2018 06 27 LIVRET BIO WOM.Indd

Women Opera Makers WORKSHOP

BIOGRAPHICAL BOOKLET

2018 July, 2 to 6 Women Opera Makers

In light of the actual gender discrimination existing in the art fi eld, the Festival d’Aix is organizing a Women Opera Makers Workshop that aims to off er tools, support and guidance to mid-career women in the opera industry to strengthen them in their art, in their ability to communicate that art and in the skills needed to navigate a male dominated profession. The group of this workshop will be made of women composers, librettists, directors and conductors. All participant should have all been working professionally for at least 5 years and be very experienced in their respective fi elds. British stage director Katie Mitchell with English-German stage director Lily McLeish supervise this workshop.

This Women Opera Makers Workshop is support by:

the British Council France

This Women Opera Makers Workshop is an workshop

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

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European network of opera academies - enoa

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european-network-of-opera-academies www.enoa-community.com MENTORS

Katie MITCHELL Stage director Lily MCLEISH Stage director

PARTICIPANTS

Christina ATHINODOROU Composer / Conductor Marion AUBERT Playwright Jane DICKSON Composer Sivan ELDAR Composer Bushra EL-TURK Composer Heather FAIRBAIRN Stage director Ella HICKSON Playwright Sonia HOSSEIN-POUR Playwright Laura LOMAS Playwright Barbara POLL Stage director Julia SCHINKE Dramaturg Ana SEARA Composer Diana SOH Composer Jue WANG Composer

Member institutions of supporting participants: Calouste Gulbenkian Foundation Dutch National Opera Festival d'Aix-en-Provence La Monnaie / De Munt Snape Maltings Theaterakademie August Everding Théâtres de la Ville de Luxembourg MENTOR KATIE MITCHELL

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

Lily McLeish is a bilingual English-German theatre director. She read English literature and art history at the University of Cologne, where she worked with theatre company Port in Air. Since 2012 she has trained with Katie Mitchell and has worked as Associate Director to her on productions across Europe. She is a Creative Fellow of the RSC and Associate Director of Fizzy Sherbet. As director her work includes Schism (Park Theatre); The White Bike (The Space); Unlocked (alldaybreakfast, Bristol); a colder water than here (Vault); She Echoes (University of Northampton); Three Lives (Fringe Arts Bath); Housekeeping (LPOG, Southwark Playhouse); Absence (5x5x5, Young Vic); This Despised Love (RSC Fringe Festival); Old Times (Artheater, Cologne); Footfalls (Severins-Burg-Theater, Cologne). As associate director, her work includes La Maladie de la mort (Théatre des Bouffes-du- Nord); Anatomy of a Suicide, 2071 (Royal Court); Schatten (Schaubühne Berlin);Ophelias Zimmer (Royal Court/Schaubühne Berlin);Schlafende Männer, 4.48 Psychosis, Reisende auf einem Bein, Happy Days (Deutsches Schauspielhaus Hamburg). As assistant director, her work includes Lucia di Lammermoor (Royal Opera House); Cleansed, The Beaux' Stratagem (National Theatre); The Two Gentlemen of Verona (RSC); The Forbidden Zone (Salzburg Festspiele/Schaubühne Berlin);A Sorrow Beyond Dreams (Burgtheater, Vienna); The Rest Will Be Familiar To You From Cinema (Deutsches Schauspielhaus Hamburg); Say It With Flowers (Hampstead Theatre); The Yellow Wallpaper (Schaubühne Berlin/Odéon- Théâtre de l’Europe Paris); Reise durch die Nacht (Schauspiel Cologne/Festival d’Avignon/ Theatertreffen Berlin);Hundsprozesse (Schauspiel Köln); Between Things (Port in Air/ Artheater, Cologne). Awards include: Origins Award for Outstanding New Work (A Colder Water Than Here). www.lilymcleish.com CHRISTINA ATHINODOROU

