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Home , Au monde, Julie (opera), Luc Bondy, Philippe Boesmans, Reigen (opera)

ACADÉMIE DU FESTIVAL D’AIX

WORKSHOP ARTISTICAL BOOKLET

— 2017 JUNE, 26 TO JULY, 5 — Creation Workshop

The Opera Creation Workshop is open each year to young creators from all disciplines and is a place for refl ection and discussion on artistic opera-related issues. This workshop seeks to defi ne current values of opera and the tasks it will assume in the future. Stage director, Katie Mitchell, and composer, , will open the debate on current opera creation together with its multi-disciplinary guise and enlighten it with their own experiences.

The Opera Creation Workshop is an workshop

The enoa network, of which the Festival d’Aix and its Académie are founder members, was born from the wish of a number of operatic institutions to work more closely together to support the professional integration of the young artists and to support the development of their artistic ambitions. With the backing of the Creative Europe programme, enoa launched its new programme designed for performers and creators, Young Opera Makers. It aims to provide young artists with a fi rst-rate training pathway using contemporary, multidisciplinary approach to opera; to give them experience of performing and of the creative process; and to support the development and dissemination of new operatic works which contribute to diversifying audiences. Today, thirteen members, thirteen associate partners, over a thousand young artists and some three hundred professionals make up the enoa community.

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European network of opera academies - enoa

enoa_community www.enoa-community.com TUTORS

STAGE DIRECTOR Katie MITCHELL COMPOSER Philippe BOESMANS

PARTICIPANTS

STAGE DIRECTOR | – Britten-Pears Academy Finn BEAMES

STAGE DIRECTOR Bérénice COLLET

STAGE DIRECTOR Aliénor DAUCHEZ

COMPOSER Alexandra GRIMAL

COMPOSER Patiparn JAIKAMPAN

COMPOSER Oliver LEITH

PLAYWRIGHT Laura LOMAS

COMPOSER | – Britten-Pears Academy Petter EKMAN

STAGE DIRECTOR | – Latvian National Opera Viesturs MEIKSANS

STAGE DIRECTOR | – Dutch National Opera Rennik-Jan NEGGERS

PLAYWRIGHT | – Bayerische Theaterakademie Kornelius PAEDE

SET DESIGNER | – Operosa Belgrade llija VIŠNJIC’

COMPOSER Jue WANG

STAGE DIRECTOR Eva-Maria WEISS > TUTOR KATIE MITCHELL STAGE DIRECTOR • UNITED KINGDOM

After studying literature, British artist Katie Mitchell began her career as an assistant in theatres, including the Royal Shakespeare Company. That’s where she directed, upon returning in 1996 from a cycle of residences in Eastern European (and particularly Polish) theatres, Euripides’s The Phoenician Women, which was enthusiastically received. Her company, Classics on a shoestring, then started creating ever more successful and acclaimed shows, reimagining classics from Greece, Britain, Scandinavia, and Russia and giving them new life through her sense of rhythm and use of music, dance, and video in her directions. Working with the most prestigious British and German theatres, Katie Mitchell has also led projects for television or the opera, and experimented with innovative forms, adapting novels for the theatre and collaborating with her contemporaries such as the writer or the scientist Stephen Emmott, with whom she created Ten Billion in 2012. Katie Mitchell has been an Associate Director at the RSC, National Theatre and The Royal Court Theatre. She was awarded an OBE in 2009 for services to drama and has recently been appointed as the Visiting Chair in Opera Studies at Oxford University for 2016-2017. Recent theatre includes: Anatomy of a Suicide (Royal Court); 4.48 Psychosis (Schauspielhaus, ); The Maids (Toneelgroep, Amsterdam); Shadows (Eurydice Speaks) (Schaubühne, Berlin); Cleansed (National Theatre); Ophelia’s Room (Schaubühne, Berlin and Royal Court); Reisende auf einem Bein (Schauspielhaus, Hamburg); Happy Days (Schauspielhaus, Hamburg); Brandstichter Festival: a remounting of five previous productions of Katie Mitchell’s work (Stadschouwburg, Amsterdam);2071 (Royal Court); The Cherry Orchard (); The Forbidden Zone ( and Schaubühne, Berlin); A Sorrow Beyond Dreams (Vienna ); Lungs, The Yellow Wallpaper (Schaubühne, Berlin); Everything Else You Know from the Movies (Schauspielhaus, Hamburg); Say it with Flowers, The Trial of Ubu (Hampstead Theatre); Night Train (Schauspiel, , Avignon Festival and Theater Treffen), Ten Billion (Royal Court, Avignon Festival); Rings of Saturn, Waves (Schauspiel, Cologne) and Hansel & Gretel, A Woman Killed with Kindness (National Theatre), De Meiden (Avignon Festival). Recent opera includes: Pelléas et Mélisande (Festival d’Aix-en-Provence); Lucia di Lammermoor (Royal Opera House); Alcina (Festival d’Aix-en-Provence); The Way Back Home (ENO/Young Vic); Trauernacht and The House Taken Over (Festival d’Aix-en-Provence); Le Vin herbé (Staatsoper, Berlin); Written on Skin (Festival d’Aix-en-Provence and Royal Opera House); Al gran sole carico d’amore (Staatsoper, Berlin and Salzburg Festival); Orest (De Nederlandse Opera) and Clemency (Royal Opera House). Film and television includes: Untitled Short Film (Warp/ Film4); The Widowing of Mrs Holroyd, Jenufa, Rough for Theatre 2 and The Turn of the Screw. > TUTOR PHILIPPE BOESMANS COMPOSER • BELGIUM

