural creation session, devoted to traditional music and to im-provisation. The double bass player Leïla Soldevila and the violinist Marie Lestrelin talk together about their respective positions at the heart of the MYO and share their mutual impressions.

INTERVIEW WITH LEÏLA SOLDEVILA AND MARIE LESTRELINInterviewbyPaulineChaigneandLouisGeisler

CROSS-OVER EXPERIENCES

MarieLestrelinViolinist (France)

» ParticipantinthesymphonicsessionoftheMYO(2013,2014,violinsoloin2017)

» ParticipantintheOutreachSkillsWorkshop(2018)

Is there a souvenir which particularly marked you during your time with the MYO?

Marie Lestrelin:Idohaveaveryfondmemoryofanimprovisedjamsessionbackstagebeforeaconcert.AmusicianstartedplayingthethemefromCsárdás.It’saverywell-knowntraditionalfolkpiecebytheItaliancomposerVittorioMonti,ins-piredbyHungarianmusic.Theviolinistsfollowedhimandthenthecellists,thedoublebassplayersandfinallythepercussionistsaccompaniedthembyclappingtheirhands.Everybodyknewthismusic,buteverybodyinterpreteditintheirownway.Thislittlegameenabledustorelaxanduniteusjustbeforegoingonstage.

Leïla Soldevila:Thefinalconcertofoursessionremainsformeoneofthemostpowerfulandmagicalmoments.Itwasamixtureofeuphoria,ofconcentration,osmosis,ofgoodwill,ofsharingandoflove.Thisexperiencewentstraighttomyheart.

What role did the MJO play in your professional and artistic orientation?

Marie Lestrelin:MyparticipationintheMYOtotallyshapedmyprofessionalchoices.WhenIlefttheAvignonConservatoire,I



LeïlaSoldevilaDouble Bass Player (France)

» ParticipantinthesessionofinterculturalcreationwiththeMYO(2017)

path,withthisobjective.Ihavejustthisyearvalidatedmyviolindegreeandobtainedmyprofessor’sdiploma.

Leïla Soldevila:IamafewyearsolderthanMarie,butthisadventureenabledmetoconfirmmychoicesandmyconvictions.Ihadalreadyhadtheopportunityoftakingpartinworkshopswithmusicianscomingfromotherculturesandtraditions.Ireallydoappreciatethiskindofexchange.MytimeinAixinfluencedmywayof«livingmusic».FabrizioCassolcommunicatedtousanimperativewhichmadeusintopeoplethatwedidnotknowwewere.

The sessions of the Mediterranean Youth Orchestra take place in an international and multicultural environment. What did this double dimension do for you?

Marie Lestrelin:IjoinedtheMYOveryyoung:beingclosetoartistscomingfromcountriesandculturessodifferenttaughtmeagreatdealandmademewanttodiscoverotheryouthorchestrasinEurope.

Leïla Soldevila:Ihavealwayslovedtrave-ling,discoveringnewpoliticalandartisticcontexts,beingincontactwithdifferentcultures…IhadtheopportunityofworkinginAfrica,inIndia,inCuba.Itisimportanttobeconfrontedwithpeoplewhohaveanotherframeworkandwhohavelearntmusicdifferently.Thiscreatesadynamicwhichprojectsustowardsothersandtheunknown.

As young artists, what are your desires for the future of the Mediterranean basin?

Marie Lestrelin:Itwouldbefabuloustoestablishevenmoreculturaltiesbetweenthedifferentcountriesoftheregion.IhavetheimpressionthattheFestivald’AixisoneoftherareinstitutionstoproposeprogrammeslikethoseoftheMYO.Thistypeofprojectshouldbeexportedtootherplacesinordertointensifytheexchanges.

Leïla Soldevila:Whenweplaywithartistsofdifferentcountries,weareoftenconfrontedwithveryconcreteproblemsforobtainingvisasforexample.Afewweeksago,IshouldhavegonetoMoroccowithaSyrianmusicianandtwoIranianmusicians.Theywerenotabletoleavebecauseofabreakindiplo-maticrelationsbetweentheircountriesandMorocco,andourtourhadtobecancelled.Asanartist,wehaveanimportantresponsi-bility.Ourprinciplechallengeistocreate

anopportunityfordialogue.Evenbetweenmusiciansitisnotalwayssimple.Therecanbeprofoundmisunderstandingsbetweenus,becauseofourculturaldifferences.Awordorananodynegestureforonepersoncanbeverybadlytakenbyanotherperson.Wehavetoneverthelesstrytounderstandeachother,betweenartistsandwiththeaudience.Aboveall,wemustnotjudgeeachother.Itisimportantthatfacesofdifferentcoloursbepresenttogetheronstage,litbythesameprojector.Thisprovesthatanexchangeispossible.Inthetensecontextwhichwearegoingthroughwithwarsandterrorism,artistsmustplacethemselvesinthisdynamic,totrytocomfortandopenupthemind,whilstatthesametimebringinganoteofhope.

Marie Lestrelin:Leïlaisabsolutelyrightandwhatshesaysknocksmeout.Atourartist’slevel,wetoocantrytochangethingsintheMediterraneanarea.

Leïla Soldevila:Ithinkthatwealsohavearoletoplayaswomen.ThereisstillagreatdealofinequalitybetweenfemaleandmaleartistsinMediterraneancountries.Wemustmakeourcontributiontochangingmentalities.

wantedtobecomeaviolinist,butIknewabsolutelynothingabouttherealityofthisprofession.Ilackedself-assuranceandconfidenceinmyself.Somepeopleclosetomeadvisedmetoorientatemyselfinthedirectionofliterarystudiesinaprepara-toryclass.BecomingpartoftheMYOwasanidealopportunity(andfree,contrarytomanymusiccourses)tocontinuemytraining.Aftermyfirstparticipation,Iwasconvincedthattheviolinwouldbemylife.Ithereforepursuedmystudiesalongthis

MYO

inte

rcul

tura

lcre

atio

nco

ncer

t,20

17


27


LSO & MYO

T heLondonSymphonyOrchestrahasbeenattheforefrontofeducationandcommunityprojectssinceorchestrasworldwidestartedtoembracethistransformative

streamofworkintotheirlong-termaims,ensuringthefutureoforchestralmusicandhowwecanalloffereveryonethechancetoparticipateinmusic-makingactivity.SinceLSODiscoverylaunchedin1990,thisareaofourworkhasexpandedtoinvolvepeoplefromallwalksoflifeandofallagesandabilities,andithasbecomeanessentialpartoftheworkinglivesofmanyLSOmusicians.

WhenBernardFoccroulleinvitedtheLSOtoconsiderafour-yearresidencyfrom2010attheFestivald’Aix-en-Provence,itwasclearthatheintendedthattheOrchestraengagewithhisburgeoningprogrammewithyoungmusiciansandthewidercommunity,alongsidethemorestandardremittoperformopera.ProjectssuchasthelullabiesofwomenfromtheComorosIslandsnowlivinginMarseille,andperformancesbypeoplewithspecialneedsworkingwithlocalmusicians,wereparticularhighlightsofthistime,buttheprojectwiththeLSOthathasflourishedthroughoutthetenyearsofourassociationinAix,isthepartnershipwiththeMediterraneanYouthOrchestra.

