annual r e p ort 2015 avec Patricia Petibon (Alcina) et Philippe Jaroussky (Ruggiero)

67th Festival d’Aix-en-Provence acclaimed by the public and critics!

With 83,000 spectators, the 67th Festival was a great success – new community-based project, brought together professional rich in shared emotions and musical pleasure. The national and singers and musicians with 300 amateur choir singers from the international press gave it a warm reception. region for a performance of rare intensity. The Théâtre de l’Archevêché saw the triumph of Britten’s A This production, like many others, will now go on tour in Midsummer Night’s Dream, a revival of the legendary production and abroad, as further proof of the Festival’s national and Robert Carsen first directed 24 years ago. It alternated at the international reputation. Archevêché with the annual Mozart production, this time Die I would like to express my gratitude to the State, to the City of Aix- Entführung aus dem Serail. en-Provence, to the Aix Regional Community, the Department At the Grand Théâtre de Provence, Patricia Petibon and Philippe and the Region, and all the local authorities working closely Jaroussky electrified audiences in Katie Mitchell’s daring together with such effectiveness on the Festival d’Aix Board, production of Handel’s Alcina, while bewitched which it is my honour to preside. festival-goers with the radiant diptych / Perséphone, I would also like to thank all the partner patrons, companies and conducted with power and sensitivity by Teodor Currentzis. private individuals, from France and overseas, with a special Performing new works is one of the aims of the Festival, as was mention for the Altarea Cogedim group, which became our shown this year with Svadba by Ana Sokolovic´, a particularly official partners this year. inventive and poetic chamber . Be With Me Now, a musical production, was created to celebrate the fifth anniversary of Bruno Roger the enoa European network, which the Festival d’Aix and its President of the Festival d’Aix-en-Provence Académie helped to launch. Lastly, The Monster in the Maze, a A point of view on the Festival and the world

Each member of the audience leaves the Festival with their own the Arab-Muslim world, are fighting the tyranny of dictators and highly personal images, experiences and emotions. Here I will the insanity of Daech. Is it not more the role of artists to encourage give some of my own – entirely subjective – impressions. us to deepen our relations with reality, to go beyond clichés and superficial images, instead of reinforcing them? Alcina was the second part of our Handel cycle. Katie Mitchell gave us a highly personal and very contemporary vision of the opera, These present-day realities, the images of refugees putting their marked by an authentic feminine viewpoint. At the heart of the lives in danger to cross the Mediterranean, could be seen in The sparkling cast led by , Patricia Petibon lent her Monster in the Maze. The magic of this opera came from Jonathan voice, her body, her emotion – in short, all the resources of her Dove’s music, Sir Simon Rattle’s inspired , Marie- being to bring an exceptional character to life with such skill. Eve Signeyrole’s astute and skilful staging, but above all from the presence of 300 amateur participants, children, teenagers Peter Sellars and Teodor Currentzis gave us an incandescent and adults, who amazed us, as the adventure came to an end reading of Iolanta and Perséphone, a reading where the spiritual after more than six months, with their commitment, their talent dimension linked and transcended these two rare works. The and their professionalism. revival of Robert Carsen’s staging of A Midsummer Night's Dream confirmed the impressions of those who saw it first produced 24 Meanwhile, Ana Sokolovic´’s Svadba kept all its promises: a subtle years ago, and delighted opera-goers and opera professionals composition for voices, a small-scale work for six singers, in a who were seeing it for the first time. sober staging that brought out all their presence. The fact that these two were such a success with the public and that Martin Kušej’s staging of Die Entführung aus dem Serail provoked there are now plans for them to go on tour all over the world is a extensive press coverage and a good deal of controversy. Do opera refreshing sign for new opera. directors have the right to offer a resolutely “modern” reading of a classic work? Of course they do, since that is opera’s lifeblood! I was also struck and moved by the artistic commitment shown Do they have the right to oppose a ’s intentions, in this by the Perm MusicAeterna choir, at Silvacane Abbey and at case by contradicting Mozart’s humanist and tolerant outlook? the Conservatory. Their performance of Stravinsky’s I think they do too, and I see it as a sign of an artist’s freedom to reached an incredible intensity, and unprecedented virtuosity shift the meanings of a work and to uncover, here and now, all its in the approach to traditional vocal forms and to Stravinsky’s contemporary resonances. And yet, I cannot accept Martin Kušej’s musical colour and rhythms. I will also treasure memories of so world view, although I believe I did everything I could to make sure many moments shared, of rehearsals and concerts, of meeting that the production was presented as faithfully as possible to the artists from the Académie and enthralling discussions. It seems director’s intentions: in the dark hours we are living through today, to me that once again this year we took another step forward as to present the West as the sole bearer of humanist and tolerant a creative, convivial Festival that is open onto society and the values, confronted with an archaic, uncultured and aggressive East, world. A huge thank you to all those who took part, to artists and is only to caricature contemporary realities. It is a negation of the technicians, professionals and amateurs, regular opera-goers East’s cultural riches; of its traditions of hospitality; of the artistic and newcomers to the Festival! exchanges that have always characterised relations between the West and the East down the centuries, until a very recent period. It Bernard Foccroulle is also the negation of the combat of all those who, in Syria and in Director of the Festival d’Aix-en-Provence

5 Iolanta with Ekaterina Scherbachenko (Iolanta) and Arnold Rutkowski (Vaudémont) "A festival’s imaginative vision"*

Alcina Alcina with Patricia Petibon (Alcina) and Anthony Gregory (Oronte)

Alcina

After Ariodante in 2014, the Festival d’Aix continued its Handel cycle this year with a new production of one of his most famous operas. Under the precise direction of Katie Mitchell, this acerbic reading sets the action in a strange and diabolic world, symbolised by a highly sophisticated decor. This was a landmark production of this year’s festival, performed by the baroque stars Patricia Petibon and Philippe Jaroussky, and conducted by the maestro Andrea Marcon at the head of the Freiburger Barockorchester.

France Info Opera Today Libération This production will stay in our memories. Katie Mitchell makes This was magical, completely magical, made magnificent by Patricia The result is in line with Katie Mitchell’s other works, with its strong Les Inrocks sure the audience always has something to look at, the Freiburger Petibon as the ravishing, red haired Alcina, whose "Ah, mio cor" theatre influences and superb visuals, and its well-adapted staging. With the extraordinary vocal talent possessed by Patricia Petibon, Barockorchester conducted by Andrea Marcon is in harmony with the included a high E shriek and then ended the first part of the evening. The cast, led by the two French stars Philippe Jaroussky and Patricia Handel’s Alcina fires on all cylinders under Andrea Macron’s staging and the most beautiful arias, such as “Verdi Prati”, sung to The audience was left stunned and remained in their seats to give an Petibon, is outstanding. Petibon, unlike other sopranos, refrains from musical direction and Katie Mitchell’s breathtaking staging. (…) perfection by Philippe Jaroussky, send shivers down the spine. extended ovation to the fallen curtain. continually ornamenting her role with oriental-style minor scales. Attentive both to the modernity of the amorous exchanges of their With her delicate frame, a moment of silence and two notes are all heroines and to the hair-raising plot that takes us to the comic, The New York Times Kurier she needs to make the witch’s misfortune seem movingly palpable, in fantasy world of a remake worthy of an episode of The Avengers That production (…) was excellent musically, top to bottom. (…) Ms. The audience could only celebrate, after seeing such a modern and this dark element of the drama where many fear to tread. (complete with guns and time bombs), Katie Mitchell and Andrea Mitchell’s production, though hugely elaborate and confusing at the bewildering staging. (…) Patricia Petibon sings and plays Alcina Marcon are also united in raw emotion and in deliberate pastiche. start, settled into a nice groove and was almost lovable by the end. with perfect mastery and total commitment, the Austrian soprano Télérama The unanimity of the ovation the company receives every evening is a Anna Prohaska is a perfect counterpart in the role of Morgana, and The launch of the 2015 Festival, at the Grand Théâtre de Provence, sure sign that something unique is on offer. Financial Times the Philippe Jaroussky is a real gift for the eyes and the could not have had a more striking, nor strangely unique Part Fifty Shades, part Eyes Wide Shut, with a sprinkling of Dorian ears in the role of Ruggiero. Andrea Marcon conducts the Freiburger performance. (…) This theatrical prowess is accompanied by an Gray, Mitchell’s staging takes Handel’s magic at face value. (…) Barockorchester with great sensitivity, and amazed us with the range outstanding musical achievement under the inspired lead of Andrea Like nature, Katie Mitchell abhors a vacuum. The fertile continuum This is a meticulously executed production, consummately polished. of colours and dynamism. Marcon. You can feel the orchestra and the singers are carried along of her (often fascinating) direction of the actors sometimes means the and stimulated by shared euphoria and jubilation. There is no way listener has to set aside an attempt to follow the music. (…) To resist such Opera News that the public can resist. an infernal machine, singers and strong characters are needed. The cast Musically, this was a performance of the highest festival level. (…) In the offers both. (…) Faced with such an onslaught of fury, pleasure, passion title-role, Patricia Petibon’s total physical commitment was remarkable; and pain, the excellent Freiburger Barockorchester conducted by Andrea her soprano easily encompassed the demands placed on it. Marcon still managed to keep time and to control the proceedings. 8 9 * Opera News A Midsummer Night’s Dream Le Songe d’une nuit d’été

A Midsummer Night’s Dream

A legend if ever there was one, Robert Carsen’s production of A Midsummer Night’s Dream at the Festival d’Aix-en-Provence in 1991 left its La Marseillaise Scherzo mark on an entire generation of audiences. For this exceptional revival at the Théâtre de l’Archevêché, a new cast led by Sandrine Piau and From the cellos’ first rippling glissandi, we find ourselves at the The stage really seemed enchanting, magical and celestial… the Lawrence Zazzo was united under Kazushi Ono, the conductor of the Orchestre de l’Opéra national de Lyon. heart of an imaginary world. (…) This is a picture book that we leaf direction of the actors was a treat: highly precise, but still natural (…). through with a smile on our faces and that we close by saying that Le Monde it’s a shame that we have to leave the theatre and come back down Diapason Shakespeare’s world-weary philosophy, the aristocratic melancholy The magic is still there: this production really does have grace, and to earth. (…) Everyone involved, from the orchestra pit to the stage, Four wonderful young singers for the lovers from the town (…), a of Britten, the tender daring of Robert Carsen, the shimmering and we left the Théâtre de l’Archevêché with tears in our eyes. (…) As plays his part in what really could be called a miracle. joyful group of craftsmen, a faultless Puck (…) and the skies above impalpable light of the Orchestre de l’Opéra de Lyon, the marvellous for the rest, the cast is quite simply perfect: the gilded countertenor Aix for a roof was all we needed to complete our bliss. abstraction of Michael Levine’s set, the lighting – everything comes Lawrence Zazzo and the dazzling soprano Sandrine Piau are even Le Soir together to produce the lightest and deepest of metaphors. (…) The better than James Bowman and Lilian Watson a quarter of a century On an inexpressible magic journey, we go from Freud’s couch to Musical America Dream did not fly away, but gained in gravity. ago, the amorous couples are perfectly cast, the rustics are hilarious, Carsen’s beds. (…) An absolute charm. Britten’s charming Shakespearian adaptation has perhaps never the children’s choir infallible. (...) A pure wonder. had a more well-received modern staging than Carsen’s, and for Bachtrack those of us to whom this bright blue and green colors and alternately Robert Carsen’s enchanting production still has the same magic Télérama Aix’s celebratory revival has an unbeatable cast and it purrs along sized mattresses were new, it was a revelation. (…) The Orchestre de power, consisting of humour and grace, tenderness, youth and As he always does, Robert Carsen harmonises aesthetics and depth, with the confidence of a project that has nothing left to prove. (…) l’Opéra de Lyon and its music director Kazushi Ono made the most vivacity. (…) The Orchestre de l’Opéra de Lyon sparkles under the sensuality and intelligence, wit and twilight gravity. In its journey from Carsen’s is the Dream to see, and Aix is the place to see it. of the score’s radiant mysticism, and the evening felt all the more direction of Kazushi Ono. And the audience sighed with pleasure at the theatre to the opera house, Shakespeare’s comedy has lost nothing of “dream”-like in the sultry night air of the Théâtre de l’Archevêché. the sound of the celesta, harpsichord, harp and English horn. its baroque abundance or symbolic richness. Nor has it lost its irresistible La Libre Belgique humour, with the hilarious team of apprentice actors. (…) For this With Kazushi Ono at the head of the Orchestre de l’Opéra national de Opera News L’Avant-Scène Opéra revival, Robert Carsen’s euphoric production and his cast seem to have Lyon (“his” orchestra) the production has its trump card: along with What impresses most is the clarity of the reading in an opera where The revival at Aix this year is the confirmation: time will not discovered the fountain of youth. his incredibly assured conducting, the former music director at La detail can sometimes obscure the magical message (…). Zazzo’s voice wither this production, its aesthetic of intemporal beauty, peopled Monnaie Theatre calls on his own magic spells, made of light, colours was a creamy rock of delicately poised and detailed inflection, while by quicksilver characters. (…) When Puck flies away, leaving the and unparalleled refinement, harmonising what we hear with what Piau (…) has never sounded finer, with melting soprano tones at the audience to their waking dream, we wish that this “Night’s Dream in we see on stage. And the cast fully joins in the movement, beginning top of her range. This was a very much company show, cast around Aix” would never end completely... with the group of “fairies”, cheeky little servants played by the boys of the excellent boys of the Trinity Boys Choir as the naughty, rough- the Trinity Boys Choir. (…) Opera at its very best. voiced fairies.

10 11 Iolanta / Perséphone

Iolanta / Perséphone

Only a director such as Peter Sellars could make a single work out of Tchaikovsky’s last opera, Iolanta, and Stravinsky’s oratorio Perséphone. Under the feverish direction of the young conductor Teodor Currentzis, this two-part work, acclaimed by the public and the press alike, will remain one Le Temps Forum Opera of the highlights of the Festival. It launched a new cycle dedicated to Stravinsky at the Festival d’Aix, with more operas to be performed in 2016 If there was ever a production of pure emotion, this is it. (…) At the The production is a perfect achievement, both in its staging and its and 2017. end of the premiere of Iolanta / Perséphone, many eyes were shining music. Sellars has opted – and we should be eternally thankful to during the standing ovation in the Grand Théâtre de Provence. him – to present the work as it is, without interpretative intervention The two-part production devoted to the journey from shade to light or intrusions, without adding a contemporary context, but with a Le Figaro La Croix resonates with infinite affection: Peter Sellars is a magician of the highly respectful love for the score and the libretto, great sensitivity At the Festival d’Aix-en-Provence, Peter Sellars skilfully draws The Festival d’Aix experienced an evening of light and dazzling soul. (…) A happy confrontation. and lively intelligence in the approach to the characters, and ever- a parallel between the fate of two heroines. A total success. humanity. Only a few minutes were needed to realise that this present skill and refinement. How can you portray wisdom and goodness without falling victim would be an exceptional production. That the harmony between the Le Soir to sickly sentimentality? This is a manifesto and also a lesson. orchestra and the stage would be perfect and fervent. That three hours With his dual production of Iolanta / Perséphone, Peter Sellars RTBF Musiq3 The young and dazzling cast of Iolanta is visibly inspired by a later, we would leave the Grand Théâtre de Provence overwhelmed shows us that the light is within us and that it creates the spirituality This is simply the most beautiful European opera production in the communicative fervour (…). And once again we were completely and, perhaps, as better people… (…) Peter Sellars’ staging and that makes us more human. (…) The production concludes in the past ten years. Peter Sellars has reconciled all periods, all genres, all captivated by the Greek Teodor Currentzis’ viscerally Russian Teodor Currentzis’ musical direction cannot be separated. Through summits of Tchaikovsky’s heady and sometimes Wagnerian emotion, outlooks and ends up with an extraordinary message of humanity conducting, with his methods and gestures that are as unorthodox as the beauty of their gestures, they both give life to the deep humanity particularly in the most beautiful love duet since Tristan, exquisitely that makes this production an absolutely extraordinary moment of ever: by destabilising them, he obtains a fiery performance from the of the collective presence: the presence of the musicians (…), of the sung by Ekaterina Scherbachenko and Arnold Rutkowski. (…) poignant emotion. Orchestre de l’Opéra de Lyon. solo singers and of the dancers of the Cambodian Amrita Performing With a strict geometry, highlighted by the supple movements of the Arts Company. While not forgetting the actress Dominique Blanc, a Cambodian dancers, magnified by a wonderful interplay of colours, Opera Le Monde Perséphone with the innocent diction of a young girl, who gains in Sellars’ production patiently but relentlessly constructs its world of Sellars made illuminating connections between these heroines, the Interstellar triumph for Peter Sellars at Aix. maturity as the story goes on. generosity. To the emotion of the tears of Iolanta replies the distanced blind Iolanta cured through love and Perséphone redeemed through The American has produced a masterpiece with this two-part opera fascination of Perséphone. But the message is the same: the future compassion, to construct a bigger darkness-to-light journey. (…) (…). Fluid and powerful, sensual and sensitive, Teodor Currentzis’ La Marseillaise of mankind is within us. His staging caught the unique genius of Tchaikovsky’s last opera and conducting aroused enthusiasm, as did the singers in the main roles Only opera (…) can provide such intense emotions. The Festival gave us a stylized meditation on a work most often heard in concert. – Ekaterina Scherbachenko’s dazzling Iolanta, Dmitry Ulianov’s d’Aix audience was enchanted, and gave a standing ovation on stirring King René, Paul Groves as a luxury narrator and the Selenite the opening night of Tchaikovsky’s Iolanta at the Grand Théâtre de Dominique Blanc as an interstellar reciter. Provence. Long ovations for a remarkable cast, the orchestra and choirs, the outstanding conducting and intelligent staging. 12 13 Die Entführung aus dem Serail