COMPOSER / CONDUCTOR GREECE

Christina Athinodorou (born in Cyprus, 1981) is increasingly rising into international prominence, with a catalogue of more than fifty compositions to date, written for instrumental, chamber, ensemble, vocal and orchestral forces. Regularly performed in Europe and beyond, her music has been described as “atmospheric, strangely fascinating”, “enchanting” and “substantial” by international press, and broadcast on BR Klassik, CyBC, RAI3 and France Musique. It has been featured in some of the most significant festivals and venues such as the Biennale di Venezia, MITO Settembre, ISCM World New Music Days 2013 and 2015, Onassis Cultural Centre Athens, Music Biennale Zagreb, deFilharmonie Chamber Series, Salle Pleyel, Konzerhaus Berlin, Grafenegg Festival and the Festival d’Aix-en-Provence. Her exploration of the orchestral universe, led to performances of her music by distinguished orchestras such as the Tonkünstler Orchester Niederösterreich, Orchestre national d'Île-de-France, State Academic Orchestra of St Petersburg, Athens State Orchestra, Sinfonia Finlandia Jyväskyla and the Mediterranean Youth Orchestra to name a few. She has also worked with important ensembles, soloists of our time including the Neue Vocalsolisten Stuttgart, Sentieri Selvaggi, Ensemble Aleph, Ensemble BlauerReiter, Ensemble Reconsil, Het Collectief, Nomos Ensemble de Violoncelles, Elias String Quartet, Alexis Descharmes, Alda Dizdari, while conductors such as Pablo Heras-Casado, Pierre-André Valade and Jean Deroyer have championed her music. She has received international awards for her music in competitions including the Prix du jury and the Coup de cœur du public for her symphonic work Intermède pour une mer jamais vue and published by Durand in the fisrt Île-de-Créations Competition 2013 in France; the 2nd Prize in the first Sibelius competition in Finland 2015 for her choral workDe l'Âme; an honorable mention for her Alma for viola and orchestra in the 6th Prokofiev in Russia in 2012; and the Young Composer’s Award of the Aldworth Philharmonic Orchestra Young 2006-2007 in England. Her work has been supported by commissions from institutions and organisations including Radio France, Musik der Jahrhunderte, Amici di Sentieri Selvaggi, Pafos 2017 European Capital of culture, Pharos Arts Foundation and others, leading to works including Aktaí for ensemble, and Sterna for clarinet and string quartet. Appearing also as a conductor, she shows a particular interest in combining the standard repertoire with 20th century music and contemporary creations. “Comfortably, yet intensively interpreted”, her conducting has led her to collaborations with ensembles and orchestras including the Orquestra Sinfónica do Porto in Casa da Música, Jyväskylä Sinfonia Finlandia, Cyprus Symphony Orchestra, Nederlands Symfonieorkest and the London Sinfonietta amongst others. She has received the Dame Felicity Lott Bursary destined for “a promising emerging musician in the field of performance (conducting)”, and her work has been enhanced by the advice of important maestros of our time including Alan Hazeldine, Mark Shanahan, Jorma Panula, Peter Eötvös, Lothar Zagrosek among others. In 2017, she founded the contemporary music-oriented Ensemble Cyclamen of which she is the music director. Christina Athinodorou studied composition and conducting at the Guildhall School of Music and Drama in London for five years, where she was a student of Julian Philips and Alan Hazeldine, and later, she lived in Paris where she continued studying composition privately with Philippe Leroux. She took courses at the Centre Acanthes in Metz, University of North Texas, CNSMD de Lyon, Composit Festival and IRCAM. She was an artist-in-residence at the Cité des Arts and the CAMAC in France. She holds a PhD in Composition from the Royal Holloway University of London and she is regularly invited to teach as well as to present her work in institutions including the European University Cyprus and the London College of Music. A freelance artist Christina resides in Cyprus and continues to maintain strong artistic bonds with both Paris and London. www.athinodorou.com