EachyearateamofLSOmusicians,drawnfromeachsectionoftheOrchestra,wouldspendupto10dayscoachingandmentoringtheyoungmusicians,developingtheirabilitytoperforminanensemble,andhelpingthemtolistenandrespondcreatively.Buildingontheworkoftheirteachersintheirhomeland,theLSOmusicianswereabletohelpeach

sectionpreparetheorchestralrepertoireinadvanceoftheconductor’sarrival.Oftentheywouldplaysidebyside,andgleansomeofthewiderskillsthataprofessionalorchestralmusiciandevelopsoveryearsinaprofessionalorchestra,alwayswithtangibleresults.ToseetheMediterraneanYouthOrchestrastepupitsstandardsandambitioneachyearintheconcludingconcertsinAixandintheregionhasbeenarealthrillfortheLSOmusicians.ThefocusoftheMediterraneanYouthOrchestraincludesover20countriestoday,withawholegenerationofyoungmusiciansacrosstheMediterraneanbenefittingfromthisopportunity.Thereinlayanewculturaldiversityandrichnessthatfloweddirectlyintothemusic-makingandenrichedthewholeexperienceofeveryoneinvolved.Whilstprovidinganurturingenvironmentforthepotentialprofessionalsoftomorrowisaclearresponsibilityofany

Orchestra,theLSOalsohasawideraimofinvolvingasmanypeopleaspossibleinmusic-making,soitwasimportanttosharetheseidealswiththeyoungMediterraneanmusicianstoo.Asaresult,theLSOmusiciansalsoencouragedandenabledtheyoungmusicianstomentorotherlessexperiencedyoungpeopleintheFestival’sJuniorYouthOrchestra.Focusingonprofessionalrepertoirethathasbeenre-arrangedfordifferent

KathrynMcDowellManaging Director, London Symphony Orchestra

KATHRYN MCDOWELL’S EXPERIENCE

A PRODUCTIVE PARTNERSHIP

Between 2010 and 2014, the London Symphony Orchestra has been invited to be in residence at the Festival d’Aix. The presence of these top level musicians, highly experienced in mediation, has profoundly marked the development of the socio-artistic acti-vities of the Festival. Four years later, the formation continues still today to accompany every summer The Mediterranean Youth Orchestra. Their Director Kathryn McDowell, looks back over this unprecedented collaboration.



28

abilities,themoreexperiencedyoungpeoplecouldsharetheirskillswiththeyoungerones,underthewatchfuleyeoftheirownmentorsfromtheLSO.Inthisway,wedevelopnotonlythemusicalskillsbuttheabilitytocommunicatethoseskillsmorewidelyandthenotionofbeingarolemodeltoothers,whateverone’sageandstage.

AlongsidethisdevelopmentoftheMYOitself,BernardFoccroulleproposedthatweshouldcreateaforumforthesharingofideasandbestpractice–somethingIhavealwaysadmiredintheFrenchapproachtodevelopingthearts.OverthelasttenyearstherehasbeenagrowingdialogueofthemusiceducationleadersfromtheseMediterraneanlands,throughanannualconferenceinAixrunningalongsidetheMYO’sannualcourse.Ithasbeeninspirationaltohearhoweachcountryhashandledkeyissuessuchasthetensioninmusicaltrainingbetweenindigenousmusicalstylesandwes-ternclassicalorjazz;ortheextenttowhichyoungmusiciansaretrainedinaspectsofcommunityengagementalongsidetheirformaltechnicaltraining;orthemorestraightforward,butnonethelesschallengingmatteroffundingformusiceducation.Ithasbeenatrulyinspiringplatformforusall-builtonmutualtrustandunderstanding–inwhichwecouldexpandhorizonsandpushtheboundariesofourworkwithyoungmusicians.

WhatisremarkableabouttheMYOrelationshipistherichnessofpartnershipswithinit–theculturaldifferencesbeingres-pectedandtranscendedthroughmusic–IshallneverforgetthecheerfortheyoungboyfromSyriawhojoinedusattheheightofthetensionsinhisland.

AsBernardFoccroulledepartsfromAix,heleavesawonderfullegacyonwhichotherscanbuild,andwethankhimwhole-heartedlyforthat.Inthewordsofoneparticipantsomeyearsago:‘IwassosurprisedabouthowmuchIlearned…Itwasaverypowerfulexperiencetoworkwiththeprofessionalmu-siciansandwithveryyoungchildren.Everyoneconcentratedsomuchontheirroleandfeltsoimportantintheproject.Itwaslovelywheneveryonecametogether.

KathrynMcDowellManaging Director, London Symphony Orchestra



29

MYO

’sre

hear

sals

con

duct

edb

yLS

Om

usic

ians

,201

5

MEDINEASUPPORT PROFESSIONAL INTEGRATION OF

YOUNG ARTISTS IN THE MEDITERRANEAN BASINMedinea [ Mediterranean Incubator for Emerging Artists ] has its origins in the desire of the partners of the Mediterranean Youth Orchestra to accompany more closely the new generation of Mediterranean artists. Founded and piloted by the Festival d’Aix, the network supports the occupational integration of young musicians by developing intercultural projects encouraging dialogue, transmission and mobility within the Mediterranean basin. The network brings together around thirty festivals, cultural centres, professional music salons and further education establishments, implanted in the Mediterranean basin.

TUNISIACITÉ DE LA CULTURE IN TUNIS

TheFestivald’AixandtheMediterraneanYouthOrchestrahavebecomeovertheyearsanessentialmeetingpointforyoungTunisianmusicians.Thetrainingprogrammesonofferareagoldenopportunityforthemtobeconfrontedwithhighlevelprofessionalswhohelpthemtoincreasetheirexigencyinorchestralwork.Itisalsoauniquehumanandartisticexperiencetobeabletosharethestagewithmusiciansofdifferentoriginsinordertoformtogetheramosaicandanattractiveimageofwhattheworldshouldbetoday.WhatgivestothiscooperationwiththeAcadémieevenmoresenseisitsorganisa-tionasanetwork.Medineaisacollectiveprojectwhichcontributestostrengtheningreciprocityintheexchangeswiththepartnercountriesandleadstointerculturalpro-jectsopeninguptothediversityofartisticlanguages.Todayitisanartisticfamily,aninfalliblesupporttoyoungartistsandanincubatorforinnovativeinterculturalprojects.

Saima SamoudDirector of the Centre for Music and Opera

MALTAARC RESEARCH & CONSULTANCY

TheMediterraneanYouthOrchestraandthenetworkMedineaconstituteanidealenvironmentforemergingMalteseartists.Theygivethemtheopportunitytotakepartinaprestigiousinternationalfestival,aswellasqualityprojectswhichstimulatetheirartisticdevelopmentbyenrichingitwithaninterculturaldimension.Thecontactsthattheyestablishenableourartiststobenefitfromanetworkofartistsandpedagoguescomingfromdifferenthorizons.Thisdiversityisaninvitationtoknoweachotherbetter,tojoinforcesinaestheticexperimentsandcreativerisktaking–creationisbythewayattheveryheartofMedinea.WorkingwithmusicianscomingfromdifferenttraditionsandcultureshasenrichedthemusicalknowledgeofalltheMaltesemusicianswhohavetakenpartintheprogramme.Thisinterculturalapproachenablesthemtoperceivemusicfromanewangle.

Davinia GaleaGeneral Director

GREECENATIONAL CONSERVATOIRE OF ATHENS

Thefutureofayoungmusicianatthebe-ginningofhis/hercareerdependsontwoelements:thequalityofhis/herfurthereducationtrainingandtheopportunitiesofperformingatmajormusicalevents.ThesetwoelementsarepreciselyattheveryheartoftheprogrammesonoffersogenerouslybytheFestivald’AixanditsAcadémietoyoungmusicianswhotakepartintheactivitiesoftheMediterraneanYouthOrchestra(MYO)andofMedineanetwork.Foundedin1926bytheGreekcomposerManolisKalomiris,theNationalConser-vatoireofAthenshasbeenapartneroftheMYOforsixyearsnow.WehavenotedthebenefitswhichourchosenstudentshavebeenabletoprofitfromthankstothisexperienceinAix-en-Provence.Overthecourseofthemasterclassesandtheconcerts,theyincreasedtheirmusicalknowledgeandtheiraptitudetoperformonstage.TheyalsohadauniqueopportunitytomeetandforgeinvaluableconnectionswithotheryoungpromisingmusicianswhocomefromthefourcornersoftheMediterranean.