Die Entführung aus dem Serail

Faithful to its Mozartian tradition, in 2015 the Festival d’Aix staged a new production of Die Entführung aus dem Serail at the Théâtre de L’OBS.fr Télérama l’Archevêché. With his decision to transpose the setting to an inaccessible desert at the heart of the maelstrom of the early 20th century, where Was it necessary to make a bloody tragedy out of Mozart’s Singspiel Turbaned jihadists, with Kalashnikovs slung over their shoulders, the drama of the antagonistic relations between the East and the West took root, the director Martin Kušej brought an echo of burning current with its happy ending? Was there a need to change the ending “in Mozart enlisted into the “Charlie” spirit... Another arrogant events to Mozart’s work. Conducted by Jérémie Rhorer, this radical production generated much debate and rose questions about the close links extremis” to respond to the frightening events that Islamic fanaticism has contemporary reading, under the pretext of injecting new meaning between opera and our times. brought to the world? It would be hard to give a clear-cut affirmative or into an 18th century work. (…) If the aim is to make it clear that negative answer. But if the production of Die Entführung aus dem Serail “Mozart est Charlie”, then inserting these three words into the Le Monde Libération by the Austrian of Slovenian origin, Martin Kušej, partly contradicts the programme would have been enough. Without running the risk of Like all highly sensitive people, Martin Kušej enjoys provocation. But in Everything about this production is radical. (…) If we consider that opera libretto, then it is perfectly justified by present-day reality. contradicting the music to such an extent. Yet the music has been rewriting the story, although he might take some liberties with Mozart’s staging an opera is not the art of imitation but of recreation, and that entrusted to one of the best Mozartian conductors of his generation, score, he does not deform it. (…) Singers and actors have worked with it should be nourished by the blood of the times, then Kušej is merely Le Soir Jérémie Rhorer, whose precision of style, elegance and balance faith and charisma to defend this fine theatrical and musical endeavour doing his job through his vision – which is certainly dark – of what From the overture, Jérémie Rhorer brings us a fluid Mozart, full of have been praised many times. He provides fresh proof of it here, – Jane Archibald’s magnificent Constance, Rachele Gilmore’s bitchy is only implicit in the opera. (…) Martin Kušej has taken us into an exquisite instrumental phrases, and very well served by a small particularly in the long vocal quartet at the end of the second act. Blonde, David Portillo’s cunning Pedrillo, Daniel Behle’s bashful lover area that is usually off limits, into what is taboo. but effective cast. (…) The problem is that what we see on scene is (…) Dominated by the Daniel Behle’s classy Belmonte, the cast Belmonte, Franz Josef Selig’s psychopathic Osmin. And an astounding something much harsher. (…) The message is clear: the world of the is one of the best assorted you could imagine. As for the Freiburger incarnation of the pasha by the Austrian actor Tobias Moretti. (…) Financial Times Enlightenment is over. A disturbing point of view, but one expressed Barockorchester, it proves to be up to the task. “What would Mozart say if he suddenly came back to our world in There would be nothing wrong with a contemporary take on East-West on stage in a crude and brutal way, in total contradiction with the 2015?” asked Bernard Foccroulle in his editorial. He would recognise his relations in a new Entführung. (…) Kušej’s "Turks" are gun-toting message of the music. L’Avant-Scène Opéra own, and among them Martin Kušej, an Austrian and world citizen like thugs, the "Europeans" show their enlightenment by swearing with This deeply pessimistic vision of Die Entführung aus dem Serail himself – and also, like him, a great dramatist. American accents. The sum is embarrassing. (…) Kušej has failed to Opera News opts to put the lightness of the Singspiel and its happy ending in provide true controversy because he has failed to provide true content. It was a production that was chilling in its portrayal of doubt, by basing itself intelligently, all in all, on the libretto and by Le Figaro It is an opportunity lost. fundamentalist culture. Whatever images were removed from taking the character of Osmin very seriously: his remarks, when seen With Kušej, Die Entführung no longer has anything to do with farce: the staging, the message remained clear and challenging. (…) in this way, can be seen as chilling. The director’s great intelligence (…) on a sandy surface strongly suggesting a desert sweltering in the Kurier Musically, this was another evening of festival quality. is in fact never to caricature; Franz Josef Selig, with his bronze timbre heat, he underlines the cruelty of the jihadists and the harshness of There is no longer any room for utopia or ideology. Such is the sad and impenetrable presence, has a real threatening dimension, the psychological confrontations, in a very dark vision. (…) As could be diagnosis of Kušej’s first production at the famous Festival, which The New York Times without, however, eliminating his comic aspect – a genuine feat. (…) predicted, the comedy scenes stand up to this kind of treatment worse than has a tradition of presenting innovative interpretations of Mozart. The evening’s worst sin may have been dullness. One obviously Although imperfect and frustrating, this still remains an insightful more tragic aspects, but how apt the great quartet in the second act seems! (…) A performance without theatrical make-up, as brutal as reality. experienced operagoer, overheard in conversation, probably spoke for approach, reading between the lines of the Enlightenment Singspiel. In the end, we are left with an impression of a fascinating, but incomplete many when he said, “It was too boring to be bad and too bad to be Where Selim, the enlightened pasha, is overtaken on his right by a reading, as if the theme had not been taken to its logical conclusion. boring.” fanatic that he himself has armed. 14 15 Svadba The Monster in the Maze

Svadba

New contemporary works are at the heart of the Festival d’Aix programme, and were represented this year by Svadba, an a cappella opera for women’s voices composed by Ana Sokolovic´. The opera was performed here for the first time in Europe, and introduced to the public a highly colourful musical universe inspired by the traditional music of the Balkans, and embodied each evening on stage by six young singers who The Monster in the Maze gave a remarkable vocal performance.

Le Monde mers are vocally at the same high level as the score, with its wealth of First performed in 2015 after a commission from the London Symphony Orchestra, the Festival d’Aix-en-Provence and the Berliner Philharmoniker, Barely an hour of inventive and concentrated a cappella music for six vocal achievements and atmospheres, which they visibly enjoy. They with the support of the Creative Europe programme of the European Union, Jonathan Dove’s opera The Monster in the Maze is based on the ambitious women’s voices. (…) By turns childish and wise, playful and tender, are also its magnificent embodied instruments. challenge of bringing together a community around an opera project, with the participation of amateurs and professionals. With four solo singers wild and seductive, the six young singers embodied Milica, Danica, and 300 amateur choristers, the director Marie-Eve Signeyrole has delivered a production of a rare intensity, making a parallel between the myth Lena, Zora, Nada and Ljubica’s ephemeral round dance with an Le Jeudi of the minotaur and the present-day migrant crisis in the Mediterranean. In the pit, Sir Simon Rattle conducted an orchestra of musicians from the astonishing scenic and vocal presence. Ana Sokolovic´ has written a text that says very little, only the London Symphony Orchestra and the Mediterranean Youth Orchestra. essential, but which is above all the medium, the springboard for all Le Figaro kinds of vocal and rhythmic effects triggering bodily reactions that La Marseillaise L’Avant-Scène Opéra Small-scale wedding and large-scale emotions at the Festival might appear instinctive, but which are so effectively directed by Ted A whole host of emotions on Wednesday and Thursday at the Grand Jonathan Dove’s score respects all the requirements of the exercise d’Aix. Huffman and Zack Winokur. A pure delight. Théâtre de Provence. (…) The choirs have been working on this (…), but manages to weave a real musical fabric, both dense and At the Théâtre du Jeu de Paume, Svadba by Ana Sokolovic´ is an project since last autumn with tireless commitment and the results singular: from mere murmurs to a collective clamour, with three enchantment of richness and intense poetry. (…) The Canadian International New York Times are astounding. (…) The project is impressive and mischievous. (…) opera protagonists and a speaking role. The voice is richly expressive, composer of Serbian origin has conceived an original format and Svadba offers relatively few solo opportunities, but the soprano Florie The production is well worth seeing, both for the quality of the artists like the orchestral language, uniting conflict and poetry, violence turned it into a real masterpiece. (…) By turns it is funny and moving, Valiquette made gorgeous work of Milica’s extended aria at the end. as for the emotions it gives rise to. and freedom. (…) With a strict sense for relevance to the present, full of life and meditative, and the brief hour that the production lasts As the others join in harmony, Milica settles on a blurted high pedal Marie-Eve Signeyrole’s staging brings the Greeks’ sacrifice close to goes by in a flash. (…) A production that is as small in scale as it is big point, which gave Ms. Valiquette a final triumph of another sort. This Le Midi Libre home… but very cannily, at the same time, takes it in a universal in quality. was all hugely inventive and entertaining. Here we have the future of opera and its much needed rejuvenation, in direction: (…) tyrannies grinding down their people, victims the general enthusiasm that greeted the opening of The Monster in “offered up” as sacrifices to a predatory economy, forced emigration Les Echos Opera Today the Maze. (…) Marie-Eve Signeyrole’s inventive staging stimulates that has, between flight and oblation, turned the Mediterranean A female vocal sextet that is absolutely stupefying, impressive in its Like immersing yourself in a painting, the subject matter of Svadba energies and emotions. (…) Brilliant! into the marine cemetery of defeated peoples. (…) The public was rigour (vocal accuracy and positioning, exactness of rhythm) and is of less importance than the delight you find in the way the story unanimous, reserving a warm ovation for this production that is as expressive force, and also six first-rate actresses. (…) Long live the is told. (…) The six singers were superb musicians with beautiful Zibeline generous in its theme as it is powerfully performed. “Wedding”! voices. These 55 minutes were splendid indeed. The Festival’s big surprise may well come from this “monster”, designed as a medium to bring together a number of elements of Bernard Concertclassic.com Concertclassic.com Musical America Foccroulle’s management at Aix. An attempt to square the circle, the We can only dream that many more operas should have such a Svadba, the opera by Ana Sokolovic´ presented this year at the Théâtre The ensemble singing was tight to a fault and pitch rarely if ever wish to reconcile local links, a learning experience, an opening onto the captivating libretto, which can both reactivate a myth in clear language du Jeu de Paume, is of a dazzling beauty. In the space of an hour – wavered. Dáirine Ní Mheadhra’s conducting helped no doubt, Mediterranean world and a perpetual demand for excellence? After the and make it resonate with the world of today. (…) In any case, Marie- an hour of pure music and theatre – the Serbian composer, her six although these young, energetic, often sassy women appeared as if French premiere of The Monster in the Maze, an opera by Jonathan Eve Signeyrole has approached it with perfect intelligence. Her effective singers and two directors, Ted Huffman and Zack Winokur, create a they could’ve tossed off the charming, hour-long piece in their sleep. Dove, we can say that the gamble has paid off. (…) The mass effects are ideas for staging – with no gratuitous gestures – always serve an world of shifting emotions in their evocation of the eve of a Balkan visually superb (…). The sound texture is contemporary and grandiose, understanding of the myth and an inexhaustible dramatic tension. wedding. Opera using a language where the choristers and professional soloists share (…) In perfect unison with this magnificent production, Simon Rattle Svadba (…) by Ana Sokolovic´ made a pleasantly whimsical out the polyphony (…). The inspiration is of epic proportions… and it lights up the music from the orchestra and proves to be a perfect guide Luxemburger Wort impression. (…) The final scene gathered hypnotic richness. all revolves around the brilliant conducting of Sir Simon Rattle, who for the singers, who are particularly enthusiastic when the time comes An unexpected and convincing production. (…) The six young perfor- looks delighted to be taking part in this unique experience! to take their bows. 16 17 Be With Me Now Concert of the London Symphony Orchestra conducted by Sir Simon Rattle

Be With Me Now

For the 5th anniversary of the enoa network (see p.29), the Festival d’Aix and its Académie hosted the world première of Be With Me Now. Conceived as an amorous quest through European opera, from to contemporary works, this musical production puts young artists from enoa’s partner academies in the spotlight, underlining the vitality of new opera today. Concerts International New York Times second, a wonderful madrigal setting for a poem by Philip Larkin Arias and songs in dizzying array are accompanied by projections, that rounds off the evening, by Vasco Mendonça. (…) An excellent stage action and film. (…) All very confusing, but charming too, as springboard for young artists. Connecting with all the Festival’s themes, this year’s concerts again played a vital role in the programme. Alongside major names who delivered by excellent young performers or alumni of the Festival’s have come to be associated with productions in Aix, such as Sir Simon Rattle, the London Symphony Orchestra, Pablo Heras-Casado and the Académie or other members of enoa. La Libre Belgique Freiburger Barockorchester, the original programmes devised by the Ensemble Musicatreize or the MusicAeterna choir, as well as a large For its 5th anniversary, enoa has treated itself (…) to a made-to- number of recitals were all greeted with emotion. The Mediterranean was in the spotlight with a wide range of homages to the Baalbeck LA Marseillaise measure new work, both imaginative and multidisciplinary, with International Festival and to the Festival des Andalousies Atlantiques in Essaouira, not to mention two concerts by the Mediterranean Youth Be With Me Now is a highly inventive new work that makes use of all the the theme of the eternal quest for love, seen here through a selection of Orchestra. resources of the stage: live video, digital technology, lighting effects, etc. arias. (…) All five singers (…) stand out through their ample, rich and (…) The five soloists throw themselves into it wholeheartedly, bringing powerful voices (…), and the whole work is conducted by the Freiburger barockorchester Quatuor Modigliani out all their youthful – but already highly assured – talent. (…) Be With MaNOj Kamps, the author of the remarkable transcriptions. International New York Times Opera Today Me Now takes us on a mischievous little journey and gives us the chance Mr. Heras-Casado’s (…) collaboration with the Freiburger There is no question however that it is a quartet with attitude. Each – by no means a negligible one – to hear the music of our times. Opera, Destimed Barockorchester was obviously a love fest on both sides. The of the three works were ambitiously attacked to the degree that you which was thought to be on its deathbed just 20 years ago, has never It is hard to find any fault with the voices. The quintet made up of the performances were excellent, especially that of the “Scottish” feared it was not humanly possible to keep up such volume, speed shown such signs of vitality. sopranos Rannveig Káradóttir and Maartje Rammeloo, the mezzo- Symphony, and Mr. Heras-Casado and the ensemble offered a and intensity for the extended duration of four movements. It was. soprano Kinga Borowska, the tenor Gwilym Bowen and the substantial encore, the third movement of Mendelssohn’s “Italian” (…) The unison breathing of the four men was made very apparent Forum Opera Tomasz Kumiega is totally committed to the project and the voices are Symphony. On the score, however, that movement is followed by a either through the transparent acoustic of the room or the aural Be With Me Now, or The Magic Flute revisited in Aix-en-Provence. beautiful. (…) Then there are the new works by Daan Janssens and rollicking finale, and late though it was, you almost wanted Mr. concentration the quartet motivated in the listener. It was big playing (…) The voices are attractive and healthy, and take on contemporary Vasco Mendonça. Two pieces that perfectly fit in with the production Heras-Casado and company to finish that job as well. by four young virtuosos. music too, with a work by Wolfgang Mitterer and two pieces specially thanks to their density and fine writing. (…) A production that is commissioned for the occasion, the first by Daan Janssens, and the different, certainly, but well worth discovering. La Marseillaise Musicatreize Bezuidenhout has all the required virtuosity and expressiveness, Destimed while the orchestra dazzles with its highly nuanced string section We are caught up by the voices and carried along on a whirlwind and exquisite woodwinds. (…) A very generous theme that this journey of the time passing. An event to be experienced. Spectres exceptional unit transcends with infectious pleasure. LONDon symphony orchestra Abdel Rahman El Bacha La Marseillaise In this hybrid production blending dance and contemporary music, the choreographer Josette Baïz has brought together on stage the dancers from the La Marseillaise Zimmerman, without a trace of theatricality, but a consummate art Compagnie Grenade and the musicians from the Béla Quartet. An inventive form running on a taut thread of ghostly evocations, both in music and in literature. The vast territory constituted by the 32 sonatas are an both of restraint and scope, develops a silky and full-bodied piano impassable horizon, with the last three forming a world of their own. style. The LSO in Rattle’s generous hands brings out the velvety Le Figaro At the twilight of his life Beethoven reinvented a modern idiom, free of strings and the fruity woodwind instruments to the full. From the Seven dancers dressed in white on stage, all radiating youth. Dressed in interaction between the dancers and the musicians, who exchange all constraints, a new world that Abdel Rahman El Bacha seizes with overture with its tragic tones, everything is carried to a high point of black, the four musicians of the Béla Quartet, playing Oswald, Kurtàg, music and steps between them with such pleasure and delicacy that you freedom and contemplation. He has thought out each sonata in depth, perfection. The audience’s long ovation was a proof of it. Crumb, Britten and Schnittke. The choreographer directs the close wonder who will come up with what next. turning them into an introspective debate. 18 19 Intercultural session of the Mediterranean Youth Orchestra The Essaouira Spirit with Françoise Atlan and Sanaa Marahati