After having studied the piano at the Liege Conservatoire, Philippe Boesmans gave up his piano career in favour of composition, which he practically taught himself. Initially greatly intrigued by serialism, he soon felt it necessary to overcome its constraints and exclusions. Never dismissing this recent heritage, he nonetheless developed a profoundly personal musical language, at the very centre of which lay meaningful communication with his audience. As a producer at the television company RTBF (1961), Philippe Boesmans went on to become a composer in residence at the Monnaie Theatre between 1985 and 2007. Gerard Mortier commissioned several of his works, including La Passion de Gilles (1983), the Trakl-Lieder (1987) and his 1989 orchestration of L’Incoronazione di Poppea de Monteverdi. Also for the Monnaie Theatre, Bernard Foccroulle in 1993 commissioned a new opera, , created and staged by . That same year, the production toured to Strasbourg, continuing on to the Monnaie and the Théâatre du Châtelet in 1994, and the Frankfurt Opera in 1995. Reigen continued to be staged throughout the Nineties, for instance at the Nantes Opera (1997), the Wiener Opern Theatre (1997), in Braunschweig (1998) and Amsterdam (1999). A new version of the piece, adapted for chamber orchestra, was commissioned from Fabrizio Cassol by the Rhine National Opera, and staged by the Rhine Atelier at the Colmar Municipal Theatre in May 2005. Further performances were scheduled in Mulhouse, , Strasbourg and Lausanne. The Opera Studio Nederland toured in September and October 2007 in a staging of Harry Küpfer. In further collaboration with Luc Bondy, Boesmans created Wintermärchen, adapted from A Winter’s Tale of . It went in première at the Royal Monnaie Theatre in Brussels, in 1999. This production was performed the following year at the Lyon Opera, at the Châtelet in Paris, and at the Barcelona Liceo in 2004. Further performances were programmed in Braunschweig, Vienna and Nuremberg. The opera was recorded in 2000 under the Deutsche Gramophon label. The creation of , adapted from ’s Mademoiselle Julie with a libretto and staging by Luc Bondy took place in 2005 at and was programmed that same year at the Wiener Festwochen and at the Festival d’Aix-en-Provence. Other productions were programmed inter alia in Braunschweig (2006), in London in an English version (2007), Bolzano (2009) and in Sweden (2010). The last opera Philippe Boesmans composed was Yvonne after Yvonne, Princesse de Bourgogne from . This opera was commissioned by Gerard Mortier of the Opéra de Paris, where it went in première in 2009 to be later programmed at La Monnaie in 2010. A new version of his orchestration of L’Incoronazione di Poppea from Monteverdi, called Poppea e Nerone went in première at the opera of Madrid in June, 2012, in a production by Warlikowski. On March 30th, 2014, his latest opera was created at the Monnaie Theatre in Brussels on a libretto by Joël Pommerat. Philippe Boesmans’ works have gained important recognition: the Italia Prize for Upon La-Mi in 1971 and many recording awards: his Violin Concerto and Conversions recordings won no less than six prizes, including the Charles Cros Academy award and the Koussevitzky International Recording Prize. In 2000, he was awarded the Arthur Honegger Prize for the totality of his work, and he received the SACD Music Prize in May 2004. In December 2007, the DVD of Julie (BelAir Classiques) received several prices among which the Grand Prix Charles Cros. In 2009, for Yvonne, princesse de Bourgogne, Philippe Boesmans was awarded The Prix de la critique française for the best creation of the year and the CD received the Diapason d’Or, awarded by the eponymous magazine. In April 2015 in London, Philippe Boesmans received the International Opera Award for his opera Au monde, which was elected best world creation for 2014. The recording of Au Monde also received the Diapason d’Or.