Hara KalomiriGeneral Director of Ethniko Odeio

PARTNERS TESTIMONIALS



30

ALBANIATHE TIRANA UNIVERSITY OF THE ARTS

ThefirstcontactsbetweentheMediterraneanYouthOrchestra(MYO)andAlbaniatookplacein1995.Upuntilthebeginningofthe1990’sourcountrywasveryisolated.ThetrainingprogrammeproposedbytheMYOwasthereforeoneofthefirstoppor-tunitiesofferedtotheyounggenerationtodiscoverwhatwasthengoingoninEurope!Twentyyearslater,morethanahundredAlbanianmusicianshavebeenselectedtotakepartintheseactivities.AmongsttheseasignificantnumberaretodaypursuingacareerabroadinorchestrasinFrance,Italy,Germany,andtheUnitedStates.Ihadthechanceoftakingpartinthepe-dagogicalsupervisionoftheMYObetween2000and2006.Iwitnessedfirsthandthisextraordinaryencounterofculturesanddifferentteachingtraditions.Atthattime,Isawincredibleenergiessetfreeduringthesessions.SomethingmagicalalwayshappensduringtheMYOconcerts.Sometimestheyoungmusicianssucceededingoingbeyondthedeterminedobjectives.Whenyoutakealookatthelistofconduc-torsandmusiciansinvitedtointerveneatthetrainingsessions,youcanonlybeimpressed:thereareexclusivelyhighlevelinternationalprofessionals.ThistendencydidinfactbecomeevenmoreaccentuatedwiththearrivaloftheMYOattheheartoftheAcadémieduFestivald’Aix.ThemusiciansoftheLondonSymphonyOrchestrawhohavebeentakingpartinthepedagogicalsupervisionsince2010havepassedontotheorchestraandtoitsyounginstrumen-taliststheirprofessionalism,theirartisticdisciplineandtheirmusicalexigency.

Bujar SykjaViolin professor

Cair

oJa

zzS

tati

onc

once

rt,2

017

Ziry

âbe

tnou

sco

ncer

t,20

16

Cair

oJa

zzS

tati

ona

tMak

anin

Cai

ro



31

THE BUTTERFLY EFFECT

You took part in 2011 and 2012 in the Mediterranean Youth Orchestra, which proposes training sessions to instrumentalists auditioned in the countries of the Mediterranean basin. Tell us about this adventure and its place in your career.

Ibegantheviolinateightyearsofage,whichisratherearlyinTunisia.Aftermybaccalaureatein2007,IwenttotheHi-gherMusicalEducationInstituteinTunis(l’InstitutsupérieurdemusiquedeTunis),withasmyspeciality«Westernviolin».Everyyear,IsawpostersonthewallsoftheestablishmentannouncingtheauditionsfortheMediterraneanYouthOrchestraandIdecidedtoapplyfollowingtheadviceofoneofmyprofessors.Iwasselectedtoparticipateinthesymphonicsessionof2011whichwasdirectedbyFrançois-XavierRothinAix-en-Provence.Atthattime,IhadnotyetleftTunisiaveryoftentogotoaforeigncountry.DuringmytrainingattheHigherMusicalEducationInstituteinTunis,Ihadhadtheopportunityoftakingpartinseveralconcertsattheendoftheyear,butthesewerenotwithpermanentensembles.Iwaswellpreparedtechnically,butitwasthefirsttimethatIhadbeenpartofarealorchestra.Iwasquiteintimidatedatthebeginningofthesession:itisratherimpressivetofindyourselfinthemiddleofahundredmusicianswhotunetogether!Afterthefirstworkingsessions,thisfeelingveryquicklydisappeared.Irealisedthatmydeskpartnerswerenottheretojudgeme.Quiteonthecontrary.Wewerebroughttogetherinorderthateachoneofuslearnsfromtheotherwiththeobjectiveofpreparinga

The violinist Mohamed Bouslama discovered the life of a symphonic ensemble by taking part in the summer sessions of the Mediterranean Youth Orchestra in Aix-en-Provence. This experience deeply marked his career and his way of considering the Tunisian musical landscape.

INTERVIEW WITH MOHAMED BOUSLAMAInterviewbyÉmilieDelorme,Marie-LaureFavierandLouisGeisler

beautifulconcert.Verystrongtiesdevelopedbetweenus,notonlymusicalbutamicable.Ihavefantasticmemoriesofthisexperience:Iwasplungedintoacosmopolitanworlddevotedtoclassicalmusic,withyoungpeopleofaveryhighlevel,underthedirectionofagreatconductorandtutoredbymusiciansoftheLondonSymphonyOrchestra.WhentheAcadémieduFestivald’AixproposedtometocomebacktoAixthefollowingsummerforanewsession,itwasoneofthemostbeautifuldaysinmylife!Istillfollowtheactivitiesoftheorchestra.Forexample,in2015,IwasabletoattendanMYOconcertattheElJemFestivalIwasveryproudtosaytomyselfthatItoo,hadbeenpartofthisensemble.

What has been the impact of this experience on your career?

JustafterhavingbeenwiththeMYOIhadtheopportunityofplayinginsomeensemblesforafewconcertsinFrance.WhenIgotbacktoTunisia,Ihadonlyonethinginmind:becomeamusicianinaclassicalorchestra.ItmustbesaidthatthisprofessionisfarfrombeingalucrativeoneinTunisia.Youhavetobepassionateinordertogointoit.Idecidedtocreatemyownensemble,theQuatuorCadences,withAkramBenRomdhane(violin),AfifBouslama(viola)andFaroukS’habou(cello).WetriedtofindprofessorsinTunisia,fundersandconcertpossibilities,butitwasveryhard.Withoutdiscouragingourselves,in2014weappliedforthechambermusicresidencyattheAca-démieduFestivald’Aix.Weclearlydidnothavetherequiredlevel,butwewereofferedtheopportunitytocometoAixtohavesome



MohamedBouslamaViolinist, Member of the Quatuor Cadences (Tunisia)

» ParticipantintheMYOsymphonicsession(2011,2012)

» Participantinthechambermusicresidency(2015)

» ParticipantintheOutreachskillsWorkshop(2015to2017)

» ApprenticeshipwiththeBélaQuartet(since2016)

forworkingandcreating.IamtryingtoinspiremyselfwiththeAcadémieinordertodevelopsimilartrainingprojectsthere.Idreamforexampleofcreatingaresidency

lessonswithDavidAlbermanandtheQuatuorModiglianionthefringeoftheresidency.ItwasduringthistimethattheAcadémieputusincontactwiththeQuatuorBéla.Wedevelopedaverystrongandsingularcontactwiththem.Forthreeyearsnow,theyhaveneverceasedtoaccompanyus,tohelpusandproposescorestous.In2016theycametoTunis.Wewereveryproudtowelcomethem.ItwaslikeinvitingtheAcadémieduFestivald’AixtoTunis.TheysharedtheirexperiencewiththestudentsofHigherMusicalEducationInstituteinTunisandevenpreparedthestudentsfortheauditionsfortheMYO.Twoyearslatertheseyoungpeoplestilllivewiththesouvenirofthatencounter:themajorityofthemhadneverseenaquartetonstage,ifonlyoninternet.Weplayedwiththemthetwo pieces for string octet byShostakovich.Itremainsformeanabsolutelymagicalmemory.

Your story with the Académie also took place in the domain of pedagogy and mediation.

Absolutely.TheAcadémieaskedmetotakepartintheOutreachskillsWorkshopwhichtrainsartiststopassontheirknowledgenotonlytoveryyoungamateurinstrumentalistsbutalsotochildrenwithoutanyparticularmusicaltraining.Itisaveryenrichingexperience:youlearntogive,tomountprojects,toconfrontyourself“inthefield”withunknownpersons,managegroups…Followingthistraining,IledworkshopsinschoolsinAixbasedonthediscoveryoftraditionalTunisianmusic,foraprojectgiveninFebruary2018attheGrandThéâtredeProvence,andinwhichtheQuatuorBélaparticipated.

Your ties to the Festival d’Aix have profoundly marked your artistic and professional development. Do you think that the activities of the Académie and the MYO have a concrete impact notably in the domain of training in Tunisia?