The Festival d’Aix and the Mediterranean

Since 2008 the Festival d’Aix-en-Provence’s policy has been to open up to all the countries around the Mediterranean. Illustrated in The Medinea network (Mediterranean Incubator of Emerging Artists) particular by the sessions of the Mediterranean Youth Orchestra and the invitation made to Mediterranean artists to develop intercultural The network projects, this dynamic gained further momentum in 2015 with the launch of the Medinea network (MEDiterranean INcubator of Emerging The Medinea network, coordinated by the Festival d’Aix, Artists). The Festival reaffirmed its desire to help reinforce wider public access as well as the vitality of music and the performing arts in aims at supporting the development of emerging artists in the 22 institutions in partnership with Medinea the Mediterranean region through mutual exchanges and dynamic international cooperation, highlighting the European dimension of the Mediterranean region. It is made up of stakeholders in the Mediterranean and the Mediterranean identity of Europe. music sector from the countries of the Mediterranean basin and in 18 Mediterranean countries constitutes a platform for recruiting artists, exchanging ideas and Mediterranean Youth Orchestra sharing good practice. It provides an essential resource for selecting Mediterranean musicians to take part in the activities of the The Mediterranean Youth Orchestra (OJM) provides young, talented musicians from the PACA region and the Mediterranean with Festival d’Aix and facilitates the diffusion of its productions. a professional experience as musicians in ensembles and orchestras. Selected after auditions in some 20 Mediterranean cities, around 100 young musicians have benefitted from a year of Encounters 3 concerts of the OJM on tourtop-level training and the presence of prestigious artists, before performing in concert in Aix The Medinea Encounters, musical conferences open to the public, bring together people working in the music sector and artists in 101 young musicians and on tour. the PACA region with the aim of developing ideas about creation and musical transmission in the Mediterranean region. Held on 19 25 nationalities July 2015 in the Villa Méditerranée, in partnership with the PACA region and the AViTEM agency, the Encounters this year invited In July 2015, the OJM coordinated three programmes for young musicians: people from the world of culture, members of musical institutions and artists to discuss the theme “New musical works and the free - a session dedicated to symphonic practice, directed by Carlo Rizzi and coordinated by musicians from the London Symphony movement of artists in the Mediterranean region: towards new perspectives?” Orchestra (LSO): 80 musicians from the OJM worked on a symphonic programme that included the overture of Verdi’s Sicilian Vespers, the for Orchestra by Ana Sokolovic´, the composer of Svadba (see p. 14), and Mahler’s 4th Symphony, with the Concerts participation of the young Chinese soprano Ying Fang. These musicians also took part in a workshop to raise awareness about Homage to the Baalbeck Festival teaching methods, coordinated by Mark Withers (from LSO Discovery), and conducted an outreach campaign prior to their concert On the eve of the 60th anniversary of the Baalbeck International Festival, L’Orient le Jour in Aix, in conjunction with the Passerelles project (see p.36). The session concluded with a series of concerts, first at the Festival Nayla de Freige, its president, and Bernard Foccroulle decided to unite the A bouquet of varied pieces produced by some of the greatest talents d’Aix (with a concert broadcast live on YouTube), and then in the PACA region (Théâtre de la Criée in Marseille, Avignon Festival) festivals in the form of a homage in Aix to the Lebanese festival. Blending from the Land of the Cedars. (…) A fine homage, together with a sign and Tunisia (El Jem Festival). The OJM concert at the Festival of Athens was unfortunately cancelled due to the difficult political and poetry in Arabic and French, and traditional and improvised music, a of solidarity for [the town of Baalbeck], its temples and festival (…) economic situation in Greece in July 2015. dozen artists performed at two concerts at the Festival d'Aix and at the Villa which produced some stirring moments of emotion. - a session of intercultural creation, directed by Fabrizio Cassol: 12 improvisers (from traditional music or jazz), guided by the composer Méditerranée in Marseille. and saxophonist Fabrizio Cassol, looked at such artistic realities as the relation between the collective work and personal expression, the tension between orality and musical composition, improvisation as an extension of the composition, and the idea of rhythmic The Essaouira Spirit harmony. The musicians also benefitted from cultural entrepreneurship support in setting up their projects. This programme was The Festival audiences were delighted to hear the voice of François Atlan, who is also the artistic director at the Andalousies concluded by a collective composition, performed in concert at the Festival d’Aix, and then at the Villa Méditerranée (Marseille). Atlantiques Festival, as part of a programme of Arabic-Andalusian music inviting us to rediscover the poetic and musical heritage - a session of occupational integration in the framework of the new opera The Monster in the Maze by Jonathan Dove, conducted by Sir of Jewish and Muslim artists. Simon Rattle. 25 experienced musicians from the OJM played in the orchestra pit alongside the members of the London Symphony Orchestra and took part in creating this original artistic and community project (see p. 14).

20 21 AIX EN JUIN

PARADE[S] concert on Cours Mirabeau Aix en juin opening concert with Ekaterina Scherbachenko Concert of the Ensemble Dialogos

For its third year, the prelude to the Festival d'Aix again made its mark 54 events on the regional cultural landscape. Aix en Juin (Aix in June) is still being 16,425 spectators fuelled by a large number of Académie events and by excursions into Les Voix de Silvacane operas on offer in July, and in 2015 gave over 16,000 people the chance 3,011 Pass Académie delivered, to discover established artists and young promising talents. This wide- A real highlight of Aix en Juin, Les Voix de Silvacane (The Silvacane Voices) offered in 2015 a programme of three concerts in the form of a including 668 for the youth ranging programme, together with a pro-active pricing policy (free celebration of vocal polyphony. A celebration begun by the MusicAeterna choir from the Perm Opera in Russia, which took the audience on 2 admissions, including for Académie Pass holders, or tickets at 5), gives a journey through centuries of sacred choral music. The exploration continued the next day with the Dialogos Ensemble, specialists in the

Aix en Juin the same orientations as the Festival d’Aix: accessibility, creativity and artistic ambition. religious music repertoire of medieval Europe, and concluded with a concert given by young singers and from the Académie’s Mozart residency. Guardando a Oriente The future of the Festival is in the making (…) built around increasingly strong links with a region that extends as far as the multi-ethnic La Provence metropolis of Marseille, thanks to the now reinforced June prelude, as well as to projects specially designed for a younger public. Les Voix de Silvacane enchants the Abbey audience.

Encor sur le pavé PARADE[S] sonne mon pas nocturne The tradition of the major free PARADE[S] concert, concluding Aix en Juin and opening the July Festival, continued this year on Cours Mirabeau. Before an enthusiastic audience, the baroque music stars Patricia Petibon, Philippe Jaroussky and Anna Prohaska, heading the cast of Alcina, Less imposing than the operas in July, smaller-scale productions are at the heart of the programme of Aix en Juin. As well as the revival performed Handel’s most famous arias, conducted by the maestro Andrea Marcon at the head of the Freiburger Barockorchester. They were of The Dove, the Fox and the Heron, a fable directed by Olivier Letellier with a score by Moneim Adwan and featuring the Ibn Zaydoun Choir, then joined by the singers of the MusicAeterna choir from the Perm Opera, and the young participants from the Académie’s Mozart residency. 2015 was also marked by a hybrid work, mingling music, theatre and literature: Encor sur le pavé sonne mon pas nocturne (Again, on the A memorable evening beneath the starry skies of Aix-en-Provence. pavement my nocturnal steps sound). Written and directed by Vincent Huguet, commissioned by the Académie du Festival d’Aix and the Fondation La Poste, this musical production took its starting point from the correspondence between Marcel Proust and , to Destimed build a family drama performed by the soprano Norma Nahoun, the actresses Françoise Fabian and Julie Moulier, and the pianist Benjamin The maestro Andrea Marcon illuminated Handel’s music and the beautiful colours of this jewel of baroque interpretation represented by Laurent. the Freiburger Barockorchester. “Proust’s love of music, which is so visible in his work, probably owes a good deal to this meeting [with Reynaldo Hahn], which took place in in 1894. Sometimes a first love can change your life, taking you down a road that is different from the one you thought you would take. (…) One man’s words respond to the music of the other, and vice versa, evoking desire, impatience, melancholy, excitement and jealousy – all feelings that the four protagonists experience as they recount the memory of their first relationship, like a family story that rises to the surface 24 when you find an old box full of letters and photos.” Vincent Huguet 25 Académie du festival

Concert of the Mozart residency of the Académie 2015 Feedback performance after the Opera Creation Workshop – Ghost Opera

Académie du Festival d'aix

Since 1998 the Académie du Festival d’Aix has been a reference as a centre for vocal and instrumental training, a workshop for ideas and III. CREATION experimentation in creating new opera and a site for the professional development of young artists. It offers young musicians the chance Creation and the contemporary repertoire are at the heart of the Académie, 294 young talents to take part in residencies, and to perform in concerts and opera productions as part of the Festival d’Aix, and then on tour all through the which works to strengthen the ties between musicians and today’s creative year in France and abroad. artists. The richness and diversity of the artists present during the Festival 52 renowned artists and pedagogues period is the chance for the Académie to open a series of workshops focused 3,850 hours of master classes The Académie provides four training sections: on the creation of new operas. Each year, young , dramatists, and conferences authors, directors, choreographers and other creative artists are invited to I. VOICE examine and work on a range of themes linked to creating new operas today 10,228 spectators The Académie gives opera singers and pianist-voice coaches the chance to go deeper into a repertoire by studying style, technique with presentations, conferences and debates: 59 public events and interpretation during master classes and meetings with recognised specialists. In 2015, three training repertoires were • Opera Creation Workshop 1 “Examining ideas”: dedicated to covered in a series of master classes and concerts, in Aix and in the Bouches-du-Rhône department (Jeunes Voix Lyriques tour), in sharing experiences and to examining ideas about the opera partnership with the Departmental Council: genre, this year’s workshop was led by the composer Fabio Vacchi. Along with the exceptional participation of the author Martin • Handel: a residency coordinated by Emmanuelle Haïm and dedicated to Handel’s cantatas, with the assistance of the Crimp, other leading personalities took part, including the composer Ana Sokolovic´, the author Jorge Volpi, also director of harpsichordist Benoît Hartouin; the Cervantino Festival (Mexico), the directors Katie Mitchell, Peter Sellars, Ted Huffman... Some of the events also gave rise to • Mozart and Gluck: residency coordinated by a team of regular visitors to the Académie, including Susanna Eken, Leah Hausman, public master classes. Roberta Ferrari and Nicolas Kruger; • A workshop on The Monster in the Maze: in parallel with the creation of Jonathan Dove’s community opera, 15 young people • Voice and Creations: led by the contralto Hilary Summers and the pianist-vocal coach Emmanuel Olivier, this residency working in opera (composers, conductors, choirmasters, directors and learning coordinators), brought together by the introduced a contemporary repertoire (late 20th century and 21st century) to young artists, giving them the chance to work in International Community Arts Academy, took part in presentations, conferences and debates around the issues involved close collaboration with five composers, from whom the Académie commissioned original works that were given their world in producing musical and community works. Co-financed by the Creative Europe Programme of the European Union, the premieres on this occasion. The Serbian composer Ana Sokolovic´ also presented some of her pieces to the young artists during workshop was chaired by Andrea Thilo. the master classes, and the choreographer Zack Winokur brought a stage aspect to the residency. • Opera Creation Workshop 2 “Experimenting”: coordinated by the dramatist Willem Bruls, a number of experimental workshops gave the teams of young creative artists the chance to develop their opera projects: Ghost Opera, a musical theatre II. project presented by the FellSwoop Theatre company (music by Josephine Stevenson and Ben Osborn, libretto and direction The Académie invites chamber music ensembles to benefit from the advice and experience of world-renowned artists in Aix during by Bertrand Lesca); Golden Lily (music by Man Fang, libretto by Jie Guo) and La Défense Devant les Survivants (music by Marco different workshops and master classes. Two chamber music residencies this year gave eight string quartets and a trio the chance to Suarez, libretto and direction by Mathilde Bost, video by Nieto). go deeper into a range of repertoires: • Mozart and Haydn: invited for the first time to lead an Académie residency, Johannes Meissl, a violinist in the Artis Quartet, Six young creative artists (composers, directors, dramatist, make-up artists) also attended the rehearsals for the Festival’s coordinated a short residency entirely dedicated to the chamber music of Mozart and his contemporary Haydn; productions in “job-shadowing” internships. • Classical, romantic, modern and contemporary: alongside the master musicians Andràs Keller and David Alberman, the participation of the Modigliani Quartet (HSBC Laureates of the Académie in 2007) was a highlight of the residency, where young string quartets In all, 25 composers were in Aix, and seven of them presented works, as part of public master classes, which were performed by could work with the composer Ana Sokolovic´, as well as the young resident composers Thomas Lacôte and Hye-Yeon Choi, both of artists from the Académie: Ana Sokolovic´, Thomas Lacôte, Hye-Yeon Choi, Samy Moussa, Andrzej Kwiecin´ski, Sarah Lianne Lewis 28 whom also took part in the Voice and Creations residency. and Josephine Stevenson. 29 Musiciens-relais Vocal technique and interpretation workshop – Fundación Albéniz - Escuela Superior de Música Reina Sofía (Madrid)