Philippe Boesmans’ most important compositions include: Fanfare II for organ (1972) Sur MI for two pianos and percussion (1974) Doublures for instrumental ensemble (1976), commissioned by the Ensemble intercontemporain Concerto for Violin and Orchestra (1980) Trakl Lieder for and orchestra (1987) String Quartet n°1 (1988) Surfing for alto solo and instrumental ensemble (1989) Daydreams for marimba (1991) Love and Dance Tunes for baritone and piano (1993), after Shakespeare’s Sonnets Reigen (1993), opera in ten acts, libretto by Luc Bondy after ’s play Summer Dreams, string quartet n° 2 (1994) Ornamented Zone for clarinet, alto, violoncello and piano (1996), commissioned by the Ensemble intercontemporain Wintermärchen (1999), opera in four acts, libretto by Luc Bondy and Marie-Louise Bischofberger after The Winter’s Tale from William Shakespeare Julie (2005), opera in one act, libretto Luc Bondy and Marie-Louise Bischofberger after Fröken Julie from August Strindberg Keyboard sextet (2006) Yvonne, princesse de Bourgogne, opera in four acts, on a libretto by Luc Bondy and Marie-Louise Bischofberger after Witold Gombrowicz’s homonymous play (2009). Chambres d’à côté for instrumental ensemble (2010) Poppea e Nerone (2012) Au Monde (2014) (2017) > PARTICIPANT FINN BEAMES (artist name : FXXX BXXXXX) STAGE DIRECTOR • UNITED-KINGDOM

– Britten-Pears Academy FXXX is a British director and writer based in London and working internationally. He was the winner of the 2015 Genesis Future Directors Award at the Young Vic, as part of which he directed Man: 3 Plays by Tennessee Williams which sold out in the Clare theatre. He held the 2015 Lina Bo Bardi Fellowship, granted by the British Council and Sesc Sã o Paulo, after which he is creating an architecture-theatre hybrid project with Paloma Gormley, supported in the UK through the Jerwood Choreographic Research Project and by the British Council, and previously by Stroom Den Haag in the Netherlands. Titled Mass, the participatory piece is now being developed with London International Festival of Theatre and 10 other national partners. In 2016, FXXX began collaborating with opera singer Lucia Lucas in Germany and the UK with support from the Artists’ International Development Fund at Arts Council England, and started writing a new opera through the Music Theatre Creation Lab at Helsinki Festival with Santa Bušs. In 2014, through his producing alter ego, Oedipa, he libretto-wrote and directed a sold-out run of a new opera about depression, funded by The Wellcome Trust and ACE. In 2014, he also wrote, directed and designed a new music theatre work for the London Sinfonietta with composer Gavin Higgins, and in 2014-2015 he was a director and librettist on the Jerwood Opera Writing Programme at Aldeburgh Music. FXXX has since been commissioned with composer Santa Buš s to write a new opera for the 2018 Jaunie Latvijas Kamermu�zik�i in Saulkrasti (Latvia), and is also under commission to the Young Vic to write a play. For 2017, Oedipa is a Links Partner with the Royal Opera House, and will be developing an ethical producing model alongside senior staff members, as well as developing music theatre and opera projects. > PARTICIPANT BÉRÉNICE COLLET STAGE DIRECTOR • FRANCE