Icanonlyspeakinthelightofmyexperience,butIthinkthattheseinitiativesreallydohaveanimpact.EverystudentattheHigherMusicalEducationInstituteinTuniswhotakespartintheMYOsessionscomesbackenthusiasticandencouragestheircomradestoauditiontoattempttheadventure.NexttomycareerasamusicianIamcurrentlyworkingasproductionmanagerfortheCitédelaCulturedeTunis.Itisanabsolutelymagnificentvenue,inanidealenvironment

Ouv

ertu

re[s

] wit

hth

eBé

laa

ndC

aden

ces

Qua

rtet

,201

6

devotedtostringquartets.Tunisiaproposestodayagreatvarietyofconcertsandperfor-mances,butweneednowtodeveloparealtrainingpolicyfedbyalong-termstrategy.


33


TRAIN ARTISTS OF TOMORROW

Hid

den

in P

lain

Sig

ht,2

016

34

ChristianeLouisCareer development coach (France)

» CoachforthechambermusicresidencyandtotheinterculturalcreationsessionsoftheMYOsince2016

» CoachforthePinocchioresidency(2017)

E veryyeartensofartistscometoAix-en-Provence,invitedtofollowthedifferentpro-grammes.Theycomefromeverywhereandpracticechambermusic,singingorcom-positionatthehighestlevel.OtherscrosseachotherontheMediterraneanroutesand

cometogethertointensifytheirorchestralworkorattempttofindtheirwaytocreationandimprovisation.Theyallbenefitfromapersonalisedexcellentartisticaccompaniment.TheseyoungartistsmakethemostoftheAcadémieduFestivald’Aix’sprivilegedartisticenviron-mentonaccountofitsartisticreputation,butalsoforitsprofessionalintegrationdimension.

Forthecareerofanartisttoday,talent,brio,instrumentalorvocalvirtuosity,themasteringofclassicalrepertoiresandcreationareattheheartoftheprofessionofbeingamusicianandmustnecessarilybecompletedbyothermoretrivial,butsoverynecessaryskills!Thisconcernsaspectsofcommunication,organisationandthestructuringofartisticactivity,knowledgeoftheprofessionalenvironmentandthecapacitytointegratenetworks:allofthisistheembodimentoftheskillslinkedtotheconceptionandorganisationofartisticandculturalprojectswhichareviablepertinentanddiversified.

Whatevertheirdiscipline,theyoungmusiciansareassistedintheirreflectionupontheirpro-fessionaldevelopmentstrategyinaccordancewithatleastthreeparameters.Thefirstconcernstheveryessenceoftheirartisticcareerwhich,characterisedbyuncertainty,makessuccessaswellasfailuredifficulttopredict,followedbythehighlevelofcompetitiononthelimitedemploymentmarketandfinallytheeconomicclimatewhichischaracterisedbyaweakeningofpublicsubsidyforculture.Wecanthereforeunderstandtheimportanceandtheinterest

formusicianstomakethemostnotonlyofthecreativeandexperimentalopportunitiesproposedbytheAcadémie,ofthepossibilitytoperforminpublic,ofcomingacrossnumerousactorsfromthemusicprofessionwhoarepresentduringtheFestival,butalsobeginningtoreflectupontheirfutureandtheirroleasamusicianinsociety.

Theseneedsandtheseprofessionalrealitiesarebeingincrea-singlyidentifiedbyartists.Itisinthissensethattheyapproachthemediationworkshopsofwhichmultiplepropositionsareemergingateverylevelofartisticaction.Thesearealsomomentsofexchangeontheelaborationoftheirprofessionalproject,theircommunicationtools,theirsalesandnetworkingstrategy,whichtakeplaceintheformofworkshopsorindividualinterviews.

ThequestionofintegrationandtheprofessionalisationofmusiciansisathemecentraltothetrainingcoursesproposedatthemedialibraryofthePhilharmoniedeParis.When

theAcadémieapproachedusinordertodeterminethemethodologywiththeresidents,werepliedwithenthusiasmandhumility.Thevarietyandtherichnessoftheprofiles–stringquartets,composers,improvisers,singersfromdifferentgeographicorigins,careerpathsandmotivations,withoutforgettingtheabsenceof“magicformulas”asfarasartisticcareersareconcerned,necessitatelisteningattentively,theadaptationofinformation,resourcesandpossiblecoursesofactionforeverybody.Mostimportantlyperhapswastoestablishthelinkbetweenalltheprofessionalopeningscreatedbythisprivilegedmoment:tobecomeawareoftheparamountimportanceoflegitimisationnetworks,thestagesoftheelaborationandthecommunicationofanidentityfortheartist,theimportanceoftheaudienceandthemediationwork,encounterswithotherartistsandcreatorsandtheperspectiveswhichcomeoutofthis,andaboveallthattheartisticworkisfirmlysetintherealityoftheworld.AsFranzLisztwrote“theartsarethesurestmeansofavoidingtheworld;theyarealsothesurestmeansofbeingunitedwithit.”

35

WHY MOZART?

You have taught Mozartian vocal music to young singers and pianists-vocal coaches from the Académie du Festival d’Aix every summer since 2008. How did this exemplary loyalty to the Festival d’Aix come about?

IbeganrunningtheMozartresidencyoftheAcadémieduFestivald’AixattheinvitationofBernardFoccroulle,shortlyafterhisappointmentasheadoftheFestival.WehadmetinBrusselswhenhewastheDirectorofLaMonnaie.Hehadproposedtometheretogiveabouttenmasterclassesperyeartoyoungartistsfromtheoperastudio.ComingtoAixwasalittlebitlikecontinuingtheworkIhadbeguninBelgium.

During your career you built up a singular approach to the voice and to pedagogy, based on psychological and physiological principles that you developed in your work The Human Voice. Can you explain to us the broad principles of your teaching method?

Itrytoindividuallyanalysethesingersinordertogivethemsatisfactoryadviceinaccordancewiththeirskills,theirneedsandtheirlevel.Thebodyisthesinger’sinstru-ment.Everyvoiceisuniqueanddependsdirectlyonthephysiologicalconstitutionandmuscularconfigurationoftheindivi-dual.Myworkisbasedonajointanalysisofthevoiceandofthemorphology,whichenablestheguidanceofthesingerintheconstructionoftheirinstrument.Myadvicevariesfromoneartisttoanother,eveniftheredoexistcertaintypologies.Certainsingershaveabodyandavoicewhichare

For more than twenty-five years Susanna Eken has taught singing at the Royal Danish Conservatory to young artists from all over the world and gives numerous conferences and master classes throughout Europe. She has been in charge of the Mozart Residency at the Académie du Festival d’Aix for ten years, where she assists young singers in becoming skilled singers thanks to the works of the Austrian composer.

INTERVIEW WITH SUSANNA EKENInterviewbyLouisGeisler

veryflexible,othersaremorestiffandtight,butitiscrucialtoadjustyourteachingtoeachindividual.

If the Académie regularly proposes singing residencies, devoted to lieder, French melody or contemporary music, the Mozart residency is one of its indispensable training programmes, proposed every summer since 1998. Is this only a result of the Festival’s Mozartian tradition?

TheMozartianrepertoireasmuchinitsformsasinitscontent,isveryimportantforyoungsingers,becauseitallowsanapproachtoallaspectsofvocalmusic.Ithelpsthembuildtheirinstrument,developavoicecapableofsingingoperaticmusic,whatevertherepertoirestowardswhichtheymaywishtoturnto.InMozart’stime,orchestraswereofareasonablesize.Hisworks,whilstbeingdemanding,allowedyoungsingerstoworkontheirbasictechniquewithoutforcingorhavingtosingtooloudly.YouhavetobeagoodmusiciantosingMozart!

The singing residencies of the Académie are relatively short – about 12 days – but intensive, punctuated with individual and group work, public master classes and concerts. What do you want to bring to the young singers who take part in them?

IactuallywouldlikethemtobecomegoodMozartiansandthattheylearnevenmoreaboutlegato,coloratura,phrasingandhowitworkswiththeGermanorItalianlanguage,melodicallyaswellasharmonically.



SusannaEkenSinging Professor (Denmark)

» ProfessorattheMozartresidency(2008–2018)

theguestsingers.Itisasingularexperienceandstimulatingfortheseyoungsingers.Andtheyadoreit!

You have eleven times directed the Mozart residency. What is the event which stands out for you the most during all these years?