, the European network of opera academies

IV. MEDITERRANEAN YOUTH ORCHESTRA SUPPORTING YOUNG TALENT AND PROMOTING NEW OPERA WORKS The Mediterranean Youth Orchestra provides a training framework for orchestra musicians and welcomes instrumentalists at the The enoa network, of which the Festival d’Aix and its Académie are founder The community: end of their studies from all the countries in the Mediterranean region for a series of advanced sessions (see p. 18). members, was born from the wish of a number of operatic institutions – operas, academies, festivals, foundations and producers – to work more 11 co-organizers Musiciens-relais closely together to help the most talented young artists launch their careers and 14 associated partners Innovative and creative training in mediation work, the Musiciens-Relais (Outreach Musicians) programme consists in independent develop their artistic ambitions. With the support of the Culture Programme 1,000 young artists sessions, organised on weekends at irregular intervals throughout the year. These thematic workshops, coordinated by both of the European Union, since 2011, the enoa network has been working to artists and teachers from a wide range of backgrounds, are open to singers and musicians from all different horizons (art music, promote training and mobility for emerging artists, and encouraging the 300 professionals contemporary or traditional music). creation and dissemination of new operatic works across Europe. The outreach programme’s aim is to train young musicians by providing them with creative, theoretical and practical tools that they can use in their experience on the ground. It also gives them support during one-off or regular assignments, supervised by the THE FESTIVAL D’AIX AND participating artists and teachers, and encouraging them to go on to undertake their own projects. Be With Me Now, the network’s flagship production, had its world première at the Festival In 2015, the programme was based around the complementarity between artists and teachers from a range of different artistic For enoa’s 5th anniversary, the Académie du Festival d'Aix launched the musical production Be With Me Now. It had its world première environments: with Mark Withers, a clarinettist with the London Symphony Orchestra; dance with the on 7 July 2015 in Aix-en-Provence, and was on tour until June 2016. Be With Me Now is the work of young artists from the network, choreographer Geneviève Sorin; jazz with the saxophonist Raphaël Imbert, and musical creation in a wider sense with the who are supported all through the creative process. composer Benjamin Dupé. Links with the local associations were also strengthened, leading to new partnerships being set up Young artists perfect their training and develop their creative projects with training centres in the region. Every summer, the Académie du Festival d’Aix welcomes a number of artists recommended by the network’s member institutions for its productions and residencies. In 2015, enoa enabled 22 artists – performers and creative artists – to take part in the Académie’s The HSBC Laureates of the Académie programme of development and experimentation by means of mobility grants. Three of the Académie’s residencies also received Since 2006, the Académie has enjoyed support from HSBC France, which gives professional backing each year to the HSBC enoa’s financial support: Laureates, young artists from the Académie. - the Mozart residency, from 15 to 27 June 2015 As we approach the 10th anniversary of the HSBC Laureates of the Académie du Festival d’Aix label, this partnership enables young - Opera Creation Workshop 1 “Examining ideas”, from 24 June to 3 July 2015 artists (singers, pianists-vocal coaches and chamber music ensembles) to enjoy media coverage, and the chance to play large-scale - Opera Creation Workshop 2 “Experimenting”, with the Ghost Opera project, from 20 to 27 June 2015 concerts, thanks to lasting partnerships with top cultural institutions. During the 2014-2015 season, they played on tour in a large number of institutions (see p.61). The names of the HSBC Laureates of the Académie were announced on 25 November 2015 at the MEMBER INSTITUTIONS OF THE NETWORK Philharmonie de Paris, as part of a partnership between the Festival d’Aix and the Philharmonie. Festival d’Aix-en-Provence & its Académie, Aix-en-Provence, France / Aldeburgh Music, Aldeburgh, United Kingdom / Bayerische As a sign of the project’s growing dynamism, the Alpha Classics label (Outhere Music), is now working together with the Festival to Theaterakademie August Everding, Munich, Germany / Calouste Gulbenkian Foundation, Lisbon, Portugal / Dutch National Opera coproduce a series of records highlighting the work of the HSBC Laureates of the Académie. The first record in the series,Nocturnes , & Ballet, Amsterdam, Netherlands / Fundación Albéniz – Escuela Superior de Música Reina Sofía, Madrid, Spain / Latvian National recorded by Rupert Charlesworth and Edwige Herchenroder, was released in January 2015, and was warmly acclaimed by the critics. Opera, Riga, Latvia / LOD Music Theatre, Ghent, Belgium / Queen Elisabeth Music Chapel, Waterloo, Belgium / Teatr Wielki – Polish National Opera, Warsaw, / Verona Opera Academy, Verona, Italy. Along with support throughout the year, the Festival gave a special place to the HSBC Laureates of the Académie during the summer

programme this year, with five concerts dedicated to the Laureates from the previous years: the Zaïde Quartet; Anna Stéphany and This project has been funded with support from the European Commission. receives the support of the Culture Programme of the European Union This publication reflects the views only of the author, and the Alphonse Cemin; Kitty Whately, Edwige Herchenroder and Dominique Blanc for a concert-reading around Shakespeare; the Van Commission cannot be held responsible for any use which may be made of the information contained therein. Kuijk Quartet, Chloé Briot, Andri Björn Róbertsson, Krzysztof Baczyk and Hélio Vida. Major roles in the Festival productions were also given to HSBC Laureates: Rupert Charlesworth (Lysander) and Scott Conner (Theseus) in A Midsummer Night’s Dream, Krzysztof Baczyk (Melisso) in Alcina, Damien Pass (Daedalus) in The Monster in the Maze and Tomasz Kumiega in Be With Me Now.

30 31 Audiences

Théâtre de l'Archevêché xxx

En ligne, sur les ondes ou sur grand A broader-based audience ecran, un festival toujours plus proche

A digital Festival 82,866 people attended one of the Festival’s events – a So that audiences can discover opera and the Festival d’Aix’s productions anywhere in France or in the world, the Festival produces 20% new festival-goers figure that shows the fidelity, but also the attractiveness web-documentaries that can be seen on its website, where a large amount of interactive multimedia content relating to opera (its of the Festival for new audiences. The theatre occupancy history, composers and repertoire) and to the Festival’s productions is brought together: animated films, interactive comics, 43.8% tickets < €55 rate for operas (95.3%) confirms the public’s strong podcasts, interviews, texts, photo galleries and sound recordings. > 2,000 young spectators (not including school audiences) commitment to the Festival’s artistic project. The number of seats on offer increased, with 47,551 tickets sold Launched on 8 May 2015 with the support of the Creative Europe Programme of the European Union, The Opera Platform compared with 46,750 in 2014 and 45,700 in 2013, a rise of + 4% in 3 years. A study conducted this year also found that 20% of the (www.theoperaplatform.eu) is the first completely free digital platform entirely dedicated to opera, and is accessible insix festival-goers were attending a production at the Festival for the first time. languages. As partners of this platform, the Festival d’Aix-en-Provence broadcast Alcina live on 10 July.

The Festival’s pro-active pricing policy meant that venues could welcome a wider public, with 43.8% of tickets sold at prices below The Festival has also set up an original partnership with the Google Cultural Institute, as part of the launch of a new online gallery with €55, to which were added 33,523 tickets for free events. collections dedicated to the performing arts. For the launch planned for December 2015, the Festival d'Aix exhibits two collections: the first devoted to the creation of The Monster in the Maze and the second to Mozart productions. Young people also responded positively to the different offers created especially for them: 616 people took up the “child discovery” offer (a free ticket for children for every ticket bought by a parent) and 1,400 young people saw an opera or a concert with tickets at Lastly, the Festival d'Aix-en-Provence, the London Symphony Orchestra and the Berliner Philharmoniker have set up a the special rates of €10 or €15 for people under 30, including 300 as part of the Opera ON programme (see p. 36). collaborative digital platform, www.monsterinthemaze.com, documenting the creation of The Monster in the Maze and sharing this While festival-goers from the PACA region were still in a majority (43.5%), overseas visitors (18.4%) were just as numerous and original experience with a wider public. visitors from the rest of France rose in numbers (28.3%). Public meetings Aix en Juin The European Culture and Education Symposium The 3rd Aix en Juin saw a strong rise in audience numbers, proving that this event, The experience of The Monster in the Maze was at the heart of exchanges at the European Culture and Education Symposium on 16,425 spectators for Aix en Juin with its many free shows, is recognised and well appreciated by audiences, 8 and 9 July in partnership with RESEO (European Network for Opera and Dance Education) and the AFO (French Orchestras 4,500 spectators for PARADE[S] especially from in and around Aix. The success of PARADE[S] on Cours Association), on the theme: “Associating amateur and professional artists in creating new work on a European scale”. The event was Mirabeau, which attracted 4,500 people, is the most striking sign of this. a chance to debate the added artistic value contributed by young people as well as adults to new opera projects and to the institutions that launch them. Free projections Launched in Aix-en-Provence in 2003 with Instants d’été (Summer Instants), the free live projections from the Festival have gained Culture Num: the use of digital technology in creating and broadcasting the performing arts in impact both regionally and internationally thanks to the support of the Fondation Orange, CIC Lyonnaise de Banque and to the Chaired by Arnaud Laporte, the second edition of Culture Num on 9 July brought together people working in culture and digital partnership of Arte. Three operas, Alcina, A Midsummer Night’s Dream and Svadba, were shown in 18 cities in the PACA region (see technologies for two roundtables, in order to share experiences of artistic creation, broadcasting and also outreach programmes p. 57) and in Valence, as well as broadcasted in July and later in 23 cities overseas, in particular in Shanghai, Mexico City, Bucharest, using digital tools. Buenos Aires, New York, Seoul, Madrid, Abu Dhabi and Agadir (see the complete list on p. 60), 24 screenings in France with a total of almost 8,600 viewers (by the end of July). The Festival’s aim in this project is to Homage to the Baalbeck international Festival share its productions by bringing them closer to audiences who are not opera-goers and to organise In partnership with the Provence-Alpes-Côte d’Azur Region and the Villa Méditerranée, this artistic and literary event brought 43 worldwide projections both in landmark venues in major world cities and in town squares in the Aix region. together poets and composers to speak about their relation with the Baalbeck international Festival on the eve of its 60th anniversary. More and more venues have set up regular events by creating real “seasons” of opera projections. Professional meetings Television and radio broadcasts Medinea Encounters Reaching out beyond the opera venue, the Festival has extended its public-access and live and recorded broadcast policy to as This year, the Medinea network, coordinated by the Festival d’Aix, organised a debate on the theme: “Musical creation and the free many people as possible by setting up partnerships with major television, radio and web media. Five operas and a large number of movement of artists in the Mediterranean region: towards new perspectives?” (see p. 19). concerts from the 2015 festival were broadcast on Arte, Arte Concert, France Télévisions, Mezzo, France Musique, France Inter and The Opera Platform (a European online platform broadcasting the most outstanding operas in six languages). 34 35 • Free screenings in the PACA region Screening of A Midsummer Night’s Dream in Seoul • Passerelles / education and socio-artistic actions • Concerts / regional tours

Local anchorage An international impact

The fact that the Festival d’Aix is an international event does not mean it is cut off from its own region. The Festival d’Aix’s productions are 2015 was marked by a large number of international tours and collaborations for the Festival d’Aix, throughout Europe and the rest of the seen in June and July, but the teams are active all through the year in Aix and Venelles, with a series of activities making for strong ties with world (see p.60). the region’s stakeholders and population. The productions of the last few years have been real spearheads for the Passerelles, which is a joint project between the Festival’s education and socio-artistic departments (see pp. 36 - 39), is one of the Festival’s reputation and have greatly contributed to its impact when they strong local links between the Festival and the region. Through its campaigns, the education department has forged a network with have toured. The production of Trauernacht, which was premiered in 2014, 9 opera productions schools and the education community of the 79 establishments it has worked with in 2015. Similarly, the socio-artistic department enjoyed a long European tour in Amsterdam, Valencia, Lisbon and Paris – as 57 performances in 16 cities has set up strong links with associations, local districts, communities, health services and civil society. A network of local artists and part of a joint project between the Festival and the Philharmonie de Paris – and abroad contributors has been built up around the Passerelles project to conduct campaigns on the ground, and the commitment of amateur launched a new collaboration with Le Tandem, the Arras/Douai Scène nationale musicians to a project such as The Monster in the Maze is the proof of the Festival’s impact on the region. (national stage). The tour of Die Winterreise, another success from 2014, was 43 screenings in 17 countries also the occasion to set up links with new partners: the Singapore International During the 2014-2015 season, the Festival launched a new collaboration with AMU (Aix-Marseille University), the biggest French- Arts Festival and the Settimana Senese in Sienna. The same was true for the language university in the world. Raising awareness about opera and giving greater access to the Festival, organising artistic practices opera Written on Skin by George Benjamin, which, after causing a sensation at the Festival for its premiere in 2012 and enchanting on university campuses, associating the Festival with research work – especially on subjects related to the interaction between the audiences in major international venues in London, Vienna, Amsterdam, Toulouse and Paris, went on to be a big hit at the Mostly world of digital technology and the performing arts, or to cultural and university ties across the Mediterranean – are the approaches Mozart Festival in New York. on which this large-scale collaboration is being built. It should also be noted that the productions of (2011) and (2013) have since joined the repertoire of the Festival’s The Académie du Festival d’Aix (see pp. 26 - 28) is a real melting pot for young artists, in permanent interaction with the region. The prestigious co-producers, the Vienna Staatsoper and the Bolchoi Theatre, bringing widespread exposure to these productions. Mediterranean Youth Orchestra has set up links between music schools and young musicians in the region and the countries around our shared sea, and constitutes the starting point for fruitful collaborations between the Festival and the world of music teaching in Continuing this momentum, the Festival’s new productions have already been guaranteed a fine future after Aix-en-Provence. the region. The presence of musicians from the Académie, in June and July, provides a very wide-ranging programme aimed at the Svadba (see p. 14), which will be on tour in France and overseas for the next two or three seasons, will lead to a joint project with local population in and around Aix, thanks to the tours of the Jeunes Voix Lyriques singers and of the string quartet ensembles, and the French Scènes nationales (national stages), but also, for the first time, with European festivals such as Ars Musica in Brussels to master classes and concerts. and the Ljubljana Festival. Co-commissioned by the Aix-en-Provence Festival, the London Symphony Orchestra and the Berliner Lastly, the Festival's programme incorporates an aim of remaining a local institution. The meetings organised in Aix, Culture Num Philharmoniker, and co-produced in its French version by the Lille and Montpellier Operas, The Monster in the Maze (see p. 15) also and Culture and Education, bring together international and regional researchers and specialists, and welcome increasing numbers attracted the attention of a number of representatives from overseas cultural institutions who were present at the 2015 Festival: the of the public. In 2015, Aix en Juin and Les Voix de Silvacane saw a huge rise in audience numbers, showing the appreciation of the local Gulbenkian Foundation in Lisbon, the Cervantino Festival in Mexico City, the Lincoln Center in New York, the Opera of Chicago audience for this prelude to the Festival, which is open to a wide-ranging public. The free, live projections of operas, meanwhile, and the Grand Theatre in Luxembourg. Convinced by the quality and the relevancy of this highly original project, these venues will continue their expansion, with 24 projections in 18 cities of the PACA region in 2015. take up the concept with their own teams. 36 37 Festival choral académique The Dove, the Fox and the Heron at the Cité de la Pinette in Aix-en-Provence

Passerelles

The Festival d’Aix-en-Provence is an innovative player in democratising art and culture, and for many years has developed education and socio-artistic projects in the Provence-Alpes-Côte d’Azur region. These Passerelles outreach projects are a genuine laboratory for introducing opera to children, families, sections of the public without access to culture or to the most disadvantaged. They set up a 105 partner associations in 24 towns dynamic at the heart of the Festival, thanks to the commitment of a wide network of teachers, education and association professionals 225 participants in Parcours Professions Opéra (journey into opera professions) and artists.