MARION AUBERT

PLAYWRIGHT FRANCE

Marion Aubert trained at the Conservatoire national de Région - Musique, Danse et Art Dramatique in Montpellier. She wrote her first play in 1996:A Short Medicinal Play. It was performed the following year, during which she co-founded the Tire pas la nappe company with Marion Guerrero and Capucine Ducastelle. Since then, all of her plays have been staged, particularly by her company, most often directed by Marion Guerrero. She has been commissioned by a number of theatres, directors, composers or choreographers, including the Comédie Française, the Comédie de Valence, the Théâtre du Rond-Point, the CDR de Vire, the Théâtre Am Stram Gram in Geneva, the Théâtre du Peuple in Bussang, the Souffleur de Verre Company (Julien Rocha and Cédric Veschambre), David Gauchard, Alexandra Tobelaim, Roland Auzet, Hélène Arnaud, Matthieu Cruciani, Marion Levy, Babette Masson… Her plays are published by Actes Sud-Papiers. A number of her plays have been translated into German, English, Czech, Italian and Catalan. Her work as an author is often developed during Writers’ Residencies: at the Chartreuse in Villeneuve-lès-Avignon, at the Festival for French-language Theatre in the Limousin, The Théâtre de la Tête Noire in Saran (Orléans), at the Saint-Herblain Library (in Nantes), and at the Royal Court Theatre in London… Marion Aubert is also an actress. She has performed in several plays, including her own, but also works by de Musset, Lagarce, Ionesco, Lemahieu, Copi and Bégaudeau with directors such as Ariel Garcia-Valdès, Jacques Échantillon, Jean-Marc Bourg, Dag Jeanneret, Jean-Michel Coulon, Philippe Goudard, Marion Guerrero, Cécile Auxire-Marmouget and Matthieu Cruciani. Marion Aubert is Class 26’s “Sponsor” at the Comédie de Saint-Étienne (Year 2015). She regularly teaches in the Playwriting Department at ENSATT, the National School for Theatre Art and Techniques. She is a founding member of the Writers’ Cooperative, initiated by Fabrice Melquiot. In 2016, she was awarded the grade of Chevalier de l’Ordre des Arts et des Lettres. Marion Aubert was elected to the Board of Directors at the SACD in June 2017. JANE DICKSON

COMPOSER UNITED KINGDOM

– La Monnaie / De Munt

Jane Dickson is a Glasgow-based composer. Her work questions notions of virtuosity and methods of production, and often employs subtle live electronics to unsettle and disrupt; exploring the space between acoustic and processed sound. Using voice, text, movement and light as compositional material, her stripped-down operatic works seek to illuminate the fantastical portrayal of women and their fate in this art form, particularly in relation to sexuality, autonomy and violence. Her work has been supported by PRS Women Make Music, Creative Scotland and the Hinrichsen Foundation. Are These Waves, a new chamber opera for two sopranos and choir, premiered at La Monnaie / De Munt Ateliers in June 2018. www.janedickson.net SIVAN ELDAR

COMPOSER UNITED STATES / ISRAEL

The work of composer Sivan Eldar has been described as “vividly imagined” (The Boston Globe), “ethereal” (Oakland Musical Examiner), “beautifully melancholic” (Opera Plus), “radiating with poetic sounds and silences” (ResMusica) and “with a unique sensitivity to dramaturgy” (Diapason). She has worked with many of today’s leading ensembles, including the Radio France Philharmonic Orchestra, Diotima Quartet, Exaudi Vocal Ensemble, Divertimento Ensemble, Berkeley Symphony, International Ensemble Modern Academy and Musica Nova, at festivals such as ManiFeste, Festival d’Aix-en-Provence, Royaumont Voix Nouvelles, Impuls, Rainy Days Luxembourg, Prague Spring, Ostrava Days and Tzlil Meudcan. Sivan holds degrees in composition from the New England Conservatory (BM) and UC Berkeley (MA/PhD), where she studied with Franck Bedrossian, Edmund Campion, Myra Melford and Cindy Cox. She has also received diplomas in computer music and new media studies from CNMAT (Center for New Music and Audio Technologies), BNCM (Berkeley Center for New Media) and IRCAM (Cursus 2016-17) where she is currently composer-in-residence. Her music is published by Durand-Salabert-Eschig Editions /Universal Music Publishing Classical, Paris. BUSHRA EL-TURK