Therehavebeensomanyofthem…AtthismomentintimeIrememberafinalconcertofthe2014residency.Itwasthefirsttime

What is the impact of the Festival environment on the young singers and pianists of the Académie during their stay in Aix?

ThereareanawfullotofprogrammesforyoungartistsinEuropeandintheUnitedStatesduringthesummer.WhatisuniqueinAix,istheprofusionofartisticpropositions,betweentheconcerts,therehearsals,theoperasinexcitingstagings,withoutmentio-ningthemusicalleveloftheorchestrasand

Mas

terc

lass

by

Susa

nna

Eken

,201

7

thatwehadproposedaprogrammeintheformofa“collage”,combiningairsfromthelastactofDon GiovanniwithextractsfromMozart’sRequiem.Thereactionofthespectatorswasveryforceful,someofthemevenwept.Itisfascinatingtoobservethatwecancreatesomethingdifferentandnewwithworksfromtherepertoirewhicharesowellknown.


37


MUSICAL, DRAMATIC AND THEATRICAL

MARATHON

The British choreographer Leah Hausman teaches the tech-niques of gesture, deportment and movement in several British conservatories and opera studios. Since 2012 she is regularly invited to intervene with the soloists of the Mozart residency of the Académie du Festival d’Aix, for whom she creates a semi-staged final concert each summer.

T heMozartresidencyisaneventwhichgenerateswithinmeagreatdealofenthusiasmandalittlebitofapprehension.Itisimpossibletoknowwithwhat

thisthistwoweekadventure,veritablemusicaldramaticandtheatricalmarathonisgoingtoendup.Mozartplaystheroleofaspringboardforagroupofyoungpromisingsingersandpianists.Onethingisforsure:eachoneofthemisgoingtobetransformedbytheexperiencehe/sheisgoingtolive.Thismetamorphosisis,Ibelieve,positiveforthemostpart.ItakeasproofthenumerousparticipantsthatIcomeacrosslateron,allovertheworldaspartofmyprofessionalactivity.AsamatteroffactIamcurrentlyworkinginGermanywithayoungRussiantenor,who,fouryearsago,wasinresidenceattheAcadémie.Isn’tthatmarvellous?

Allofmyworkwithsingersisarticulatedaroundmovement.MyapproachformsaperfectalliancewiththatofSusannaEkenforwhomthedynamicbetweenthought,breathcontrolprojectionisrightlysoprimordial.Nothingescapesherobservationofthesingers.Thevocaldiffultiesthattheycancomeacrossarecloselyscrutinisedthroughphysicality,whichissoveryoftenamirrorofthevoice.Iamamazedbythekeennessofherobservationwhichgoesoverandabovetheevaluationofvocaltechnique.Itrevealstohertheveryessenceofwhatasingerisprojecting,hisinimitablevocalidentity.Bothofus,

wearepassionatelyinsearchofopennessandclaritywhichweliketospiceupwithasoupçonofmischief!

InAix,trainingandcreativeprocessshouldbesynonymous–anditisthissynergywhichmakesmecomebacktotheFestivaleverysummer.Thisiswhyourtwoweeksofresidencyculminateinashortsemi-stagedshowthatweimagineoverafewafternoonsunderascorchingsun,inthemagicsettingofthecourtyardoftheHôtelMaynierd’Oppède,accompaniedbyanexceptionaltechnicalteam.Coaching,vocaltrainingandmovementmasterclasses,everythingisputtoonesideinordertomergeintotheimpromptucreationofabriefdramaticspectaclecomposedofoperaairsandensemblesfollowinganarrativestoryline.Amarvelousmomentwhichsumsupthe

veryspiritoftheAcadémie.Nosets,orcostumesofanysort,nothingbutourmagnificentyoungartists,apublickeentolistentothem,thecryoftheswallowsatsunsetandashareddesiretoelevateourselvesthroughmusic.

LeahHausmanChoreographer (United Kingdom)

» MovementCoachinLa clemenza di Tito(2011)andThe Rake’s Progress(2017)» CoachontheMozartresidencies(since2013,exceptin2017)

andMelody&Creation(2016)» CoachintheOperaCreationWorkshop(2015),inthesymphonicsession

oftheMYO(2016)andinthechambermusicresidency(2016)

LEAH HAUSMAN’S EXPERIENCE



38

Fina

lcon

cert

oft

heM

ozar

tRes

iden

cy,2

014



39

OUTREACH SKILLS-ARTISTS

anexperienceofteaching,otherssing,playorcomposemagnificently.

Geneviève Sorin:MyparticipationintheOutreachSkillsWorkshopismorerecent.Ibeganthreeyearsago,foraworkshopwithRaphaëlImbert,beforeworkingwithMark.Itisaprogrammeofgreatdiversityandtransversality.EachCoachhashisownfieldofmediation:asforme,Iworkonbodylanguage,MarkandRaphaëlonmusicalcreation,eachofushasaspecialfeaturebutwehaveestablishedaveryrichcollaboration,inwhichallthedomainsfollowalogicalsequence.Alltheartistswhoparticipateintheprogramme,whatevertheirmusicallevel,takeanenormouspleasureinsharing.Theydemonstrateagooddealofopennessandgoodwill.Ihaveseldomcomeacrosssuchalevelofcommitment.

What do you want to pass on to the young artists who take part in the Outreach skills programme?

Mark Withers:Itrytosharemyexperience.However,myaimisnottoteachthemaskilloratechnique,buttoguidethemintheirowndevelopmentandteachthemhowtoavoidthepitfalls.Eachoneofthemhasideas,personalitiesanddifferenttalents.Iencouragethemtoconsideramultitudeofapproaches.Itisaquestionofopeningupthefieldofpossibilities. Itisuptothemtofindthepathwhichsuitsthembesttobeabletocommunicate.Thereareanenormousnumberofwaysforanartisttomakecontactwithanaudience,fromthetraditionalformoftheconcertuptothemoreintimateformofanartistplayingin

Since 2011, the Outreach Skills Workshop of the Académie du Festival d’Aix proposes to future professional singers and musicians who show a sensitivity to pedagogy to benefit from a training course relating to questions of mediation and of initiation to music for the young and audiences which do not have access to it..

INTERVIEW WITH MARK WITHERS AND GENEVIÈVE SORINInterviewbyÉmilieDelormeandLouisGeisler

inahospitalbedroom.Ourroleistoopenuptheentirerangeofpossibilities.Thetrueapprenticeshipbythewaytakesplacethankstotheexperienceinthefield.Theseyoungartistslearnanenormousamountduringthein-situsessionsinwhichtheyhaveadirectcontactwiththeaudiences.Theythenfeelthattheyhavetoachieve.ItisoneofthespecificfeatureswhichtheFestivald’Aix-en-Provenceproposes.

Geneviève Sorin:Markisright.Wehavetoproposetherighttoolstothem,butitisuptothemtotakeholdofthem.Itrytomakethembeconsciousoftheirbody,andthemannerinwhichtheirbodyintervenesinallrelations.Precisionanddisciplineareimportant,butitisalsonecessarytobeopen.

Mark Withers:IhavealwaysbeenstruckbythespiritwithwhichGenevièveworkswiththeseyoungartists.Sheknowshowtocreateaframeworkwhichisbothveryseriousandveryjoyful.Thismixisvital.Wemustneverforgettheforceofjoyinallofouractions.

What does the presence of artists from different cultures bring to these training sessions?

Mark Withers: Thishastransformedourwayofworking.Beyondtheobviouscontributiontothegroupbythepresenceofimprovisors,everybodybringsinhisownvisionofworkandthediversityofapproaches,statesofmind,artisticexperiencesopenupthepossibilitiesforalltheparticipants.Theythereforegetoutoftheireverydayworld.Actually,itwouldbeveryinterestingand

What is your vision of the Outreach Skills programme?