DISCOVERING OPERA Awareness-raising projects are set up for school groups and associations to give them access to the world of the opera; they offer a MEETING THE PUBLIC series of workshops with coordinators, visits to workshops in Venelles and production sites, and encounters with artists and technical teams The Festival gave school groups and associations the chance to discover opera in their own urban districts or in schools by inviting 2,780 pupils, students, teachers and 21 Rencontres en at the Festival. The teaching methods used are creative and interactive, them to take part in artistic events with young singers and musicians from the Académie du Festival d’Aix. In 2015, Musique 1,900 people from associative groups with programmes that are adapted to a wide variety of participants: (music encounters) took place, taking opera out of its usual stamping grounds. The Dove, the Fox and children and teenagers, students, young adults on training schemes, During Aix en Juin, the Ibn Zaydoun multicultural choir presented a revival in a new semi-staged version of the Heron young people and families who have recently arrived in France, music school pupils, disadvantaged families, residents of social , an operatic work premiered at the Festival in 2014, composed by Moneim Adwan and directed by Olivier Letellier. It was institutions. performed this year in the public area of the Cité de la Pinette in Aix and the Cité de la Jacourelette in La Roque d’Anthéron, thanks This series of year-long events introduces the works and the Festival to the participants, and for most of them this year was rounded to the participation of associations and local inhabitants. off by seeing one of the productions’ pre-dress rehearsals. AMATEUR ARTISTIC PRATICE Launched in 2014, Opera ON, the Festival d’Aix youth programme, has pursued its momentum. Specially designed for students at Aix- Marseille University and for young working people under 30, this programme, in the form of an outreach project, was organised Artistic and educational projects are the chance to look at works and music through a sensitive approach: choir singing, orchestral this year around two of the works on the Festival's programme, A Midsummer practice, directing, sound and visual arts. Night’s Dream and Alcina. At the conclusion of a series of awareness-raising Festival Choral Académique: PEVAMO TI PEVAMO 280 people registered for Opera On, activities all through the year, the participants were invited to attend an including 70% new spectators evening at the opera with higher category tickets sold at youth discount price The Festival d'Aix-en-Provence, as partners of the 2015 Festival Choral Académique, saw in this project an echo of its fundamental values – new (€15). “Everything came together this year to produce a project of creation, the pursuit of excellence, transmission and the participation of a excellence between the teams of committed teachers in the Festival wide-ranging public. Two productions and new works performed at the Choral Académique and the proposal for an artistic production 2015 Festival, Svadba and The Monster in the Maze, nourished the work led by the Festival d’Aix. (…) This was a superb pathway laid and the practice of over 200 pupils and their teachers all through the down for the volunteer secondary school choristers.” “Meeting the musicians, the quality of the contributions from the year, accompanied by the musical director and choir master Philippe Isabelle Tourtet – Music coordinator – Academic delegation for singers and the interest they took in the young people, the fact Franceschi, and were at the heart of the programme of two concerts given artistic education and cultural action we saw one of the contributors in the audience the night of the on 15 April 2015 at the Auditorium of the Conservatoire Darius Milhaud in opera performance, all helped to set up ties.” Director of a youth Aix-en-Provence. employment scheme

38 39 The Monster in the Maze

The Monster in the Maze Musical creation and the public space The Monster in the Maze has been a landmark project for the Passerelles education and socio-artistic services as well as for the Festival The clarinettist and conductor Mark Withers, the saxophonist and jazz musician Raphaël Imbert and the choreographer Geneviève as a whole, and has an unprecedented character in the field of Sorin were invited to pursue the creative process begun The Monster in the Maze: European opera (see p.15). Commissioned by the Festival d’Aix, the 11 classes and 397 pupils committed in in 2014 with the young Musiciens-relais from the Académie Berliner Philharmoniker and the London Symphony Orchestra, with (see p.28) in the local Orchestres à l’École project and with 272 participants including 60 children, the support of the Creative Europe Program of the European Union, the artistic practice workshops and in intergenerational groups from Jas de Bouffan area and 92 teenagers and 120 adults the production brought together professional artists and almost the productions northern Marseille. 300 amateur choristers from the Aix area, with more than ten choirs Since 2009, the Festival’s education department has from secondary schools in the Aix-Marseille region, young musicians from the Maîtrise de Montpellier Opera Junior, children from the Aix given regular support to the experiments conducted by Orchestres à l’École in the Aix-Marseille education authority. In 2015, the Conservatory and four adult choirs from Aix, Marseille and Cabriès. Festival d’Aix partnered school orchestras from the Korsec school and the Collège Versailles in Marseille, the Collège Paul Eluard An exceptional challenge for all the artists, teachers and choirmasters, who had to deploy an educational and creative process in Port-de-Bouc and the Collège Leï Garrus in Saint-Maximin (, Nice education reconciling wider public access and high artistic standards. From December to June, the skills and the complementary abilities of authority). The four ensembles, which are Festival regulars, were invited to explore all those taking part came together to bring this creative and human adventure to fruition. new territories and new creative approaches during workshops co-directed by Mark Withers, Raphaël Imbert and Geneviève Sorin, and linked to the Festival d’Aix’s “Sharing in these moments at the Festival for the planned Stravinsky cycle (2015-2017). past few years, bringing our culture and our songs “Inspired by the ephemeral aspect that characterises performing arts, I think we gave everything we could when the time came, with our Launched in 2014, the Musiques en Cité project was coordinated by the same artistic to people, it does you good and it’s a powerful flaws, but with our enthusiasm too – from the youngest to the oldest among us, quite sure that it would all live on in our fibres at least, team, introducing musical improvisation, body rhythms and the use of public spaces, experience, especially for our children, who started and convinced that we were taking part in a wonderful journey and that the waves would only leave fragments of anonymous individual with residents from the districts of the social housing of Jas de Bouffan in Aix and off when they were very young and love to be part of stories on the shore. But it doesn’t matter, as long as the collective project is bigger than the sum of individuals, and the gamble paid off.” Cité de la Savine in Marseille. In 2015, two groups of women, children, teenagers and these groups.” Michel, adult chorister seniors took part in a creative project on the theme of weddings and rituals, echoing A mother who took part in the Musiques en Cité the Festival’s programme. project in Marseille with her three children “I think we were lucky to take part in a show like this. (....) there aren’t any other words to describe the experience – magical and incredible!” Chiara, aged 12. Ibn Zaydoun multicultural choir This year, the Ibn Zaydoun amateur choir also expanded its repertoire of songs “[Manon] was delighted to take part in such a large-scale adventure and to see “behind the scenes” of a real artistic performance from different Arabic folk traditions – Morocco, Algeria, Tunisia, Palestine, Syria, Iraq, Yemen – based on suggestions from the with all the work it involves. (....) And personally, I saw my daughter change and gain in self-confidence, she grew up and learned to choristers, and reflecting the inherent plurality of the choir and of Arabic music generally. The traditional songs were performed at concentrate. (....) We – her family – discovered the world of art, and it was a wonderful discovery, which made me want to go to the concerts during association festivities between Marseille and Aix-en-Provence. theatre and see classic or contemporary works.” Mother of Manon, aged 12

40 41 The teams

Construction of the set of A Midsummer Night’s Dream on the stage of the Théâtre de l’Archevêché Construction of the set of Alcina Construction of the set of Die Entführung aus dem Serail

The teams

The Festival teams include some 50 permanent employees, and are organised into six main departments, shared between the sites in Aix-en- Provence, Venelles and Paris: - The artistic department and the Académie (including the Mediterranean Youth Orchestra), responsible for the artistic programmes and the residencies of young artists; Sustainable development - The technical department, in charge of deploying the programmes in all their technical aspects: creation and operations, logistics and safety; Aware of the impact that the Festival’s continually developing activities can have on the environment all through the year, the Festival - The production department, in charge of contracts, budgets and organisation of the programmes; d’Aix-en-Provence has set the issue of sustainable development at the heart of its concerns. Following the carbon inventory carried out - The sponsorship and development department, with the task of providing a significant contribution to the Festival’s funding by in 2012, the Festival administration examined issues relating in particular to travel, responsible purchasing and the management collecting private resources from companies and private individuals; of natural resources and waste. - The administrative and financial department, responsible for the administrative and financial management of the Festival and The Festival d’Aix is also the only French festival with a permanent assignment manager for sustainable development, meaning that human resources; a long-term and coherent approach can be developed, as recommended by the ISO environmental management standards. - The general secretariat, bringing together all the services in contact with the public: communication, Passerelles (education and socio-artistic services), box office, front desk, press, as well as the coordination of the Festival’s broadcasting and digital projects. Innovation and eco-design The graph below shows one of the specific features of the Festival d’Aix-en-Provence, namely the wide variations in staff numbers. In 2015, priority was given to the construction of the sets of the Festival's productions, with a detailed study carried out, including on Numbers grow continually from September to July, reaching over 800 people in June, and including administrative staff, technicians their total lifespan: selection of raw materials, manufacture, operating, transport and recycling. and individually hired artists. To which are added artists from the invited ensembles (choirs and orchestras, amounting to about With the support of ADEME and the Provence-Alpes-Côte d’Azur Region, the expertise of Pôle Eco-Design and the full involvement 150 people) and some 300 young artists in residency at the Académie du Festival d’Aix and the Mediterranean Youth Orchestra. of the stage designers on the different productions, the Festival's workshop carried out large-scale work that led to promising The 2015 season is particularly notable for the significant numbers of technical and artistic teams employed all through the year, quantifiable results. The set of the Alcina opera, at the Grand Théâtre de Provence, is the most significant example, with a rate due to the large number of tours undertaken between November 2014 and June 2015. of recyclable or reuseable materials and elements reaching 97%, thanks to the replacement of polystyrene by cork and the use of paper pulp for wall coating. The set of Die Entführung aus dem Serail was also eco-designed, reducing the volume of polystyrene used 1000 by 30% and replacing the sand that was initially planned to cover the stage with naturally dyed cork granules for improved later composting. 800 This innovation project in research and development has sparked multidisciplinary, cross-sector ideas in favour of more 600 responsible practices in the cultural sector. In particular it launched collaborative projects with the Lyon and Nice opera houses, the Theatre Royal de la Monnaie in Bruxelles and France Télévisions. Artists 400 Technical "Intermittents" The Festival d’Aix-en-Provence is supported in its projects by the Provence-Alpes-Côte d’Azur Region, the Bouches-du-Rhône 200 Temporary contracts Departmental Council, Aix Regional Community and ADEME PACA.

Permanent contracts The Festival d’Aix-en-Provence is a member of the Collectif des Festivals Éco-Responsables et Solidaires (COFEES) in the PACA region, 0 September - January - April - June - founded in 2014, and participating in the expansion of good practices in sustainable development during festivals. December 2014 March 2015 May 2015 August 2015

44 45 In their commitment to the Festival d’Aix-en-Provence, companies and private individuals play an essential part in its development. In 2015, their support represented over 20% of resources, with 4.5 million euros, so becoming the main source of the Festival’s own revenues.

THE DEVELOPMENT OF MAJOR PATRONS

Although the percentage of funding from companies and from private individuals was almost unchanged in 2015 (20% from individuals, 80% from companies), some private individuals made a highly ambitious commitment to the Festival. In 2015, several major patrons made donations to the Festival: Mr and Mrs Paul Albrecht, Mr and Mrs Barden N. Gale, Mrs Marie Nugent-Head and Mr James C. Marlas, Baron Guy de Wouters, La Fondation Meyer pour le Développement Culturel et Artistique and the KT Wong Foundation.

Above and beyond their major financial commitment, the patrons are aware that a long-term investment is vital in planning future programmes and in taking ambitious artistic decisions. To encourage longstanding commitment, the Festival d’Aix-en-Provence is working to set up an endowment fund by the end of 2015.

Alongside these major patrons, the Festival has also been able to count on the support of over 200 private individuals in the Patrons Club and the associations of British and American friends, who have renewed their support for the Festival.

LOYAL COMPANY SUPPORT AND A NEW OFFICIAL PARTNER

By providing almost 80% of support funding in 2015, the partner and sponsor companies play an essential role in the Festival d’Aix’s resources. In 2015, almost all of the companies renewed their support for the Festival, while new companies joined their ranks.

Altarea Cogedim became the Festival d’Aix-en-Provence’s official partner. A socially responsible, committed company, with a desire to share its love of art with as many people as possible, Altarea Cogedim and its founder-President Alain Taravella provide the Festival with vital support. The Académie was able to count on the continuing support of HSBC – whose HSBC Laureates label could be seen throughout the year at concerts organised by a large number of French cultural institutions – but also of the Fondation La Poste, the SACEM and the SACD.

The development of ambitious Mediterranean projects helped convince the Art Mentor Foundation, which had already worked with the Festival in 2013 and 2014, to increase their backing for the festivals from 2015 to 2017 and to support the development of the Mediterranean Youth Orchestra and the Medinea network. The CMA CGM Foundation, a regular patron for outreach learning activities, also helped to create the production undertaken together with the Baalbeck Festival.

The Club Campra members (a club for companies in Provence that sponsor the Festival) enjoy a special position throughout the year thanks to their geographic proximity with the Festival. Once again this year they followed all the steps in the construction of an opera, visited the workshops where sets and costumes were being made and went behind the scenes of the Festival. In 2015, over 30 companies took part in developing outreach activities for all sections of the public and also in the success of the major free PARADE[S] concert on Cours Mirabeau, helping to increase the attractiveness of their region by promoting its cultural influence.

THE MONSTER IN THE MAZE, A NEW WORK WITH STRONG SUPPORT Patrons A landmark project in the 2015 Festival, The Monster in the Maze was launched thanks in particular to the increased and generous financial support of the Total company’s Foundation, which reaffirmed its commitment and trust in the Festival d’Aix. The strong British contribution in this new work also led to the launch of a British Commissioning Circle whose members followed and partners each step in the creation of the new work.

46 47 APPENDIX The Festival in figures Complete programme of events

A Midsummer Night’s Dream ThE fEsTIvAl’s AUDIENCEs ThE fEsTIvAl’s BUDGET events BUDGET 22,380,000 €

STRUCTURAL COSTS artistic costs OPERATING sTRUCTURAl 24.3% 49.3% REvENUE REvENUE 30.6 % 37.1 % 7 38 58 54 59 67 enoa NETWORK operas concerts mEETINGs AND Aix en Juin Event of the screenings 0.8% and music theater (not including the CONfERENCEs events Académie du (24 in France, académie) festival d'aix 43 abroad) revenue enoa OPERATING network COSTS 0.8% 25.6 % ARTIsTIC REvENUE attendance INClUDING TOURs 31.5% global attendance at the Festival's events: 82,866 Aix en Juin: 16,425 spectators Académie events: 10,228 spectators (87,698 spectators in 2014) structural revenue (operating and investment subsidy …) 8,310,000 € 8,577 spectators could attend one of the screenings Opera seat-occupancy rate : 95.3% Funding from state and public organisations 7,720,000 € 3,105 spectators for the préludes to the operas Overall seat-occupancy rate : 92.4% Continued equipment subsidies, investment returns and funds 590,000 € 47,551 spectators for the paying events box office income: 3.96 M€ excluding taxes 26,817 spectators for rehearsals and free events, ARTIsTIC REvENUE INClUDING TOURs (coproductions, box office, audio-visual, sale of the shows …) 7,055,000 € including 4,500 for Parade[s] Funding from the E.U. as part of the Culture Programme 100,000 € Coproduction revenue 920,000 € Box office revenue 3,950,000 € Audio-visual revenue 1,000,000 € audience Revenue from tours and other additional activities 1,085,000 €

GEOGRAPhIC BREAkDOwN Of ThE PAyING AUDIENCE BREAkDOwN Of PAID TICkETs OPERATING REvENUe (patronage, media partnership …) 6,825,000 € Revenue from sponsors and patrons 4,540,000 € other, non specified Financial support from the Pasino d'Aix-en-Provence historical partner of the Festival 1,600,000 € 9.8% 191€ to 240€ 37.1%

ARTIsTIC COsTs (operas, concerts, educational and socio-artistic actions, audio-visual, tours …) 11,025,000 €

Académie OJM ENOA 930,000 € other french 31€ to 55€ 19% Concerts (including The Monster) 810,000 € regions 28.3%

Staff and employees 3,540,000 € General costs 1,335,000 € Endowments and exceptional costs 560,000 €

ENOA NETwORk ExPENsEs (European network of opera academies) 190,000 €

50 51 Alcina A Midsummer Night’s Dream Die Entführung aus dem Serail Iolanta / Perséphone