French stage director Bérénice Collet works both in the theatre and opera fields. For the opera, after Britten’s The Little sweep at Théâtre des Champs-Élysées in Paris, she made the world premiere of Germaine Tillion’s Le Verfügbar aux Enfers, at the Théâtre du Châtelet in 2007, largely greeted by the press and the audience. The production was also performed in 2010 in Ravensbrück for the 65th anniversary of the liberation of the camp. Since 2011, other productions include Verdi’s Rigoletto, Weber’s Abu Hassan and Mascagni’s Zanetto as guest artist of Herblay’s theatre, nearby Paris. In 2012, she was asked to work on the revival of Strehler Le Nozze di Figaro at the Opéra National de Paris. In 2014, she directed Barber’s Vanessa at the Opéra de Metz and her production of Menotti’s The Consul was performed in the Théâtre de l’Athénée in Paris. In 2017, she directed a workshop on Fairy Queen by Purcell at Conservatoire Hector Berlioz in Paris. For the theatre, since 2004, she directed Victor Haïm’s La Valse du hasard in Brest; H2O, a performance for two actors, a videast and two electronic musicians; Le Système périodique, from the book by Primo Levi. Recently, she staged L’Infusion by Pauline Sales, Dario Fo’s Une femme seule, in Paris and on tour, and recently a project for young audience commissioned by the European Union and the Unesco. She is now working in residence at La Maison du Comédien - Maria Casarès for her new project about Erythrea and the Erythreans, based on a book written by the French journalist Léonard Vincent, and on refugees’ testimonies escaped from their country. Among her projects, besides her creation about Erythrea, she is working on Sounds of silence (about silent movie and opera) with Italian composer Virginia Guastella and Music for (a little more than) a while, with French conductor Nicolas Kruger, about the passing of time in music. > PARTICIPANT ALIÉNOR DAUCHEZ STAGE DIRECTOR • FRANCE

Aliénor Dauchez works as director for music theater and visual artist in Berlin and Paris. She studied urban system engineering as well as visual arts with Gregor Schneider and Giuseppe Penone at the UdK Berlin and the ENSBA Paris. She gained experience in music theater as assistant of Anna Viebrock, Sasha Waltz and Heiner Goebbels and as a fellow of Deutsche Bank Stiftung in the course of the program Akademie Musiktheater heute. She is at the moment fellow at the Akademie Schloss Solitude in Stuttgart. Her performances and objects have been displayed at Moscow Biennale of Contemporary Art, at Haus am Kleistpark in Berlin, and Couvent de La Tourette in Éveux or in the Galerie DIX9 in Paris. After her lengthy collaboration with the Solistenensemble Kaleidoskop she began staging for other ensembles such as Zafraan Ensemble, Il Profondo or Musikfabrik and developed pieces where the visual aspects and the rule of the musicians are central: Votre Faust by , Hiérophanie by Claude Vivier, or XI – ein Polytop for Iannis Xenakis were shown at Radialsystem V in Berlin, in Nouveau Théâtre de Montreuil, in MC2 Grenoble, in Theater Basel, as well as at Harpa in Reykjavik or in Centre Pierre-Péladeau in Montreal. > PARTICIPANT ALEXANDRA GRIMAL COMPOSER • FRANCE