Mark Withers:ItookpartinthecreationoftheOutreachSkillsWorkshop,whichwasorganisedontheoccasionofafour-yearresidencyoftheLondonSymphonyOrchestraattheFestivald’Aix.Fromtheoffsettheideawastoworkwithyoungtalentedmusicians,motivatedtotakepartintheactivitiesoftheeducationalandso-cio-artisticservicesoftheFestival.Itisaprivilegetoworkwiththeseyoungartists.Eachoneofthembringsinextremelyvariedcontributions:someofthemalreadyhave



MarkWithersClarinetist, head of pedagogical and participative projects (United Kingdom)

» ArtisticandPedagogicalCoordinatorofOutreachskillsprogramme(since2011)

» MusicalDirectorofBoras(2013)andofTheMusicalJourneyOuverture[s](2016)

» CoachofOrchestrasinSchool» Tutorinchambermusicresidencies

(2014–2017–2018),Pinocchio(2017),TheArtoftherecital(2018)andtheMYOSymphonicsessions(2017–2018)

THE FORCE OF JOY

passionatetopursuethisopeninginthedirectionofallthedisciplinesinopera:composition,setdesign,costumedesignetc.Itwouldalsobefantasticforthedevelopmentofanewartisticformwiththe“senior”Outreachartistswhohaveacquiredoveralltheseyearsagreatdealofexperience.WhynotpresentashowonstageattheThéâtredel’Archevêché?

Is there a memory which stands out particularly for you?

Geneviève Sorin: Irememberthepartici-pativeeventOuverture[s]whichtookplaceintheJasdeBouffanneighbourhoodin2016.Duringthefinalconcert,Markwasinthecentreofthedifferentgroupsinthemiddleofconductingallovertheplace.Ihadtheimpressionthathewasmulti-ten-tacular.Itwasverybeautiful.Therichnessoftheencountersonthisprojectremainswithinme.

Mark Withers:Yes,thiseventdidmarkusagreatdeal.Duringtherehearsals,wewentpastaninfants’schoolwhilstplaying:allthechildrenstoppedwhattheyweredoingandlookedatus.Itwasobviousthateveryoneofthematthatprecisemomentwantedtomakemusic.Onthefollowingdays,wemadesurethateverytimewewentpastthatschoolweplayedmusic.ImustalsomentionBoras,aprojectwhichinvolvedthreeoutreachskillsartistsinanexceptionalprojectonwhichwecollaboratedwiththechoreographerThierryThieûNiangandanintergenerationalgroupofComorianorigin.Itwasanopportunitytogofurtherintosomethingartistic.WhatisincredibleisthatalltheseactivitiesareattheheartoftheFestivalandofitsprogramming.


41


GenevièveSorinChoreographer (France)

» PedagogicalTutorofOutreachskillsprogramme(since2015)

» SpacedesignofTheMusicalJourneyOuverture[s] (2016)

» TutorofCreationandInnovationWorkshops(2016–2017)

ÉMILIE DELORMEDirector of the Académie du Festival d’Aix, of the Mediterranean Youth Orchestra and enoa and Medinea networks.

TheresidencyoftheLondonSymphonyOrchestra(LSO)attheFestivald’AixopenedupincrediblepossibilitiesforartisticparticipativeprojectsinwhichtheLSOmusiciansplayedadeterminingrole.Veryrapidlyaquestionwasposed:howtopursuethisworkoncetheLSOresidencywasfinished?WethereforedecidedtotrainartistsfromtheAcadémieduFestivald’AixinthemethodsusedbytheLSO.Thisiswhyasearlyas2010themusiciansoftheMediterraneanYouthOrchestra(MYO)wereincludedintheartisticeducationalprojects.ThesemusiciansweretheintermediariesbetweenthemusiciansoftheLSOandouraudiences.Theresultsofthisfirstexperiencehadclearlyshownthenecessitytogivestructuretoatrainingcourseinordertoprovidethenecessarytoolstosupervisethechildrenortheamateursandtoconceivemediationprojects.

Asearlyas2011MarkWithers,artisticandpedagogicalcoordinatoroftheLSO’sDiscoveryProgrammebegantrainingyoungartistsfromtheFestivald’AixwhowereabletoputintopracticewhattheylearntintheprojectsorganisedbyPasserelles,theeducationalandsocio-artisticserviceoftheFestival.Yearafteryearthetrainingcoursebecamestructuredandnowincludesseveralmodulesallowingartiststoacquirethetechniquesformanagingagroup,thetoolsfordevelopingtheirownmediationprojectsbasedonartisticpracticeandanaccompaniedexperiencewithdifferenttypesofaudience.OtherscoachesintervenedtoenrichthistrainingcoursewithabodilyandtheatricaldimensionsuchasGenevièveSorinandSybilleWilson,andopenedituptootherculturesandtoimprovisation,withRaphaëlImbert.

Thespecificfeatureofthesetrainingcoursesisalsobasedontheparticipationofartistsfromalldisciplinesandfromallmusicalcultures:singers,chambermusicensembles,orchestralmusicians,improvisers,therecruitmentbeinglargelypro-pagatedbytheenoaandMedinea.Finally,initiationmoduleshavebeenputinplaceforthemajorityoftheAcadémieresidenciestoenableafirstapproach.

Everyartistparticipatinginthisprogrammehasthereforetheopportunitytodiscoverhowtheen-counterwithnewaudiencescanstimulatehis/herowncreativityandenrichhis/herperformances.

SONIC AND PICTORIAL VIBRATIONS

In 2017, Bernard Foccroulle invited the painter Fabienne Verdier to come and experiment with the quartets of the Académie du Festival d’Aix a new form of creative process, in which music and painting come face to face to exchange. An unheard of and striking encounter for the artist and the young musicians.

W henIspoketoBernardFoccroulleaboutmyfirstexploratoryexperiencesbetweenasoundlineandapaintedlinewhichtookplaceinNewYorkatthe

JuilliardSchool,heaskedmeifIwouldaccepttocometotheAcadémieduFestivald’Aixandtakemyresearchonfurther,thistimeworkingwithoneofthemostemblematicofchambermusicformations:thestringquartet.

TheFestivald’AixandthecityofAixmadeavailabletometheChapelledelaVisitation,rueMignetforthewholesummer.TheAcadémieteamswishwasformetostudy,withfouryoungquartetsfromamongstthemosttalentedoftheirgeneration,howthespecificwritingforeverymusi-calwork,composedforthevibrationofsixteenstrings,couldbringout,throughthepaintbrush,structures,voidsandformswhichwouldmaketheseworksbeheardinanewway.TheapparatuswhichIimaginedconsistedofpaintingontranslucentpolyesterfilms,inconjunctionwiththemusic.Fourcamerassetuponaglass-toppedtablerecordedthelines,theformsandtheimpactswhichcametolifeoutoftheexchangesbetweenthetwovioliniststheviolistandthecellist,whowerethemselvesplacedinthemiddleoffourscreenswhichreproducedsi-multaneouslythebrushstrokesfilmedunderthetable.Fourworkswereattheheartoftheexperiment:Lo que no’ contamo’(stringquartet°2)composedbyOndrejAdámekin2010;Officium breve(op.28)composedbyGyörgyKurtágin1989;Ainsi la nuit,stringquartetcomposedbyHenriDutilleuxin1971;andQuartet in d minor op. 76 n°2composedbyJosephHaydnin1797.

Inthechapel,transformedintoalaboratory,theexchangesnolongertookplacebymeansofspeech,butdirectlybythesharingofmovingsonicandpictorialarchitectures.Thedailyworksessionsenabledustoseeandtohearforeachwork,

atextureinwhicheachelementvariatesbecomestangledeithercontinuallyordiscontinually,andwheretheunfo-reseenisessentialinamobilecomposition,neverceasingtoberenewed.Ourgesturesseemedtoanticipatethebrainimpulsesinasortofintuitivespontaneity,predictingthenotesandformstocome.