A Midsummer Die Entführung Iolanta Alcina Night’s Dream aus dem Serail / Perséphone GEORG FRIEDRICH HAENDEL (1685-1759) (1913-1976) (1756 – 1791) Direction musicale Teodor Currentzis Dramma per musica en trois actes Opéra en trois actes et quatre tableaux Mise en scène Peter Sellars Livret anonyme d’après l’Alcina delusa da Ruggiero d’Antonio Livret du compositeur et de Peter Pears, d’après la pièce homonyme Singspiel en trois actes Décors George Tsypin Marchi, inspiré de l’Orlando furioso de Ludovico Ariosto de William Shakespeare Livret de Gottlieb Stephanie d’après Christoph F. Bretzner Costumes Martin Pakledinaz, Helene Siebrits Créé le 16 avril 1735 au Covent Garden de Londres Créé le 11 juin 1960 au Jubilee Hall d'Aldeburgh Créé le 16 juillet 1782 au Burgtheater de Vienne Lumière James F. Ingalls Dialogues adaptés par Martin Kušej et Albert Ostermaier Assistant musical Andrei Danilov Direction musicale Andrea Marcon Direction musicale Kazushi Ono Pianistes répétitrices Nino Pavlenichvili, Futaba Oki Mise en scène Katie Mitchell Mise en scène Robert Carsen Direction musicale Jérémie Rhorer Collaborateur à la mise en scène Vincent Huguet Décors Chloe Lamford Décors et costumes Michael Levine Mise en scène Martin Kušej Collaborateur à la lumière Ben Zamora Costumes Laura Hopkins Lumière Robert Carsen et Peter van Praet Décors Annette Murschetz Lumière James Farncombe Chorégraphie Matthew Bourne Costumes Heide Kastler Orchestre, chœur et maîtrise Opéra national de Lyon Collaborateur aux mouvements Joseph W. Alford Assistant musical Emmanuel Calef Lumière Reinhard Traub Chef de chœur Bohdan Shved Assistant musical Johannes Keller Pianistes répétiteurs Ouri Bronchti, Michalis Boliakis* Dramaturge Albert Ostermaier Pianiste répétiteur Jean-Paul Pruna Répétiteur de langue Chris White Assistante direction musicale Natalie Murray-Beale Iolanta Assistante à la mise en scène Emmanuelle Bastet Assistants à la mise en scène Dan Ayling, Robin Tebbutt Pianistes répétiteurs David Zobel, Michalis Boliakis* PIOTR ILITCH TCHAÏKOVSKI (1840-1893) Assistante aux décors Blanca Anon Garcia Assistante aux décors Alison Walker Répétitrice de langue Franziska Roth-Dent Opéra en un acte Assistante aux costumes Clémence Pernoud* Assistante aux costumes Zeb Lalljee Assistant à la mise en scène Herbert Stöger Assistante à la chorégraphie Daisy May Kemp Livret de Modest Tchaïkovski d’après la pièce La Fille du roi René Assistante aux décors Sabine Freude d'Henrik Hertz Alcina Patricia Petibon Deuxième assistant à la mise en scène Frans de Haas Assistante aux costumes Hannah Petersen Créé le 18 décembre 1892 au Théâtre Mariinski de Saint-Pétersbourg Ruggiero Philippe Jaroussky Assistant à la lumière Rainer Janson Iolanta Ekaterina Scherbachenko Morgana Anna Prohaska* Tytania Sandrine Piau René Dmitry Ulianov Bradamante Katarina Bradic´ Oberon Lawrence Zazzo Selim Bassa Tobias Moretti Robert Maxim Aniskin Oronte Anthony Gregory* Puck Miltos Yerolemou Konstanze Jane Archibald Vaudémont Arnold Rutkowski Melisso Krzysztof Baczyk* Theseus Scott Conner* Blonde Rachele Gilmore Ibn-Hakia Willard White Oberto Elias Mädler ou Lionel Wunsch Hippolyta Allyson McHardy Belmonte Daniel Behle Alméric Vasily Efimov (membres du Tölzer Knabenchor, Lysander Rupert Charlesworth* Pedrillo David Portillo Bertrand Pavel Kudinov en alternance) Demetrius John Chest* Osmin Franz Josef Selig Martha Diana Montague Acteurs Juliet Alderdice (Alcina âgée), Hermia Elizabeth DeShong / Mischa Schelomianski (21 jullet) Brigitta Maria Bochmanova Jane Thorne (Morgana âgée), Ian Helena Layla Claire* Figurants Philippe Araud, Marouane Chaouch, Laura Karina Demurova Hallard (père d’Oberto et Bottom Brindley Sherratt Karim Cherni, Tony Cortes, Gaël serviteur), Zoé Aldrich, Josephine Quince Henry Waddington Fulconis, Ruben Izraelewicz, Perséphone Arden, Sarah Northgraves et Anna Flute Michael Slattery Geoffrey Khozian, Nicolas Rochette, Martine (servantes) Snout Christopher Gillett Andrea Vieni, Zangana Zrng IGOR STRAVINSKI (1882-1971) Starveling Simon Butteriss Mélodrame en trois tableaux Chœur MusicAeterna Snug Brian Bannatyne-Scott Chœur MusicAeterna Poème d’André Gide (Chœur de l’Opéra de Perm) Cobweb, Peaseblossom, (Chœur de l’Opéra de Perm) Créé le 30 avril 1934 à l’Opéra national de Paris Chef de chœur Vitaly Polonsky Mustardseed et Moth Benedict Hill, Lucas Pinto, Andrew Chef de chœur Vitaly Polonsky Perséphone Dominique Blanc Orchestre Freiburger Barockorchester Sinclair-Knopp et Jérémie de Rijk Orchestre Freiburger Barockorchester Eumolpe Paul Groves Continuo Théorbes : Daniele Ciminiti, Maria (membres du Trinity Boys Choir) Danseurs Amrita Performing Arts Ferré ; Violoncelle : Guido Larisch ; Nouvelle production du Festival d'Aix-en-Provence Administrateur de la compagnie Rithisal Kang Clavecins : Andrea Marcon, Chœur Trinity Boys Choir En coproduction avec le Musikfest Bremen et le Teatro Comunale di Perséphone Sathya Sam Johannes Keller Chef de chœur David Swinson Bologna Déméter Sodhachivy Chumvan (Belle) Orchestre Orchestre de l'Opéra national de Lyon Pluton Chan Sithyka Khon (Mo) Nouvelle production du Festival d’Aix-en-Provence Mercure, Démophoon, Triptolème Narim Nam En coproduction avec le Théâtre du Bolchoï Reprise de la production du Festival d’Aix-en-Provence (1991) et de 52 l’Opéra national de Lyon Production du de Madrid (2012) 53

*anciens artistes de l’Académie Svadba The Monster in the Maze Be With Me Now Concert of the MusicAeterna choir

the monster Be With Me Svadba in the maze Now Concerts MARIAGE JONATHAN DOVE (né en 1959) ANA SOKOLOVIC´ (née en 1968) Spectacle musical pour cinq chanteurs et quatre instrumentistes Lauréats HSBC de l'Académie du Festival d'Aix 2015 Opéra pour tous – à partir de 6 ans Création mondiale 4 juillet – 12h – Théâtre du Jeu de Paume Opéra pour six voix de femmes a cappella Livret d'Alasdair Middleton, adaptation française d'Alain Perroux Soprano Chloé Briot Musique et livret d’Ana Sokolovic´ Création de la version française Conception et dramaturgie Julien Fišera*, Baryton-basse Andri Björn Róbertsson Création mondiale le 24 juin 2011 au Berkeley Street Theatre de Isabelle Kranabetter* Basse Krzysztof Baczyk Toronto Direction musicale Sir Simon Rattle Direction musicale et Piano Hélio Vida Création européenne en version scénique Mise en scène Marie-Eve Signeyrole* transcriptions MaNOj Kamps* Œuvres de Mozart, Debussy, Villa-Lobos et Borodine et mélodies Décors Fabien Teigné Mise en scène Julien Fišera* islandaises et polonaises. Direction musicale Dáirine Ní Mheadhra Lumière Philippe Berthomé Décors et costumes Samal Blak Mise en scène Ted Huffman* et Zack Winokur Réalisation de l’origami taureau Michel Charbonnier Lumière Kévin Briard* Spectres Décors et costumes Samal Blak Conception et réalisation Dispositif vidéo Jérémie Scheidler 5 et 6 juillet – 20h – Bois de L’Aune Vidéo Sven Ortel du film d'animation Marie-Eve Signeyrole*, Tournage vidéo Pascal Poissonnier Chorégraphie Josette Baïz et la Compagnie Grenade Lumière Marcus Doshi Fabien Teigné, Julien Cano Assistante à la mise en scène Sophie van der Stegen Interprètes aurore Indaburu, Axel Loubette, Dramaturge et assistant Assistants à la mise en scène Marc Salmon, Mireille Jouve géraldine Morlat, Rafaël Sauzet, à la mise en scène Antonio Cuenca Ruiz Assistant musical Quentin Hindley Soprano Maartje Rammeloo sinath Ouk, Anthony Velay, Brian Répétiteur musical Pianiste répétitrice Zeynep Özsuca Rattle Pamina Rannveig Káradóttir caillet et percussionniste John Hess Mezzo-soprano Kinga Borowska* Musique Quatuor Béla Répétitrice de langue Sandra Mila Thésée Damien Bigourdan Tamino Gwilym Bowen (7 et 10 juillet) Violons Frédéric Aurier et Julien Dieudegard Assistante vidéo Kate Ducey La Mère de Thésée Lucie Roche* Ioannis Kalyvas (9 juillet) Alto Julian Boutin Dédale Damien Pass* Baryton Tomasz Kumiega* Violoncelle luc Dedreuil Milica Florie Valiquette* Minos Miloud Khetib Scénographie & lumière hervé Frichet Danica Liesbeth Devos* Violon Fanglei Liu Sonorisation émile Martin Lena Jennifer Davis Chœurs Chœurs amateurs d’enfants, Violoncelle Sébastien Van Kuijk* Zora Pauline Sikirdji d’adolescents et d’adultes Flûte Ana Filipa Lima Hommage au Festival international de Baalbeck Nada Andrea Ludwig Chef de chœur Simon Halsey Piano MaNOj Kamps* 7 juillet – 20h – Théâtre du Jeu de Paume Ljubica Mireille Lebel Orchestres London Symphony Orchestra, Mise en scène nabil El Azan Orchestre des Jeunes de la Nouvelle production créée à l'occasion du 5e anniversaire du réseau Images vidéo ali Cherri Commande et production originale de Dàirine Ní Mheadhra et John Méditerranée Conception lumière philippe Lacombe Hess du Queen of Puddings Music Theatre de Toronto Création costumes rabih Kayrouz Nouvelle production de l’Académie et du Festival d’Aix-en-Provence Commande du Festival d’Aix-en-Provence, des Berliner Coproduction du Festival d'Aix-en-Provence, d'Aldeburgh Music, de Assistante à la mise en scène marie-Noëlle Bordeaux En coproduction avec Angers Nantes Opéra, les Théâtres de la Ville Philharmoniker et du London Symphony Orchestra la Bayerische Theaterakademie August Everding, de la Fondation Chant & interprétation des textes Fadia Tomb El-Haje de Luxembourg, Festival Ljubljana, Ars Musica et Sarajevo Winter Co-financé par le programme Europe Créative de l'Union européenne Calouste Gulbenkian, de la Chapelle Musicale Reine Elisabeth, du Interprétation des textes rafic Ali Ahmad Coproduction du Festival d’Aix-en-Provence, de l’Opéra Orchestre Dutch National Opera & Ballet, du Lod Muziektheater et du Teatr Piano abdel Rahman El Bacha, Simon National Montpellier Languedoc-Roussillon et de l’Opéra de Lille Wielki - Polish National Opera ghraichy Percussions claudio Bettinelli * Danse nacim Battou

*anciens artistes de l’Académie 54 55 Concert of the Freiburger Barockorchester, conducted by Pablo Heras-Casado Encor sur le pavé sonne mon pas nocturne

London Symphony Orchestra MusicAeterna 9 juillet – 20h – Grand Théâtre de Provence 16 juillet – 17h – Auditorium du Conservatoire Darius Milhaud Direction musicale sir Simon Rattle Direction musicale Teodor Currentzis Pianoforte krystian Zimerman Chef de chœur vitaly Polonsky aix en juin Orchestre London Symphony Orchestra Orchestre et chœur musicAeterna (chœur et orchestre Johannes Brahms Concerto pour piano et orchestre de l'Opéra de Perm) n°1 en ré mineur op.15 Soprano nadezhda Pavlova Mardi 9 juin CONCERT DE CHANT Antonin Dvorˇák La Colombe sauvage op.110, Alto nataliia Liaskova Haendel Jeudi 18 juin Le Rouet d’or op.109 Ténor stanislav Leontiev SOIRÉE D'OUVERTURE Par les chanteurs et clavecinistes de Basse dmitry Ulianov Hôtel Maynier d'Oppède - 19h l'Académie MASTER CLASS Ensemble Musicatreize mikhail Mordvinov, Alexander Hôtel Maynier d'Oppède - 21h30 Chant • Mozart 13 juillet – 20h – Auditorium du Conservatoire Darius Milhaud osminin, Artem Abashev, Oksana Mercredi 10 juin Suzanna Eken Direction musicale roland Hayrabedian pislegina Samedi 13 juin Hôtel Maynier d'Oppède - 12h Musique michel Petrossian Anthems MASTER CLASS Film artavazd Pelechian Igor Stravinski Otche Nash (Notre Père), Veruyu Chant • Haendel MASTER CLASS CONCERT DE CHANT Scénographie toni Casalonga (Credo), Bogorodice devo (Ave Maria) Emmanuelle Haïm et Benoît Hartouin Doudouk Chœur Ibn Zaydoun – Moneim Adwan Chœur ensemble Musicatreize noces Hôtel Maynier d'Oppède - 12h Araïk Bartikian Dans le cadre de la soirée Jas’Monde, à l'occasion « Ciné-Concert » Hôtel Maynier d'Oppède - 12h des 40 ans du quartier du Jas de Bouffan. Les Saisons (1975) – film d’Artavazd Pelechian Abdel Rahman El Bacha CONCERT DE CHANT EN TOURNÉE Centre social et culturel du Château de Création mondiale d’Horae quidem cedunt... pour douze voix 19 juillet – 22h – Théâtre de l'Archevêché Haendel LA COLOMBE, LE RENARD ET LE HÉRON l'Horloge - 20h a cappella de Michel Petrossian Piano abdel Rahman El Bacha Par les chanteurs et clavecinistes de l'Académie Spectacle musical avec le Chœur Ibn Zaydoun Sonate pour piano n° 30 en Saint-Étienne-du-Grès, Église - 19h La Roque d'Anthéron, Cité de la Jacourelette CONCERT DE MUSIQUE DE CHAMBRE Quatuor Modigliani * mi majeur, op.109, Sonate pour - 19h Mozart 14 juillet – 20h – Auditorium du Conservatoire Darius Milhaud piano n° 31 en la bémol majeur, LA COLOMBE, LE RENARD ET LE HÉRON Par les quatuors à cordes de l'Académie Violons philippe Bernhard et Loïc Rio op.110, Sonate pour piano n° 32 Spectacle musical avec le Chœur Ibn Lundi 15 juin Hôtel Maynier d'Oppède - 21h30 Alto laurent Marfaing en ut mineur, op.111 Zaydoun Violoncelle François Kieffer Aix-en-Provence, Cité de la Pinette - 19h MASTER CLASS Vendredi 19 juin Lauréats HSBC de l’Académie 2007 L’Esprit d’Essaouira Compositeur Ludwig van Beethoven Quatuor à cordes n° 4 en ut mineur 19 juillet – 19h – Auditorium du Conservatoire Darius Milhaud Jeudi 11 juin Arthur Aharonian MASTER CLASS op.18 n°4 Chant Françoise Atlan, Sanaa Marahati Hôtel Maynier d'Oppède - 12h Musique de chambre • Mozart Quatuor à cordes en fa majeur Percussions nicola Marinoni RÉPÉTITION PUBLIQUE Johannes Meissl Ernö Dohnányi Quatuor à cordes n°3 en la mineur 'Ûd Fouad Didi Le Songe d'une nuit d'été CONCERT • QUINTETTE À VENT Hôtel Maynier d'Oppède - 12h op.33 Qanûn Nidhal Jaoua Théâtre de l'Archevêché - 18h30 DE MARSEILLE Hôtel Maynier d'Oppède - 21h30 CONCERT DE CHANT EN TOURNÉE Freiburger Barockorchester Orchestre des Jeunes de la Méditerranée CONCERT DE CHANT EN TOURNÉE Mozart sacré 15 juillet – 20h – Grand Théâtre de Provence 21 juillet – 20h – Grand Théâtre de Provence Haendel Mardi 16 juin Œuvres liturgiques et extraits de La Flûte Direction musicale pablo Heras-Casado Direction musicale Carlo Rizzi Par les chanteurs et clavecinistes de l'Académie enchantée, par les chanteurs et pianistes de Pianoforte kristian Bezuidenhout Soprano ying Fang Auriol, Château Saint-Pierre - 19h CONCERT • LAURÉATS HSBC DE L'ACADÉMIE l'Académie. Juan Crisóstomo de Arriaga Los Esclavos Felices Orchestre orchestre des Jeunes de la Méditerranée Quatuor Zaïde Beaurecueil, Cour de la Ferme - 19h Ludwig van Beethoven Concerto pour piano et orchestre Les Vêpres siciliennes Vendredi 12 juin Hôtel Maynier d'Oppède - 21h30 n° 3 en ut mineur op.37 Ana Sokolovic´ Concerto pour orchestre CONCERT • LES VOIX DE SILVACANE Symphonie n° 3 en la mineur Symphonie n°4 en sol majeur LA COLOMBE, LE RENARD ET LE HÉRON Mercredi 17 juin MusicAeterna (Chœur de l'Opéra de Perm) « Écossaise » op.56 Spectacle musical avec le Chœur Ibn Zaydoun Abbaye de Silvacane - 19h Cassis, Théâtre de la Fondation Camargo - 20h CONCERT DE CHANT EN TOURNÉE *anciens artistes de l’Académie Svadba Saint-Cannat, jardin public - 19h 56 57 Mozart residency of the Académie