Born in Cairo in 1980, Alexandra Grimal – since the age of six, when she began studying the piano (she took up the saxophone when she was thirteen) – has never stopped perfecting her music: whether in schools (the Sibelius Academy in Finland, the Conservatoire National Supérieur de Musique in Paris, The Hague Royal Conservatory in the Netherlands) or studying alongside masters, she seems to have been driven by an inexhaustible thirst for new experiences, encounters and skills. Since notable attention at the Fribourg Young Soloists Competition in 2007, she has received numer¬ous prizes and awards including First Prize at the Tremplin Européen de Jazz in Avignon, two Mc¬Dowell Fellowships and a Tavitian Fellowship as a composer in the USA, a Jazz Soloist Prize in Saint-Germain-des-Prés and an Orchestra 3rd Prize in competition at La Défense in France, and she is also a Laureate of the Lagardère Foundation and the Chamber Music of the American/French American Jazz Exchange Program. She released her first record as a saxophonist in 2009, (Shape, label Futura Marge) a trio recording with Antonin Rayon and Emmanuel Scarpa. After making her second album under her own name (Seminare Vento), she settled in New York for two years, returning with yet two records; Owls Talk, this time with the prestigious line-up of Lee Konitz, Gary Peacock, Paul Motian and Andromeda (Ayler Records) with Todd Neufeld, Thomas Morgan and Tyshawn Sorey. Her latest album Heliopolis features Nelson Veras, Jozef Dumoulin and Dré Pallemaerts (Dragons). Her experiences and collaborations include working with another great generation – names such as Jean-Jacques Avenel, Masabumi Kikuchi or Joëlle Léandre. She also has featured in line-ups on many recordings. As a singer, she performs with the ensemble Dedalus, Théo Ceccaldi, Petite Moutarde among others. She studies singing with Donatienne Michel-Dansac, Frédérique Epin, Martina Catella and Parvathy Baul in India. She also appears as a performer or actress in other art forms. Today, she involved simultaneously in several ambitious projects: Nāga (commis¬sioned by the French Ministry of Culture), a septet with Marc Ducret, Lynn Cassiers, Benoît Delbecq, Stéphane Galland, Jozef Dumoulin and Nelson Veras, as well as her trio kankū with Sylvain Daniel and Eric Echampard. In parallel with her own projects as a leader through which she expresses her many talents, she is a soloist in the Orchestre National de Jazz conducted by Olivier Benoit (2014-2018) and is an interpreter for various creators. She is composer in residency at the Scène na¬tionale d’Orléans (2015-2017) where she was commissioned the clandestine opera The Steam From the Rice, for seven musicians-singers-performers, an on-going creation starring Bruno Chevillon, Atsushi Sakai, Théo Ceccaldi, Sylvain Lemêtre, Sylvaine Hélary, Lynn Cassiers, in collaboration with the librettist Antoine Cegarra, the choreograph Chiara Taviani and the painter Fabienne Verdier. > PARTICIPANT PATIPARN JAIKAMPAN COMPOSER • THAILAND

Born in 1991, Thai composer Patiparn Jaikampan gets his musical inspiration from literature, history, Buddhist philosophy, and his personal experiences. He holds a B.M. from the College of Music of Payap University where he studied composition, jazz composition and film scoring. He is the recipient of the Einojuhani Rautavaara Prize 2016, Young Thai Artist Award 2012-2015 and Princess Galyani Vadhana Youth Orchestra Composition Competition 2014. As a collaborator, he composed music for dance, film, performance art, painting, poetry, puppet, theater and visual art. His works have been performed in Australia, China, Finland, Germany, Hong Kong, Indonesia, Japan, Malaysia, the Netherland, Singapore, Taiwan, Thailand, the United States and Vietnam. He is also a member of Asia/America New Music Institute (AANMI) which is an organization dedicated to new music exchange between Asia and North America.

> PARTICIPANT OLIVER LEITH COMPOSER • UNITED-KINGDOM

Born in 1990, Oliver Leith is a London based composer. He was the recipient of a British Composer Award in 2016 and of the Royal Philharmonic Composition Prize (2014), a participant on SAM’s Next Wave scheme and currently a member of LSO Soundhub scheme. Tunes and sounds have been performed by the likes of the London Symphony Orchestra, Philharmonia Orchestra, Opera North Orchestra, London Sinfonietta, plus-minus ensemble, the Ives ensemble, John Harle, Loré Lixenberg, Explorensemble, KSQ and Exaudi. The music has been performed, broadcasted, installed internationally. > PARTICIPANT LAURA LOMAS PLAYWRIGHT • UNITED-KINGDOM