COMPOSER UNITED-KINGDOM

– Snape Maltings

Born in London, Bushra El-Turk's music of “ironic”, “arresting” and “limitless imagination” forebears the inﬂ uence of her Lebanese roots and straddles Eastern and Western idioms all the while leaning towards the absurd and theatrical. Selected by the BBC as one of the most inspiring 100 Women of today, she has written various works for the concert hall, dance, theatre and multi-media, both performed and broadcast on radio and television worldwide. Her pieces have been performed by ensembles including the London Symphony Orchestra, BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, Royal Opera House, London Sinfonietta, Birmingham Contemporary Music Group (BCMG), Manchester Camerata, Opera Holland Park, OrchestUtopica (Portugal), Athelas Sinfonietta (Denmark) Hermes Ensemble (Belgium), Orchestre national de Lorraine (France), Latvian Radio Choir, Ensemble Saraband (Germany), Atlas Ensemble, Ensemble Zerafi n, Orkest de ereprijs (Holland), Lebanese Philharmonic Orchestra, Lunatics at Large (USA) and Wissam Boustany. Performances have been at venues including the Lincoln Centre (New York), Bridgewater Hall (Manchester), Birmingham Symphony Hall, Cadogan Hall, the Southbank and the Barbican (London). Summer 2017 saw excerpts of her new opera Woman at Point Zero (libretto by Sabrina Mahfouz, directed by Maria Koripas, Merit Ariane Stephanos as Firdaus) performed at LSO St Luke’s, presented by the Royal Opera House, Shubbak Festival and supported by the Abu Dhabi Festival, Arts Council, Jerwood Foundation and PRS Foundation. The Woman at Point Zero opera is also supported by the unique Snape Maltings Open Space artist residency programme during the years 2016-2018. She has also completed an AHRC funded PhD in Musical Composition at the University of Birmingham under the supervision of Michael Zev Gordon, where she explored the integration of Middle-Eastern and Western art music. 2018 will witness Bushra's BBC Proms-commissioned debut writing for the mezzo Wallis Giunta, a piece for the soprano Carly Owen at National Opera Studio and for Berlin's Babylon Orchestra.

Bushra is published by Composers Edition. HEATHER FAIRBAIRN

STAGE DIRECTOR UNITED STATES

Heather Fairbairn is a British stage director who graduated with a Master of Fine Arts (Directing) from the National Institute of Dramatic Art in Sydney and a Bachelor of Creative Arts (Drama) from the University of Queensland. She has been engaged by companies including Royal Opera House, Festival d’Aix-en-Provence and Opera Australia. Her popular adaptation of Mozart’s The Magic Flute is regularly revived in concert halls around Europe, including Queen Elisabeth Music Chapel (Belgium), Grande Théâtre de la Ville (Luxembourg), Calouste-Gulbenkian Foundation (Lisbon) and Escuela de Música Reina Sofía (Madrid). Directing credits include: The Mutant Man by Christopher Bryant in a “stylish production” [The Stage] with “glimpses of visual genius in its staging” (The Space Arts Centre, London), Snappy Operas - Operas VI-X (Mahogany Opera Group, London), Sunnytown by Krystal Sweedman (La Boite Theatre Company), Little Nemo and the Ice Cream Witch (Bayerische Theaterakademie, Munich), The River by Jez Butterworth (National Institute of Dramatic Art), Orphans by Dennis Kelly (Actors Centre Australia), Young Artist Concert (Opera Australia), and Winterreise (National Institute of Dramatic Art). As associate director, her work includes La Cenerentola (Dir. Naomi Edwards, Opera Australia) and Joy, Fear & Poetry (Dir. Natasha Budd, La Boite Theatre Company). Assistant Directing credits include Ariadne auf Naxos (Dir. Katie Mitchell, Festival d'Aix), Lucia di Lammermoor (Dir. Katie Mitchell, Royal Opera House), Ophelias Zimmer (Dir. Katie Mitchell, Schaubühne Berlin), As You Like It (Dir. David Berthold, La Boite Theatre Company), and 1984 (Dir. Michael Futcher, Queensland Performing Arts Centre). As Trainee Director, Heather worked on productions of Alcina (Dir. Katie Mitchell, Festival d’Aix) and Il Trovatore (Dir. David Bösch, Royal Opera House). www.heatherfairbairn.com ELLA HICKSON