Samedi 20 juin CONCERT DE MUSIQUE DE CHAMBRE EN CONCERT • PRIX GABRIEL DUSSURGET TOURNÉE Concert Tchaïkovski suivi de la remise du MASTER CLASS Quatuor Van Kuijk Prix Gabriel Dussurget au ténor David Portillo. Chant • Mozart Œuvres de Mozart, Nishimura et Mendelssohn. Conservatoire Darius Milhaud - 19h Nicolas Krüger, pianiste chef de chant et Le Tholonet, Église - 19h chef d’orchestre, fait travailler les pianistes CONCERT DE CHANT et chanteurs de l'Académie. Mercredi 24 juin Mozart à l'ombre de Gluck Hôtel Maynier d'Oppède - 12h Extraits d’Orphée, Iphigénie en Tauride et MASTER CLASS Alceste de Gluck et d’Idoménée de Mozart. CONCERT • LES VOIX DE SILVACANE Compositeur Hôtel Maynier d'Oppède - 21h30 Académie in July Ensemble Dialogos Fabio Vacchi aborde l’ethnomusicologie et le mélo- Polyphonies a cappella du Xe siècle, drame, utilisé cette année dans Perséphone. Lundi 29 juin improvisations et lectures d'extraits Hôtel Maynier d'Oppède - 12h Mercredi 1er juillet pianistes et quatuor à cordes de l’Académie. La compositrice Ana Sokolovic´ fait travailler littéraires médiévaux. ENCOR SUR LE PAVÉ SONNE MON PAS En partenariat avec la SACEM. les artistes de l’Académie. Abbaye de Silvacane - 16h CONCERT DE MUSIQUE DE CHAMBRE EN NOCTURNE MASTER CLASS Hôtel Maynier d’Oppède - 21h30 Hôtel Maynier d’Oppède - 12h TOURNÉE Spectacle musical Compositeur CONCERT • LES VOIX DE SILVACANE Quatuor Van Kuijk Spectacle conçu par Vincent Huguet d'après Avec Ana Sokolovic´, compositrice de Svadba. Samedi 11 juillet CONCERT DE CHANT EN TOURNÉE Mozart sacré Œuvres de Mozart, Nishimura et Mendelssohn. la correspondance de Marcel Proust et Hôtel Maynier d’Oppède - 12h Voix et création Œuvres liturgiques et extraits de La Flûte Beaurecueil, Cour de la Ferme - 19h Reynaldo Hahn, avec Françoise Fabian, Julie CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉE Mélodies des XXe et XXIe siècle et création enchantée, par les chanteurs et pianistes de Moulier, Norma Nahoun et Benjamin Laurent. Mardi 7 juillet Quatuor Berlin-Tokyo mondiale de Samy Moussa, par les chanteurs l'Académie. CONCERT DE CHANT Production de l'Académie, avec le soutien de la Œuvres de , Toshio Hosokawa et pianistes de l’Académie. Abbaye de Silvacane - 19h Mozart tutti frutti Fondation La Poste. MASTER CLASS et Johannes Brahms. Saint-Martin-de-Crau, Étang des Aulnes - 19h Hôtel Maynier d'Oppède - 21h30 Jardin de la SACEM - 21h30 Musique de chambre Saint-Marc-Jaumegarde, Place de la Mairie - 19h CONCERT DE MUSIQUE DE CHAMBRE David Alberman, violoniste du London Symphony CONCERT DE MUSIQUE DE CHAMBRE Mozart Jeudi 25 juin Mardi 30 juin Orchestra et ancien membre du Quatuor Arditti, CONCERT DE CHANT Par les ensembles de l’Académie. Par les quatuors à cordes de l'Académie. fait travailler les ensembles de l'Académie. Voix et création Hôtel Maynier d’Oppède - 21h30 Hôtel Maynier d'Oppède - 21h30 MASTER CLASS CONCERT-LECTURE AUTOUR DE Hôtel Maynier d'Oppède - 12h Pièces de la seconde moitié du XXe et du XXIe siècle, Corps en mouvement • Mozart SHAKESPEARE par les chanteurs et pianistes de l'Académie. Vendredi 17 juillet Lundi 22 juin Leah Hausman, chorégraphe et metteur Kitty Whately (mezzo-soprano) - Edwige Mercredi 8 juillet Hôtel Maynier d'Oppède - 21h30 en scène, fait travailler les pianistes et Herchenroder (piano) - Dominique Blanc CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉE MASTER CLASS chanteurs de l'Académie. (comédienne) MASTER CLASS Lundi 13 juillet Quatuor Berlin-Tokyo Chant • Mozart Hôtel Maynier d'Oppède - 12h Mélodies de , Richard Strauss, Musique de chambre Œuvres de Joseph Haydn, Toshio Hosokawa Roberta Ferrari, pianiste chef de chant du Hector Berlioz, Thomas Arne, Erich Wolfgang András Keller, violoniste et membre MASTER CLASS et Johannes Brahms. Teatro La Fenice de Venise, fait travailler les RÉPÉTITION PUBLIQUE Korngold, Joseph Horovitz et sonnets de fondateur du Quatuor Keller, fait travailler les Voix et création Pertuis, Chapelle de la Charité - 19h pianistes et chanteurs de l'Académie. Svadba William Shakespeare. quatuors à cordes de l'Académie. La mezzo-soprano Hilary Summers fait Hôtel Maynier d'Oppède - 12hEntrée libre Théâtre du Jeu de Paume - 17h30 Hôtel Maynier d'Oppède - 21h30 Hôtel Maynier d'Oppède - 12h travailler le répertoire contemporain aux CONCERT DE CHANT chanteurs et pianistes de l'Académie. Voix et création CONCERT DE MUSIQUE DE CHAMBRE EN Vendredi 26 juin ENCOR SUR LE PAVÉ SONNE MON PAS CONCERT DE MUSIQUE DE CHAMBRE Hôtel Maynier d'Oppède - 12h Love Songs d’Ana Sokolovic´, pièces de la TOURNÉE NOCTURNE Par les ensembles de l'Académie. seconde moitié du XXe et du XXIe siècle et Quatuor Van Kuijk PARADE[S] Spectacle musical Hôtel Maynier d'Oppède - 21h30 CONCERT DE MUSIQUE DE CHAMBRE création mondiale d'une œuvre commandée Œuvres de Mozart, Nishimura et Mendelssohn. Concert gratuit • Grands airs de Haendel Jardin de la SACEM - 21h30 Par les ensembles de l'Académie. à Andrzej Kwiecin´ski, par les chanteurs et Rousset, salle des fêtes Émilien Ventre - 19h Florilège des plus grands airs de Haendel, Jeudi 9 juillet Hôtel Maynier d'Oppède - 21h30 pianistes de l’Académie. interprétés par les solistes de la production Hôtel Maynier d'Oppède - 21h30 CONCERT • LAURÉATS HSBC DE L'ACADÉMIE d’Alcina avec le Freiburger Barockorchester MASTER CLASS Mardi 14 juillet Anna Stéphany (soprano) - Alphonse dirigé par Andrea Marcon. Voix et création Samedi 18 juillet Cemin (piano) Cours Mirabeau - 21h45 Avec les compositeurs Hye-Yeon Choi et MASTER CLASS Mélodies, Lieder et chansons de Georges Sarah Lianne Lewis. Musique de chambre CONCERT DE MUSIQUE DE CHAMBRE Enesco, Maurice Ravel, Clara et Robert Samedi 27 juin Conservatoire Darius Milhaud - 12h Le Quatuor Modigliani fait travailler les Par les instrumentistes de la Vanderbilt Schumann, et Manuel de Falla. ensembles de l'Académie. Music Academy (Nashville, USA). Hôtel Maynier d'Oppède - 21h30 PRÉSENTATION PUBLIQUE • OPÉRA EN Vendredi 10 juillet Hôtel Maynier d'Oppède - 12h Conservatoire Darius Milhaud - 12h CRÉATION Mardi 23 juin Ghost Opera MASTER CLASS Mercredi 15 juillet CONCERT DE MUSIQUE DE CHAMBRE Représentation « en cours de création » de Voix et création Par les ensembles de l'Académie. CONCERT DE CHANT EN TOURNÉE l'opéra de Ben Osborn et Josephine Stephenson, Avec les compositeurs Thomas Lacôte, CONCERT DE MUSIQUE DE CHAMBRE Conservatoire Darius Milhaud - 20h Mozart tutti frutti mis en scène par Bertrand Lesca, suivie d'un Andrzej Kwiecin´ski et Samy Moussa. Par les ensembles de l'Académie. Extraits de Così fan tutte, Les Noces de Figaro, échange avec le public. Conservatoire Darius Milhaud - 12h Hôtel Maynier d'Oppède - 21h30 CONCERT DE L'ORCHESTRE DES JEUNES La Clémence de Titus et , par les Hôtel Maynier d'Oppède - 14h30 DE LA MÉDITERRANÉE chanteurs et pianistes de l'Académie. CONCERT DE CRÉATIONS Jeudi 16 juillet Création interculturelle autour des traditions Rognonas, Place du Marché - 19h Création mondiale d’œuvres commandées à musicales de la Méditerranée, sous la Hye-Yeon Choi, Thomas Lacôte, Sarah Lianne MASTER CLASS direction de Fabrizio Cassol. 58 Lewis et Samy Moussa, par les chanteurs, Voix et création Hôtel Maynier d'Oppède - 21h30 59 Tête-à-tête with Peter Sellars France Musique radio live recording

Tête-à-tête, meetings, conferences, talks

Jeudi 2 juillet Lundi 6 juillet Jeudi 9 juillet Dimanche 12 juillet Mercredi 15 juillet Dimanche 19 juillet TÊTE-À-TÊTE LE FESTIVAL SUR FRANCE MUSIQUE CULTURE NUM TÊTE-À-TÊTE Rencontre avec Ana Sokolovic´ Enregistrement public du Magazine des « Révolution numérique, culture et création » Rencontre avec Roland Hayrabedian, TÊTE-À-TÊTE LES RENCONTRES MEDINEA compositrice de Svadba. festivals présenté par Judith Chaine. Amphithéâtre de la Verrière - 10h-12h30 directeur musical de l’ensemble Rencontre avec Philippe Jaroussky, « Création musicale et circulation des Cour du Presbytère - 18h Cour de l'Hôtel de Ville - 18h Musicatreize. interprète d'Alcina. artistes en Méditerranée : vers de nouvelles CULTURE NUM / RENCONTRES Cour du Presbytère - 18h Cour du Presbytère - 18h perspectives ? » Vendredi 3 juillet Mardi 7 juillet EUROPÉENNES CULTURE ET ÉDUCATION Marseille, Villa Méditerranée - 14h-17h « Numérique et médiation : retour sur PROJECTION D'OPÉRA EN DIRECT DU Jeudi 16 juillet RENCONTRES ÉCONOMIQUES D’AIX-EN- LE FESTIVAL SUR FRANCE MUSIQUE l'expérience du projet du Monstre du labyrinthe. » FESTIVAL D’AIX TÊTE-À-TÊTE PROVENCE Enregistrement public du Magazine des Amphithéâtre de la Verrière - 13h30-17h30 Le Songe d'une nuit d'été TÊTE-À-TÊTE Rencontre avec Anna Prohaska, interprète festivals présenté parJudith Chaine. Dans les villes d’Aubagne, Avignon, Cucuron, Rencontre avec la comédienne Dominique d'Alcina. TÊTE-À-TÊTE Cour de l'Hôtel de Ville - 18h LE FESTIVAL SUR FRANCE MUSIQUE Draguignan, Istres, Le Puy Sainte Réparade Blanc, interprète de Perséphone. Cour du Presbytère - 18h Rencontre avec Robert Carsen, metteur en Enregistrement public du Magazine des (Château La Coste), Le Tholonet, L’Isle-sur- Cour du Presbytère - 18h scène du Songe d'une nuit d'été. Mercredi 8 juillet festivals présenté par Judith Chaine. la-Sorgue, Marseille (MuCEM, Théâtre de Lundi 20 juillet Cour du Presbytère - 18h Cour de l'Hôtel de Ville - 18h la Sucrière, Théâtre Silvain), Puyloubier, Vendredi 17 juillet RENCONTRES EUROPÉENNES CULTURE ET Rousset, Vauvenargues, Venelles et Veynes TÊTE-À-TÊTE Samedi 4 juillet ÉDUCATION Vendredi 10 juillet (Communauté de communes Buëch Dévoluy). TÊTE-À-TÊTE Émilie Delorme, directrice de l'Académie, « Associer artistes amateurs et professionnels Projections en différé à Digne-les-Bains, La Rencontre avec le compositeur et évoque l'évolution des projets de l'Académie RENCONTRES ÉCONOMIQUES D’AIX-EN- dans un projet de création à l'échelle européenne » LE FESTIVAL SUR FRANCE MUSIQUE Ciotat, Pertuis et La Roque d’Anthéron. saxophoniste Fabrizio Cassol. du Festival d'Aix. PROVENCE Amphithéâtre de la Verrière - 10h-17h30 Enregistrement en public du Magazine des Cour du Presbytère - 18h Cour du Presbytère - 18h festivals de Judith Chaine. Lundi 13 juillet Entrée libre TÊTE-À-TÊTE HOMMAGE AU FESTIVAL DE BAALBECK Cour de l'Hôtel de Ville - 18h PROJECTION D'OPÉRA Mardi 21 juillet Rencontre avec Peter Sellars, metteur en Rencontre artistique et littéraire. TÊTE-À-TÊTE Svadba scène de Iolanta / Perséphone. Villa Méditerranée - 18h PROJECTION D'OPÉRA EN DIRECT DU Rencontre avec Jérémie Rhorer, directeur Musée Granet - 22h TÊTE-À-TÊTE Cour du Presbytère - 18h FESTIVAL D’AIX musical de L'Enlèvement au sérail. Rencontre avec Bernard Foccroulle, LE FESTIVAL SUR FRANCE MUSIQUE Alcina Cour du Presbytère - 18h Samedi 18 juillet directeur général du Festival d’Aix-en- Dimanche 5 juillet Enregistrement public du Magazine des Dans le cadre des Instants d'été. Provence. festivals présenté par Judith Chaine. Bastide du Jas de Bouffan - 21h30 Mardi 14 juillet TÊTE-À-TÊTE Cour du Presbytère - 18h RENCONTRES ÉCONOMIQUES D’AIX-EN- Cour de l'Hôtel de Ville - 18h Rencontre avec Willem Bruls, dramaturge PROVENCE Samedi 11 juillet TÊTE-À-TÊTE de Ghost Opera. PROJECTION D'OPÉRA EN DIRECT DU Alain Perroux, conseiller artistique du Cour du Presbytère - 18h TÊTE-À-TÊTE FESTIVAL D’AIX LE FESTIVAL SUR FRANCE MUSIQUE Festival d’Aix-en-Provence, présente la Rencontre avec Marie-Eve Signeyrole, La Traviata Enregistrement public du Magazine des programmation de l'édition 2016. metteur en scène du Monstre du labyrinthe. Dans le cadre des Instants d'été. festivals présenté parJudith Chaine. Cour du Presbytère - 18h Cour du Presbytère - 18h Parc de la Torse - 21h30 Cour de l'Hôtel de Ville - 18h