Laura Lomas is a playwright from Derby. Theatre includes Heat (Royal Court Youth Theatre in London), Joanne (Clean Break and on tour), Bird (Root Theatre and on tour), Blister (Paines Pough in London and Royal Welsh College in Cardiff), Open Heart Surgery (Theatre Uncut-Southwark Playhouse, Soho Theatre and Traverse in London), Some Machine (Paines Plough), The Island (Nottingham Playhouse, Roundabout, Det Norske Oslo), Gypsy Girl (Paines Plough at Soho Theatre), 10,000 Meters Deep (Oran Mor in Glasgow, Paines Plough), Wasteland (New Perspectives Theatre Co, Derby Live shortlisted for the Brian Way Award). Radio plays include Fragments (BBC Radio4), My Boy (BBC Radio4, Sony award for best radio drama), Lucy Island (BBC Radio3, The Wire) and Siren (BBC Radio3, The Verb). Laura’s screen work includes Rough Skin (Touchpaper, Channel4 and shortlisted for Best British Short at British Independent Film Awards and for Raindance Film Festival), Glue (E4, Eleven Films). She is currently writing a pilot for Clerkenwell/BBC, and developing original projects with Object Film, RAW, and Crybaby Films. Laura is the Channel 4 writer-in-residence at Clean Break Theatre Company. She is currently writing plays for Clean Break, National Theatre Connections, The Royal Court and Nottingham Playhouse. > PARTICIPANT PETTER EKMAN COMPOSER • SWEDEN

– Britten-Pears Academy Born 1989 in Gothenburg (Sweden), Petter Ekman started early to compose music. After studying music at Hvitfeldtska Gymnasiet in Gothenburg, he studied for Per Mårtensson at the Gotland School for Composers. Later, he studied composition for Atli Ingólfsson at the Iceland Academy of the Arts and for Gabriele Manca at Conservatorio in Milan (Italy). Most recently he studied for Karin Rehnqvist and Hans Gefors at the Swedish Royal College of Music in Stockholm. Initially focusing on instrumental music, in recent years he has shifted some of his energy to vocal and dramatic music. He has collaborated with and written music for, among others, Ensemble Recherche (DE), Swedish Radio Choir (SE), Caput Ensemble (IS), Symphony Orchestra Norrköping (SE), Stockholm Opera College (SE), Kolbeinn Bjarnason (IS), TAK ensemble (US) Podium Festival Iceland (IS), Gotlandsmusiken (SE), Elektra Ensemble (IS) and Nordic Chamber Soloists (SE/IS/DK/NO). Also, he is a long time collaborator of soprano Elísabet Einarsdóttir who has premiered many of Petter’s pieces.

> PARTICIPANT VIESTURS MEIKSANS STAGE DIRECTOR • LATVIA

– Latvian National Opera Viesturs Meiksans is a contemporary performance artist based in Latvia, working in the fi eld of dramatic theater, lecture performance, site specifi c performance, contemporary music directing (contemporary opera). He has staged performances in Latvia and Russia. Besides directing, he is also a member of board in Culture Capital foundation that is providing fundings for contemporary stage art. From 2017 September, he will start reading lectures about contemporary directing in Latvian Culture Academy. > PARTICIPANT RENNIK-JAN NEGGERS STAGE DIRECTOR • THE NETHERLANDS

– Dutch National Opera

Born in 1993 in Helmond (The Netherlands), Rennik-Jan Neggers is graduated from the University of Amsterdam as Master of Science in Cultural Sociology in 2016. As part of this programme, he completed an internship at the Education and Participation Department of Dutch National Opera & Ballet. Drawn by the creative side of the lyric arts, he pursued his ambition with an internship as assistant stage-director. This was realised during the production of Le Nozze di Figaro, directed by David Bösch, at Dutch National Opera (DNO). Inspired and motivated by these new experiences he has got the opportunity to work on several independent projects with Klaus Bertisch, Head of Dramaturgy at DNO; amongst others as creative assistant and dramaturgical support for his production of Lebensbaum, and the mise-en-espace for a lunchconcert at DNO. Besides that, he has been assisting him in composing and editing program books for DNO. Concurrently he has also been developing concepts and programming events – concerned with in-depth exploration of music – for the young friends of the Concertgebouw and Royal Concertgebouw Orchestra. Independently, he is also working on the dramaturgy and staging for a recital of an emerging soprano. He hopes he will bring different perspectives into discussion based on the experiences he gained thanks to the unorthodox path which led him to the creative side of music theatre. Considering his sociological background, he is especially interested in exploring the importance of relevance in music theatre. > PARTICIPANT KORNELIUS PAEDE PLAYWRIGHT • GERMANY