PLAYWRIGHT

Ella Hickson is an award-winning writer whose work has been performed throughout the United Kingdom and abroad. Her most recent show Oil opened at the Almeida Theatre in London in October 2017. Her new show The Writer will open there in Spring 2018. She is developing new work in London for the National Theatre and the Old Vic and in New York for Manhattan Theatre Club. She is also developing various projects for TV and film. SONIA HOSSEIN-POUR

PLAYWRIGHT

Holder of a Master’s degree in Modern Literature, graduated from Sciences Po Paris in Public Affairs and HEC Paris School of Management in Cultural and Creative Industries, Sonia Hossein-Pour has also studied classical singing at the Conservatoire with Michel Piquemal, François Le Roux and Catherine Dune. She was a music critic for the website Forum Opéra before joining the Opéra Comique to pilot the communication of the first season of Olivier Mantei at the head of the institution. As a dramaturg, she has written several texts and conducted interviews for the programs of the Opéra Comique, the Opéra national du Rhin and the Philharmonie de Paris as well as for the opera streaming platform OperaVision. She is currently a casting consultant for the Théâtre des Bouffes du Nord in Paris and has just been appointed Secretary General of the Angers-Nantes Opera. LAURA LOMAS

PLAYWRIGHT UNITED-KINGDOM

Laura Lomas is from Derby. She studied English at the University of Nottingham and holds an MPhil in Playwriting from the University of Birmingham. Her plays include Abandon (lyrics by Hammersmith), The Blue Road (Derby Theatre, Dundee Rep, Royal and Derngate and Plymouth Theatre Royal), Joanne (Clean Break, Soho Theatre, RSC), Bird (Derby Theatre, Nottingham Playhouse, UK tour), Blister (Paines Plough, RWCMD, the Gate Theatre, London) Open Heart Surgery (Theatre Uncut, Southwark Playhouse, Traverse Theatre) Film and TV work includes Rough Skin (shortlisted for Best Short Film, British Independent Film Awards, Raindance) and two episodes of Jack Thorne's E4 drama Glue. In 2012, Laura was awarded a Sony Award for Best Radio Drama for her play My Boy. Laura Lomas is currently under commission to the Royal Court Theatre, Nottingham Playhouse and the National Theatre. Her play Chaos for the National Theatre Connections commission will be produced in 2019. She is writing an original pilot for BBC/ Clerkenwell Films and developing original series ideas for Big Talk Productions and DNA.

She is published by Nick Hern Books. BARBARA POLL

STAGE DIRECTOR POLAND

Barbara Poll made her UK debut in 2015 directing Manspangled by Edward Henderson at the Cockpit Theatre, which was later revived at the Tête-à-Tête festival. In 2017 she directed Handel’s Rinaldo for the Music Academy International Summer Festival in Trentino, Italy and in 2018 Mozart's Le nozze di Figaro for Bloomsbury Opera in London. She trained working as assistant director to David Pountney, John La Bouchardière and Frederic Wake-Walker, and as observer to Robert Carsen, Kasper Holten, and Jonathan Miller at the Royal Opera House and the English National Opera. She was an intern-director at the Hamburg State Opera, and has held positions at the Poznan State Opera and the Warsaw Chamber Opera. Barbara Poll was a semi-fi nalist for the 2018 European Opera Prize for a production of Manon Lescaut. She holds a Master's Degree in Literature and Dramaturgy from Adam Mickiewicz University in Poznan. JULIA SCHINKE