60 61 Written on Skin

broadcastings and tours

DON GIOVANNI Paris – Théâtre des Champs-Élysées 21 septembre 2015 (version ELEKTRA CONCERTS DE L'ACADÉMIE DU FESTIVAL D’AIX Nouvelle production du Festival d’Aix-en-Provence 2010 concert) Bucarest – Institut français 11 juillet 2015 STRASBOURG – Musée d'art moderne et contemporain 14 et 15 Toronto – Canadian Opera Company 24, 27 et 30 janvier, 1er, 3, 6, Shanghai – Fondation KT-Wong 15 juillet 2015 janvier 2015 12, 14, 18 et 21 février 2015 le songe d'une nuit d'été Madrid – Institut français 3 novembre 2015 Quatuor Tana (Lauréats 2013) Nouvelle production du Festival d’Aix-en-Provence 2015 Meknès – Institut français 10 novembre 2015 Programme : Debussy, Cendo, Auvray, Boesmans LA TRAVIATA Bergen – Opéra national de Bergen 7, 9, 11 et 13 novembre 2015 MARTIGUES – Théâtre les Salins 23 janvier 2015 Nouvelle production du Festival d’Aix-en-Provence 2011 RIGOLETTO Léa Trommenschlager (Lauréate HSBC 2011) et Elizabete Sirante Vienne – Wiener Staatsoper 12, 15, 18 et 21 mars, 17 et 21 BE WITH ME NOW Buenos Aires – Institut français 23 janvier 2015 Programme : Berlioz, Britten, Bray septembre 2015 Nouvelle production du Festival d’Aix-en-Provence 2015 LILLE – Opéra de Lille 11 février 2015 Amsterdam – Stadsschouwburg Amsterdam / Dutch National la flûte enchantée Andreea Soare (Lauréate HSBC 2011), Tomasz Kumiega et David WRITTEN ON SKIN Opera 17, 18 et 19 août 2015 Meknès – Institut français 16 avril 2015 Smith (Lauréats HSBC 2012) Nouvelle production du Festival d’Aix-en-Provence 2012 Munich – Bayerische Theaterakademie August Everding Izmir – Institut français 18 août 2015 Programme : Mozart, Bellini, Puccini, Rachmaninov, Massenet New York – Lincoln Center 11, 13 et 15 août 2015 17 octobre 2015 Iasi – Institut français 25 septembre 2015 PARIS – Philharmonie de Paris 31 mars 2015 Lisbonne – Fondation Calouste Gulbenkian 10 novembre 2015 Abu Dhabi – Paris Sorbonne Université 3 novembre 2015 Sabine Devieilhe (Lauréate HSBC 2012) et l’, sous er LES MAMELLES DE TIRESIAS Varsovie – Teatr Wielki - Polish National Opera 15 novembre 2015 Madrid – Institut français 1 décembre 2015 la direction de Franck Ollu Nouvelle production du Festival d’Aix-en-Provence 2013 Safi – Alliance française 5 décembre 2015 Programme : Trojahn, Bach, Webern, Ligeti Amsterdam – De Nederlandse Opera 25, 27, 28 et 29 novembre MARSEILLE – Théâtre de la Criée 18 juin 2015 2015 PROJECTIONS SUR GRAND ÉCRAN ALCINA Léa Trommenschlager, Damien Pass (Lauréats HSBC 2011), Bucarest – Institut français 1er août 2015 Alphonse Cemin (Lauréat HSBC 2010) IL TURCO IN ITALIA LE ROSSIGNOL Ramallah – Institut français 23 août 2015 Programme : Berlin, Gershwin, Rodgers, Messager, Sondheim, Nouvelle production du Festival d’Aix-en-Provence 2014 Shanghai – Fondation KT-Wong 14 juillet 2015 Novi Sad – Institut français 29 septembre 2015 Offenbach, Poulenc, Porter er Turin - Teatro Regio Torino 12, 14, 15, 17, 18, 19, 20, 21 et 22 mars Mexico – Festival de Música de Morelia Miguel Bernal Jiménez Barcelone – Institut français 20 octobre 2015 PARIS – Club Silencio 1 octobre 2015 2015 19 novembre 2015 Gijon – Alliance française 21 décembre 2015 Mari Eriksmoen (Lauréate HSBC 2009), Alphonse Cemin (Lauréat HSBC 2010) WINTERREISE LA TRAVIATA le songe d'une nuit d'été Programme : Wolf, Strauss, Grieg, Grøndahl Nouvelle production du Festival d’Aix-en-Provence 2014 Meknès – Institut français 20 mai 2015 Londres – Institut français 15 juillet 2015 METZ – L’Arsenal 2 octobre 2015 Sienne – La Settimana senese 16 juillet 2015 Izmir – Institut français 20 août 2015 Shanghai – Fondation KT-Wong 16 juillet 2015 Mari Eriksmoen (Lauréate HSBC 2009), Alphonse Cemin (Lauréat Singapour International Festival of Arts 4 et 5 septembre 2015 Ramallah – Institut français 27 septembre 2015 Budapest – Institut français 16 juillet 2015 HSBC 2010) Luxembourg – Grand Théâtre de Luxembourg 19 et 20 novembre Madrid – Institut français 6 octobre 2015 Bucarest – Institut français 25 juillet 2015 Programme : Wolf, Strauss, Grieg, Grøndahl 2015 Iasi – Institut français 6 novembre 2015 Varsovie – Festival Jardins Musicaux 29 juillet 2015 PARIS – Philharmonie de Paris 25 novembre 2015 Mexico – Festival de Música de Morelia Miguel Bernal Jiménez Séoul – Institut français 8 août 2015 Anna Stéphany (Lauréate HSBC 2006), Alphonse Cemin (Lauréat TRAUERNACHT 17 novembre 2015 Ramallah – Institut français 20 septembre 2015 HSBC 2010) Nouvelle production du Festival d’Aix-en-Provence 2014 Mexico – Festival de Música de Morelia Miguel Bernal Jiménez Programme : Enesco, Ravel, Schumann, de Falla Amsterdam – Stadsschouwburg Amsterdam / Dutch National LES NOCES DE FIGARO 18 novembre 2015 Opera 14 et 15 Février 2015 Izmir – Institut français 19 août 2015 Ouagadougou – Institut français 21 novembre 2015 CONCERTS DE L'ORCHESTRE DES JEUNES DE LA Valence – La Comédie 24 Février 2015 Agadir – Institut français 12 septembre 2015 Busan – Institut français 25 novembre et 30 décembre 2015 MÉDITERRANÉE Paris – Philharmonie de Paris 4 avril 2015 Meknès – Institut français 15 décembre 2015 Gijon – Alliance française 30 novembre 2015 MARSEILLE – Villa Méditerranée 19 juillet 2015 Arras – Théâtre d'Arras - Le Tandem 28 et 29 octobre 2015 Abu Dabi – Paris Sorbonne Université 8 décembre 2015 Programme : création interculturelle Lisbonne – Fondation Calouste Gulbenkian 19 novembre 2015 WRITTEN ON SKIN MARSEILLE – La Criée, Théâtre national de Marseille 22 juillet 2015 SVADBA New York – Institut français 16 avril 2015 AVIGNON – Festival d’Avignon 24 juillet 2015 Bucarest – Institut français 18 juillet 2015 l'enlèvement au SERAIL EL JEM – Festival international de musique symphonique d’El Helsinki – Institut français 20 août 2015 Nouvelle production du Festival d’Aix-en-Provence 2015 Jem 28 juillet 2015 Brême – Bremen Festival 6 et 8 septembre 2015 (version concert) Programme : Verdi, Sokolovic´, Mahler 62 63 Patrons of the Festival d'Aix-en-Provence The Festival d’Aix-en-Provence thanks for their support:

Many French and foreign patrons support the Festival d'Aix-en-Provence's developement. We thank them for their commitement by our side, and more particulary our major donors : M. et Mme Paul Albrecht, M. et Mme Barden N.Gale, Mme Marie Nugent-Head et M. James C. Marlas, le Baron Guy de Wouters et la Fondation official partner Meyer pour le Développement Culturel et Artistique.

ALTAREA COGEDIM LOGO 61929 LOGO OMBRE CMJN

DRAGON 100%

C80 M0 J0 - - N0 BOARD OF TRUSTEES M. et Mme Rupert Hambro M. Michel Frasca M. Christian Couvreux ------ifilaf usa M. et Mme Marc Hemeleers M. Pierre-Yves Gautier M. Pierre-Louis Dauzier R1-18/04/12 Mme Flavia Gale Présidente M. et Mme Richard J. Miller Dr. John A. Haines et Dr. Anand M. et Mme Philippe-Henri Dutheil M. Frédéric Fekkai Président M. et Mme Christian Kumar Tiwari M. et Mme Jean Escudier M. Jacques Bouhet Trésorier Schlumberger Mme Yanne Hermelin M. et Mme Christian Formagne Mme Diane Britz-Lotti M. Pascal Tallon M. William Kadouch-Chassaing Mlle Stephanie French M. Jérôme Brunetière M. et Mme Henri-Michel M. et Mme Raphaël Kanza Mme Marceline Gans M. Jean-François Dubos Tranchimand M. Elias Khoury M. Jean-Marie Gurné Mme Edmée de M. Firth M. et Mme Samy Kinge M. Jean-Pol Lallement M. Jean-Claude Gruffat MEMBRES BIENFAITEURS Mme Danielle Lipman.W- M. Jean-Marc La Piana Fondation Mme Robin Hambro Baron et Baronne Jean-Pierre Boccara M. Jacques Le Pape M. Richard J. Miller Berghmans M. Michael Lunt M. et Mme Jacques Latil Mme Marie Nugent-Head Marlas M. et Mme Michel-Yves Bolloré M. et Mme Jacques Manardo Mme Marie-Thérèse Le Liboux Dr. Michael S. Siegal M. et Mme Walter Butler Mme Anne Maus Mme Janine Levy The Honorable Anne Cox M. François Casier M. Henri Paret M. et Mme Bruno Llinas Chambers M. et Mme François Debiesse M. Philip Pechayre M. et Mme Michel Longchampt Honorary member of the founding board M. et Mme André Hoffmann Mme Maryvonne Pinault M. Nicolas Mazet M. et Mme Alain Honnart M. Didier Poivret M. et Mme Jean-Pierre Mégnin Les Rencontres économiques d’Aix-en-Provence took place on 3, 4 and 5 july 2015 ifilaf uk Baron et Baronne Daniel M. Etienne Sallé M. Jean-Claude Meunier LANCÔME, LVMH, GROUPE PONTICELLI FRères, saint gobain, FONDATION CMA CGM Mme Jane Carter Présidente Janssen M. et Mme Benoît Sarde-Couder M. et Mme Guillaume de M. Peter Espenhahn Trésorier Mme Sophie Kessler-Matière Mme Catherine Stephanoff Montrichard we also thank for their support: M. Laurence Blackall M. et Mme Simon Keswick M. Michel Vovelle M. Walter Niemann Les Vins de Provence, diptyque, Fondation Crédit Coopératif, Butard Enescot, Audiens, LeadMedia Group, Coffim, Diaphonique M. Jérôme Brunetière M. et Mme Xavier Moreno M. et Mme Philip Wilkinson Baronne Sheila et Sir Barry M. David Syed M. Bruno Roger Mme Sylvie Winckler Noakes Membres Soutiens Groupe SNEF, GPI & associés Mme Béatrice Schlumberger M. et Mme Denis Severis M. et Mme Robert Zolade Mme Sylvie Ouziel Membres Bienfaiteurs Société Ricard, SMEF AZUR, ADREXO, Bouygues Bâtiment Sud-Est, Durance Granulats M. Jean-Luc Petithuguenin Membres Donateurs Crédit Agricole Corporate & Investment Bank, CEA Cadarache, Laboratoire de biologie médicale Labio, Colas Midi MÉCÈNES FONDATEURS MEMBRES DONATEURS MEMBRES ACTIFS Mme Judith Pillsbury et M. Méditerranée, Thales Alenia Space, Original System, GrDF M. et Mme Laurence Blackall M. et Mme Thierry Aulagnon Mlle Pascale Alfonsi William Waterfield Membres Associés Confiserie du Roy René, Boutiques Gago, Mas de Cadenet, Affiche +, Société de Courtage des Barreaux, Roland Paix traiteur, Bellini joaillier - horloger, Finopsys, Pianos Prestige, S.E.M.E.P.A., I.N.M.S., John Taylor, Alpinea Shipping, M. et Mme Christopher Carter M. et Mme Thierry d’Argent M. Jad Ariss Mme Vanessa Quang-Julien Synchrone Technologies, Ortec M. Nicolas D. Chauvet M. Jean-Louis Beffa M. et Mme François Audibert Mme Tara Reddi Membres amis Efidia, Château de la Pioline, Hôtel Les Lodges Sainte Victoire, Restaurant le St Estève, Hôtel Renaissance-Aix, Hôtel Mme Isabel Ettedgui M. et Mme Erik Belfrage Mme Laure Ayache Sartore M. Olivier Renaud-Clément Rotonde, JL Consulting M.et Mme André Benard M. et Mme Jean-Paul Bailly The Honorable Frederick W. GRANDS MÉCÈNES M. Eric Bowles M. Constant Barbas Richmond M. et Mme Jean Baudard Mme Bernadette Cervinka Mme Patricia Barbizet M. et Mme Yves Roland-Gosselin professional partners M. et Mme Jacques Bouhet Mme Marie-France de Chabaneix M. Bernard Barone Mme Hélène Rollier Mme Diane Britz-Lotti Mme Christelle Colin et M. Gen M. et Mme Christian Bauzerand M. et Mme Jimmy Roze Mme Ariane Dandois Oba Mme Maria Pilar de la Béraudière M. et Mme Anton van Rossum M. et Mme Bechara El Khoury Mme Paz Corona et M. Stéphane M.et Mme Olivier Binder M. et Mme Leonard Schrank media partners M. et Mme Peter Espenhahn Magnan Mme Annick Bismuth-Cuenod M. Olivier Schucht M. Frédéric Fekkai et Mlle Shirin M. et Mme Philippe Decleire- M. et Mme Daniel Caclin M. et Mme Jacques-Olivier von Wulffen Chartier M. et Mme Philippe Caubel Simonneau M. et Mme Nicholas L.D. Firth M. Virgile Delatre Mme Christine Cayol-Machenaud M. et Mme Jean-Renaud Vidal the Festival d’Aix-en-Provence and its Académie benefit from support from: M. et Mme Burkhard Gantenbein M. Roland Descouens Mme Marie-Claude Char Partners of the Ce projet est cofinancé par l'Union européenne. Mlle Nomi Ghez et Dr. Michael L'Europe s'engage en Festival M. et Mme Alain Douteaud Mme Myriam de Colombi-Vilgrain Provence-Alpes-Côte d'Azur avec le Fonds européen de développement régional (FEDER). d’Aix-en- S. Siegal M. et Mme Dominique Dutreix M. Didier Charlet Provence since M. et Mme Jean-Claude Gruffat Mme Christine Ferer Mme Nathalie Coll 1948 This project has been financed with support from the European Commission. Authors are fully and solely responsible for the content of this report and the European Commission is not liable for the use that may be made of the information published in it. 64 65 Perséphone avec Dominique Blanc (Perséphone) Board of trustees

Mme Edmonde Charles-Roux Honorary President M. Bruno Roger * President Mme Brigitte Taittinger-Jouyet * Vice-President M. Jean-Francois Dubos * Secretary General Mme Catherine Demier * Treasurer

M. Michel Cadot Mme Martine Vassal Regional Prefect, Prefect of the Bouches-du-Rhône Senator for the Bouches-du-Rhône, President of the departmental M. Michel Orier council of the Bouches-du-Rhône General Director of artistic creation, Ministry of Culture and Represented by Communication Mme Sabine Bernasoni M. Denis Louche Departmental Councillor, responsible for cultural matters Regional Director of Cultural Affairs, Ministry of Culture and M. Michel Vauzelle Communication President of the Conseil régional Provence-Alpes-Côte d’Azur Mme Maryse Joissains-Masini Represented by of Aix-en-Provence, President of the Communities of the Mme Christine Mirauchaux Aix-en-Provence region Regional Councillor and Vice-President, responsible for Cultural M. Philippe Charrin matters, cultural heritage and tourism Vice-President of the Communities of the Aix-en-Provence region, M. Jean-Marc Forneri responsible for cultural matters Delegate, representing the Pasino d’Aix-en-Provence M. Gerard Bramoullé Deputy-Mayor, responsible for the Festival international d’art * Board member lyrique d’Aix-en-Provence

photos credits :

©Artcomart / Pascal Victor : front cover, inside back cover, pages 2, 10, 12, 51, 60 ©Artcomart / Patrick Berger : inside front cover, pages 4, 6, 8, 20, 44, 46, 50 ©Bernard Coutant : pages 14, 52 ©Vincent Beaume : pages 15, 18, 19, 22, 23, 24, 26, 28, 32, 36, 37, 38, 52, 53, 55, 57 ©Jean-Claude Carbonne : pages 17, 40, 42, 43, 54, 58, 59 ©Vincent Pontet : pages 30-31 66 FESTIVAL d’aix-en-provence Palais de l’Ancien Archevêché Place des martyrs de la résistance 13100 Aix-en-Provence tél. 04 42 17 34 00 www.festival-aix.com 65 rue Montmartre - 75002 Paris tél. 01 44 88 59 59