– Bayerische Theaterakademie Munich

Kornelius Paede is a dramaturg, librettist and musicologist from Augsburg (Germany). He studied musicology, German philology and dramaturgy after an apprenticeship as an information technology management assistant and second chance education. His work focuses largely on contemporary opera, and he often collaborates with other composers on work development. At the Academy of Arts Berlin, he developed a collaborative performance about miniatures in contemporary opera in 2014. He has given lectures about music theatre in Würzburg and Munich and published academic articles in this fi eld, including the series Musik-Konzepte about Manos Tsangaris. He gained experience at BR-KLASSIK, the Munich Biennale for Contemporary Music Theatre, as a dramaturg at the Otto Falckenberg School and was invited to the Kultursymposium Weimar of the Goethe Institute with his performance-collective Camilla 45. During his studies of opera dramaturgy at the Theatre Academy August Everding in Munich, he was responsible for several productions, in which he adapted Ahmed Tanpinar’s The Time Regulation Institute for the stage, and worked with director Balázs Kovalik and the Munich Radio Orchestra under Ulf Schirmer in the 2017 production of Jonathan Dove’s Flight. This year, he works on the premiere of Patrick Schäfer’s opera Letzte Nacht with the Augsburg Philharmonic Orchestra. He is also the dramaturg of the German Lieder series LIEDERLEBEN at the Munich Residence. In 2016, the German magazine Opernwelt recognised him as an aspiring dramaturg. > PARTICIPANT llija VIŠNJIC’ SET DESIGNER • SERBIA

– Operosa Belgrade

Ilija Višnjic´ is a scenographer, production designer, costume designer and an accomplished prop maker. In 2009, he is graduated in Textile design from Faculty of Applied Arts, at Belgrade University. Opera, theatre and movies are his main fi eld of work, but also music videos and commercial events. So far he has designed sets at Opera and Theatre Madlenianum for the Magic Flute (2013), collaborated with Operosa Festival as a set and costume designer on Lo Speziale (2015) and music performance Ovo nije opera (This Is Not an Opera) in 2016, as well as an assistant of the famous costume and set designer Domenico Franchi on La Cenerentola (2016). He also worked at Zvezdara Teatar on set and costumes for Martin McDonagh’s black comedy A Behanding in Spokane (2016). He was the production designer in two featured movies VIR (2013) and Open Cage (2015) and many short movies, designed the set for the Balkan Tube Fest (2016), a festival dedicated to fans of You Tube culture, at Sava Centar, and was hired as a scenographer for a number of various music videos with renowned Serbian musicians. In addition, he worked for several corporations as an illustrator owing to his experience in classical and digital painting, and as a resident teacher in Art Media high school for 3 years (2011-2013). He is a member of the Cultural Element organization, which aims at the presentation and promotion of culture and cultural awareness in the country. Currently, he is working on three different projects: directing his fi rst opera La serva padrona by Giovanni Battista Pergolesi, costume design for the opera Iolanta by Pyotr Ilyich Tchaikovsky, production by Operosa festival, and scenography for a theatre play Duet for One by Tom Kampinsky. > PARTICIPANT JUE WANG COMPOSER • CHINA

Borin in 1984 in Shanghai, Jue Wang is a pianist and composer based in . Her recent music compositions often combine of acoustic instrumental sound and pre-recorded electronic music. Through frequently presenting raw and physical sound materials in unusual close-up performance spaces, her work intends to stimulate a sense of intimacy for the audience, which addresses the dialectic relationship between private and public in a performance. Apart from her sonic experiments, her recent compositions have been focusing on expanding the visual and the theatrical dimension of musical performance. She explores dramatic forms of performance including object-oriented performance, magic shows, sound sculptures and videos. Her ongoing immersive theatrical project series, titled Bedroom Performances, intends to bring together all these theatrical and magical elements in the most immersive sense. She is also the founder and the artistic director of It’s A Secret Performance – a theater group that works on immersive music theater performances with surround sound system. Another focus is to work on experimental music performances with children in the age range from 6 to 12 years old. As a Ph.D. student, her academic research examines children’s relationship to abstract sound and experimental music. She seeks more opportunities to bring young performers and young audiences into the realm of experimental music. She has been honored with performances of her music throughout China, United States and Europe by ensembles including Jack Quartet, Talea ensemble, Momenta Quartet, Loadbang, Orchestra of the League of Composers, Krulik Quartet. She has also worked with established solo performers such as Thomas Buckner, Miranda Cuckson and William Lang. A review by Cleveland Classical in 2012 has described her as “having a sensitive ear and original voice (…) surely someone we will be hearing much about in the future”. In the same year, her chamber opera, Scholar, Monk, Snake, was selected by the Center for Contemporary Opera to be performed in NYC. She received her B.M. degree at Oberlin Conservatory. Currently, she is pursuing her Ph.D. at New York University. > PARTICIPANT EVA-MARIA WEISS STAGE DIRECTOR • SWITZERLAND