Ihadtolearnhowto«un-paint»ormorepreciselytosuggestformsandvolumesbytheremovalofmatterfromthepaintbrush.Graspthesonicconstructionsbytakingoffasmuchpaintaspossibleinordertobeabletoseethealmostimmaterialstructureofthemusicalwavesintheirsuspensions.Themusiciansinthemiddleofthesemovingformsexperimentednewrhythmicstructures,vibrationsandwaveswhichencouragedtheminthedirectionofaformofexpandedplaying.Thevideoinstallationwhichresultedfromthisworkshop-laboratorywasthenconceivedinorderthatthevisitorbeabletoimmersehimselfintheprocessofsonic

andpictorialcreationwhichemergesbeforeyoureyes.Thespectator,plungedinbetweenimmediatenessandduration,deviseshisownpointsofreferenceandexploresnewfieldsofperception.IbelievethattheexperimentscarriedoutbytheAcadémieallowcontemporarymusictobeperceivedinallitsforceandinventiveness.Thesharingofknowledgeandemotionshenceforthimmediate,requiresusasartiststoreactandtointer-reactwithaspontaneityandacomplexitywhichiscompletelynew.Byreunitingmusicandpainting,theAcadémiehasencouragedustoexploreunheardofin-teractiveexchangesinordertoenableonedayperhapsnewformsofconcert.

FabienneVerdierPainter (France)

» Coachinachambermusicresidencyforanartisticexperimentwithstringquartets(2017)

» Creationoftheseason’svisualfortheFestivald’Aix-en-Provence2017,Nuit d’opéra

FABIENNE VERDIER’S EXPERIENCE



42

Wor

ksho

pw

ith

Fabi

enne

Ver

dier

,201

7



43



44

Jaku

bJó

sefO

rlin

ski,

Ori

men

oin

Eri

smen

a,2

017

THE HSBC LAUREATES OF THE ACADÉMIE

A FRUITFUL AND LASTING PARTNERSHIP SERVING YOUNG TALENT

In 2017, the Académie du Festival d’Aix and HSBC France cele-brated the tenth year of a partnership devoted to the accom-paniment and the promotion of young artists. The label born of this alliance, the HSBC Laureates of the Académie du Festival d’Aix has never ceased to assert its notoriety. Today, HSBC France plays a major role in the influence of the Académie and has confirmed more than ever its commitment to young artists.

I nlinewiththeAcadémie’sactionintherealmofpro-fessionalintegration,thispartnership,yearafteryear,contributestotherecognitionofthesingers,pianistsvocal

coachesandchambermusicensembleswhohavebenefittedfromtheAcadémieprogrammeswhichnotablyencouragetheirencounterwiththeaudience.ThelabelHSBCLaureatesoftheAcadémieduFestivald’Aixistheresultofacollaborationfoundedonmutualconfidencewiththeartistsandprofessionals.

TheHSBCLaureatesarechosenbyanartisticcommitteefromtheFestivalwhorecognisesthetalent,thepersonality,theenthusiasmandtheopen-mindednessoftheseartists.Farfromcreatingacli-mateofcompetition,thisnominationenhancesallofthesenewgenerationsofperformers.TheHSBCLaureatesoftheAcadémiearetheproudambassadorsoftheFestival:whenontour,theyreflectanddefenditsimageofexcellenceandmodernityaswellasthatofopennessandsharing.

Inovertenyears,thelabelhasbeenbuiltup,refined,de-velopedandconfirmed,obtainingtodayarealprofessionalrecognition.ThepoolofnewtalentsthattheAcadémierepresentsbenefitsthankstoitfromavisibilitywhich,beyondFranceanditsneighbouringcountries,isexportedabroad.WithtentofifteenconcertsperyearandanannualrecordingreleasedontheAlphaClassicslabel,theHSBCLaureateslabelhasfoundfirstratepartnerswithwhoman

artisticconfidencecontinuestothrive:theLilleOpera,lesArt’Scènes(Nantes),theNationalSawdust(NewYork),ThePhilharmoniedeParis,lesGrandsInterprètes(Toulouse),TheFrenchMay(HongKong),leTeatrodeLago(FrutillarinChili)andalsotheSilencio(Paris).TheFestivald’Aix,proudofitstalents,naturallyofferthemaprominentplaceattheheartoftheconcertprogramme.

DrivenbytheAcadémie’sartisticexigencyasmuchasbyitsdesiretogobeyondclassicalcodesbyrenewingtheformoftherecital,equallyencouragedbythevisionarydynamicandsincerelovefortheartsthatisJoyHenderiks*,theHSBCLaureatesconcertshavebecomeovertheyearsrichanddi-versifiedprogrammesandconceivedwitharealdramaturgical

idea.Liedercyclewithnarrator,stringquartetconcertwithvideo,worldpremieres:theseprogrammesenableustohearandseeaknownandlessknownrepertoire,goingfromthebaroquetothemusicoftoday,intheimageofthediversityoftheFestival’sprogramme.

ThecurrentrenownoftheAcadémieanditsinternationalstandingoweagreatdealtothispartnership,builtuponqualityexchangesandcommonvalues,ofwhichtheyoungartistswelcomedbenefitfromeverysummerandallthroughtheyear.

*DirectorofExteriorRelationsandFundraisingattheheartofHSBCfrom2005to2017

PaulBriottetDeputy Director of the Académie du Festival d’Aix

PAUL BRIOTTET’S TRIBUNE



45


46


Van

Kui

jkQ

uart

et

FEEDBACK FROM THE HSBC LAUREATES

EXPERIENCES


47


BEATE MORDAL • SOPRANO (NORWAY)2015 HSBC Laureate

» Participantinthe2015VoiceandCreationresidency» Life Story Concert(2017)» RoleofNajadeinAriadne auf Naxos(2018)

IhadthechanceofparticipatingintheVoiceandCreationre-sidency’sAcadémiein2015.ItwastherethatImetthepianistNicolasRoyezwithwhomIimmediatelywantedtoworkwithinaduo.WhentheAcadémieaskedustobecomeHSBCLaureates,wecouldhardlybelieveit.Itwasadreamopportunitytoconceivearecitalprogrammetogether.NicolasandIwantedanewandstilmulatingprogrammewithmusicwhichsaidsomethingtous.ItwasthusthatourconcertLife Story,whichweperformedinseveralcitiesinFranceandNorwaywasborn.WehadchosenFrenchandEnglishcabaretsongs.Thetitleoftherecitalcamefromthefinalpieceontheprogramme,composedbyThomasAdèsonapoembyTennesseeWilliams.ItwasperhapsthemostdifficultrepertoirethatIhadhadtolearn,buteverythingispossiblewithdesireandapianistlikeNicolas.Theverynatureofthisprogrammeisrathertheatrical,andwewantedtointerpretittheatrically.PaulBriottet–theDeputyDirectoroftheAcadémieduFestivald’Aix–hadthebrilliantideaofcontactingtheEnglishchoreographerJosephW.Alford,whohelpedusfindideastoimagineasemi-stagingbothmelancholic–likeinarealcabaret–andfunny.NicolasandIfoundalittlebitofourselvesinthisstoryanditwasamusingtoplaywiththisdimension.Ialsoverymuchlikedtheideaofformingaduobothmusicalandtheatrical.Itisnoteverydaythatapianistbecomesanactor!IamextremelygratefulforalltheopportunitiesthattheFestivalofferedmeatthebeginningofmycareer.Ifeltfreetoexpressallmymusicality,evenifitcoversseveralgenres.Thisenabledmetodevelopabetterconfidenceinmyself,asanartistandasaperson,andtodeterminethedirectioninwhichIwantedtodevelopprofessionally.IamveryimpatienttoreturntoAixthissummerforAriadne auf Naxos attheThéâtredel’Archevêché.IwillalsosingnextseasoninWonderful TownbyBernsteinattheNationalOperaofDenmark.IthinkthatthiswouldneverhavehappenedifIhadn’tdaredtobedifferentanddonewhatIreallywantedtodo.TheAcadémieandtheFestivald’Aixbelievedinmeandshookupthebeginningofmycareer.