Born in Bern (Switzerland), Eva-Maria Weiss studied opera directing at the Hochschule für Musik Hanns Eisler in Berlin. She took part in different workshops and masterclasses with i.a. Jürgen Flimm, Barrie Kosky and Jossi Wieler and worked as an assistant director at the Berlin State Opera, the Bayreuth Festival, the Opera House, the Theatre Heidelberg and the Théâtre Municipal de la ville d’Esch-sur-Alzette (Luxembourg). Her own directing works includes the chamber opera Les Larmes du couteau by Bohuslav Martinů, John Cage’s Europera 3 and Jacques Offenbach’s Ba-Ta-Clan. For her direction of the children’s opera Aschenputtel by Ermanno Wolf-Ferrari at the Berlin State Opera, she won the prestigious Götz-Friedrich-Studio-Award 2012. At the following Bayreuth Festival 2012, she directed the production of Die Meistersinger von Nürnberg – for children. In 2013, she directed the world premiere of Evan Gardner’s chamber opera Die Unterhändlerin at the Tischlerei / Deutsche Oper Berlin and continued working with Gardner and the newly founded Opera Lab Berlin Ensemble in the following projects Home in a box (2014), A.MEN (2015) and Triebgesteuert (2017), performed at various festivals for contemporary music in Berlin.

Ils soutiennent L'ACADÉMIE DU FESTIVAL D’AIX

LAURÉATS HSBC DE L’ACADÉMIE DU FESTIVAL D’AIX

Attaché à l’accompagnement des jeunes talents, HSBC s’associe depuis 2006 à l’Académie du Festival d’Aix-en-Provence. Chaque année, la direction artistique du Festival sélectionne une nouvelle promotion de chanteurs, un pianiste chef de chant et un ensemble de musique de chambre. Le Groupe HSBC France soutient ces jeunes artistes – les Lauréats HSBC – choisis parmi les talents les plus prometteurs de l’Académie, qui poursuivent l’expérience acquise pendant le Festival en se produisant lors de récitals et concerts aussi bien en France qu’à l’étranger.

FONDATION D’ENTREPRISE LA POSTE

La Fondation d’entreprise La Poste favorise le développement humain et la proximité à travers l’écriture, pour tous, sur tout le territoire et sous toutes ses formes. Depuis 2004, la Fondation d’entreprise La Poste est mécène de l’Académie du Festival d’Aix-en-Provence. Elle soutient la création de spectacles autour d’écrits et de correspondances de musiciens.

L’association des Amis du Festival soutient l’Académie du Festival d’Aix

Depuis 2014, des entreprises choisissent de verser une partie ou l’intégralité de leur taxe d’apprentissage à l’Académie du Festival d’Aix. Le Festival d'Aix les remercie pour leur engagement.

Accès Scène, Aixia, Artcom Diffusion, Association Entracte, Banque Lazard Frères, Bel Air Média, Cargo, Cargolog, Centrakor Stores, CL Sport BT Z, Cogex, Décor Automates de St Cannat, Dr Recipon et Associés, Edenred France, Eurazeo, Finopsys, Fondation Royaumont, IMG Artists, Jullier Négoce Bois, La Maison de la Chine, Le Concert d’Astrée, Merch et Cie, Musiques Échanges, Opéra de Dijon, Opéra de Lille, Opéra de Lyon, Opéra et orchestre national de Montpellier, Orchestre de Paris, Organisation Voyage Planche, Nouveaux établissements Michel, Roldan, Rove, Servicarte, Solea Management, Sologne Finances, T2S, Texen, Théâtre national de l’Opéra Comique, Turbocar.

L’ACADÉMIE DU FESTIVAL D’AIX, membre du Label Campus Éco