ALPHONSE CEMIN • PIANIST (FRANCE)2010 HSBC Laureate

» ParticipantintheLiedandcontemporaryrepertoireresidencies(2010)

» Pianist-vocalcoachattheRossiniresidency(2014)» Grieg, Wolf, Strauss, GrøndahlrecordingwithMariEriksmoen

(2015,Alpha-OuthereMusic)» ConcertsattheFestivald’Aix(2014–2015–2017–2018)» RehearsalPianistforWritten on Skin(2012),Elektra(2013),

Die Zauberflöte (2018)andAriadne auf Naxos(2018)» GabrielDussurgetPrize(2017)

ItookpartintheAcadémieduFestivald’Aixin2010.Itwasaresidencyintwoparts,devotedtocontemporarymusicandtolieder.ItwastherethatImetEmmanuelOlivier,anexcellentmusicianandpedagogue,ofthetypethathelpyoutounderstandwhatsortofmusicianyouareandHelmutDeutsch.Theencounterwiththesecondparticularlystruckme.HehadchosentoworkonMyrthen op. 25byRobertSchumannforalloftheyoungsingersandpianistsandhadgivenustheessentialinformationtoenableustofindourwayaroundthisprolificwork.IrememberhavingplayedagreatdealinconcertduringthosetendaysinAixbutalsointhesurroundingtownsonstagesmountedfortheoccasion.Amusicianwhateverhisage,needstoplayinordertomakepro-gressandforthis,theAcadémiemademeadvanceenormously.IthinkthatIhaveneverplayedsomanyconcertsinsolittletime!OneoftheessentialcharacteristicsoftheAcadémieisitsrelationtotheFestivalitself.Itislikeasmallfestivalwithinalargeone,independentbutneverthelessintimatelylinked.TheinterestwhichtheFestival’sartisticdirectionhasfortheAcadémieanditsparticipantsisthekeytoitssuccess.Numerousartists,mu-siciansbutalsodramaturges,whohavedevelopedstrongbondswiththeFestivalwhichhavebeendecisivefortheircareers.IhadthechanceofbeinginvitedasearlyasthefollowingsummertotakepartintheworldpremiereofWritten on SkinbyGeorgeBenjaminandMartinCrimp.EveryyeararoundtheemblematicMozartresidency,theresidencesfollowonfromeachotherbutdonotresembleeachother,theartistsinvitedtoteachandthethemeschangegivingtheopportunitytoyoungmusicianswithdifferentprofilestoparticipateinthem.


48


RUPERT CHARLESWORTH • TENOR (UNITED KINGDOM)2011 HSBC Laureate

» DamoninAcis and Galatea(2011),TenorinTrauernacht(2014),LysanderinA Midsummer Night’s Dream (2015),EinTanzmeisterinAriadne auf Naxos(2018)

» ConcertsintheFestival(2012,2016)» Nocturnesrecording(2015,OuthereMusic)

MyfirstparticipationintheAcadémieduFestivald’Aixgoesbackto2011.IwasgivenaroleinAcis and GalateabyHandel,presentedinthemagnificentsettingoftheGrandSaint-Jean.Itwasanexceptionalopportunity:myfirstprofessionaloperaproduction,evenbeforemygoinguptotheRoyalAcademyOperainLondon.Iwasthereforeabletoexperienceanenvironmentwhichwasbothdemandingandtrulyformative.Thelessonslearntturnedouttobeinfinitelyprecious,notonlyduringmystudies,butalsoatthebeginningofmycareer.ThisfirstengagementalsomarkedthebeginningofagreatrelationshipwiththeFestivald’Aixwhichwelcomedmebackthissummerforafourthoperaproduction.AttheendoftheperformancesofAcis and Galatea,IwasappointedHSBCLaureate.Thisdistinctionenabledmetomakearecording,Nocturnes,bringingtogetherthemostbeautifulrepertoireofme-lodiesandliederthatIhadeversung.Itwasanimmensepleasureperformingthisrepertoireinconcert,inAix-en-ProvenceandinnumerousotherexceptionalplacesthroughoutFrance,accom-paniedbymyfriendandlongtermmusicalpartnerthepianistEdwigeHerchenroder.Thistourwasnotonlyenrichingfromamusicalpointofview,butitalsohelpedmebecomebetterknowninFrancewhichisofinvaluablehelptobuildacareeronasolidbase.ItwasalsoawonderfulopportunitytopursuemyworkwithEdwigeonamoreintimaterepertoire,differenttomyoperaroles.ItisimpossibletodescribeeverythingthattheAcadémieandtheHSBCLaureateslabelhavedoneforme.TheFestivalteamshavealwaysbelievedinme.Withouttheirsupport,mycareerwouldprobablynotbewhatitistoday.

VAN KUIJK QUARTET (FRANCE)2014 HSBC Laureate

Nicolas Van Kuijk and Sylvain Favre-Bulle, (violinists) Emmanuel François, (violist)François Robin, (cellist)

» Participantinthechambermusicresidencies(2014–2015)» ConcertsattheFestivald’Aix(2015–2016–2017–2018)» Mozart recording(2016,co-productionFestivald’Aix–

AlphaClassics)» WorldpremiereofRequiembyMatthewHerbert(2017)

ForustheAcadémieduFestivald’Aixisanindispensablecentreofchambermusic.Itwasamajorstageofourmusicaladvancementandthedevelopmentofouryoungensemble.In2014and2015inAix,webenefittedfromteachingfrompres-tigiousprofessorsinidealresidencyconditions.Thisprivileged,intense,summery,hard-workingsetting,allowedustoworktothebestofourabilityinordereveryweektobeabletoreproducethefruitofourworkforthemasterclasses,whichattractedlargeaudiences,whowerebothwarmanddemanding.WhenwewereappointedHSBCLaureatesin2014theaccom-panimentoftheAcadémie’steamintensifiedwithnumerousconcertpropositionswithintheFestivalandthepromotionofourensemble.Italsoenabledustodevelopstrongandlastingrelationswithotherinstitutionsduringourtours,suchastheLilleOpera,theGunterCasparFoundationinZurichandalsotheFrenchMayinHongKongwherewemadeourAsiandebutin2016.TheAcadémiealsoco-producedourfirstrecordingdevotedtoMozart.ThiswonderfulexperienceisattheoriginofourencounterwithourexclusiverecordlabelAlphaClassics.WewereabletohaveunbelievablemusicaladventuresinAix,notablywithMatthewHerbert,awell-knownpersonalityinthedomainofelectronicmusic,who–quiteliterally–attackedaBeethovenstringquartet.OurcollaborationwiththeAcadémieallowsustodaytoinvestinevenmoreambitiousprojectsandtolooktowardscreation.


49


Beat

eM

orda

lin

Life

Sto

ry,2

017



50

Since2014,businesseschoosetoallocateapartoralloftheirapprenticeshiptaxtotheAcadémieduFestivald’Aix.

TheAcadémieduFestivald’AixisamemberofLabelCampusEco.

WE SUPPORT L’ACADÉMIE

THE ASSOCIATION OF FRIENDS OF THE FESTIVAL DONATE TO THE ACADÉMIE DU FESTIVAL D’AIX.

PUBLICATION TEAM

Editorial Coordination: LouisGeisler,CécileRobert Editorial Team: ÉmilieDelorme,LouisGeisler,PaulBriottet,Marie-LaureFavier,PaulineChaigne,CatherineRoques,CécileRobertPublication coordination: CécileRobert Graphic Conception: TansenBel Printer : PrintConceptEnglish Translation: ChristopherBayton

© Festival d’Aix-en-ProvenceHead Office: Palais de l’Ancien Archevêché - 13100 Aix-en-ProvenceN° de Licences entrepreneur de spectacles: 1-1085612/2-1000275/3-1000276

PHOTO CREDITS

© Vincent Beaume except:pages 6, 7 and 21:©ÉlisabethCarecchiopage 9:©PascalVictorDonGiovanniConductor: Jérémie Rhorer Stage director: Jean-François Sivadierpage 13:©AstridAckermannpage 14:©PatrickBergerTrauernacht (rehearsal)Conductor: Raphaël Pichon Stage director: Katie Mitchellpage 34:©Jean-ClaudeCarbonnepage 43:©PhilippeChancelpage 44:©PascalVictorErismenaConductor: Leonardo García Alarcón Stage director: Jean Bellorini



51

l’ac · académiedufestivald’aix-en-provence.it’s foundation by stéphane lissner in 1998 was...

Documents