DRAMATURG GERMANY

– Theaterakademie August Everding

Julia Schinke was born in 1993 in Munich, where she also started her education in music and dance at the age of four. After her graduation from high school, Julia studied musicology and theatre-studies at the Ludwig-Maximilians-University in Munich and at the University of Vienna. She continued her studies with a Master of Arts in dramaturgy for music theatre at the August Everding Akademie starting in autumn 2016 in Munich. Parallel to her studies at the university, she completed internships at the Kevin O’Day Ballet in Mannheim, at the Schleswig-Holstein Musik Festival and the Bavarian State Ballet. Since 2016, she is supporting the association 'Voila! Opera! e.V.' as the directors assistant and is part of their project Opera at Schools. In addition to her academic education Julia is teaching modern jazz-dance and is working as a free choreographer after completing various workshops and training courses inter alia at the Iwanson International School of Contemporary Dance. As a dramaturg she recently worked with the director Balàzs Kovalik staging the baroque opera Artaserse for the reopening of the UNESCO cultural heritage Markgräﬂ iches Opernhaus in Bayreuth. ANA SEARA

COMPOSER PORTUGAL

– Calouste Gulbenkian Foundation

Born in 1985, Portuguese composer Ana Seara, completed the Degree in Composition ESML – Lisbon, with Distinction in 2007. She won 1st and 2nd Prizes in the International Composition Competition of Póvoa de Varzim in Chamber Music and Orchestral Music categories (2006, 2007, 2008). She fi nished, in 2010, her Master's thesis in Composition. She was nominated for the 1st Prize for Young Composers of the Verbier Festival 2013. She had several commissions, among them, from Chamber Orchestra of Cascais and Oeiras, Lisbon Sinfonietta Orchestra, OrchestrUtopica, Contemporary Music Group of Lisbon, Fondazione Adkins Chiti: Donne in Musica. In 2012, she attended the enoa workshops cycle Composition for voices with Luca Francesconi organized by the Calouste-Gulbenkian Foundation in Lisbon. In 2013, she participated in the Out at SEA Chamber opera workshop with Peter Eötvos and Luca Francesconi, organized by the Peter Eötvös Foundation in Budapest. For the season 2013-2014, she had a new work commissioned by the Gulbenkian Orchestra. She participated in the enoa workshop for voice at LOD muziektheater in Ghent and in the Opera Creation Workshop with Martin Crimp and George Benjamin at the Festival d’Aix-en-Provence. She was the young residente composer in the 2014 season of Casa da Música in Porto. In 2016, she participated in Music Theatre for Young Audiences, an enoa workshop at Theaterakademie August Everding in Munich. In December 2016, she participated in an enoa opera lab at Queen Elisabeth Music Chapel to develop an immersive and participatory opera for children combining Mozart's and Seara's music. This enoa co-production – Il était une fois… La Flûte enchantée – is currently on tour in enoa network. She also works as a Pedagogical Director at the Lisbon Academy of Music and as teacher in Escola superior de música de Lisboa. DIANA SOH

COMPOSER

Diana Soh was born in 1984 in Singapore and received her first musical training in piano, voice and composition locally. An alumnus of the Yong Siew Toh Conservatory and the University at Buffalo, she has received commissions for orchestral, choral, ensemble, vocal and electronic works from prestigious, institutes, festivals and ensembles in the European contemporary music world. She was the recipient of the 2015 NAC Young Artist Award and the impuls composition competition. Her works have been broadcasted on Deutschlandfunk (Cologne Radio), ORF (Austrian TV/ Radio) Danish Broadcasting Corporation, BBC Radio 3 and France Musique identifying her as “a composer to follow” (une compositrice à suivre). Her musical interest is currently directed at exploring performance interactivity as well as obtaining specific sound colours from the intimate collaboration with performers. She has collaborated with ensembles like the Arditti Quartet, Ensemble Court Circuit, Ensemble Multilatérale, Athelas Sinfonietta and Klangforum Wien among many others. She has also spent 2 years at IRCAM for a specialised course in computer music and new technologies and was Composer-in-Residence for 2 years (2012 & 2013) at the National Center for Creation - La Muse en Circuit in partnership with Conservatoire d’Ivry-sur-Seine and Festival Extension. This concluded with a one-hour monographic concert on her works during the 2013 Festival Extension. Upcoming projects include a site-specific work for Les Métaboles, E-Mex Ensemble, and for Trio K/D/M, Elise Chauvin (singer), and the Singapore Symphony Orchestra and Ensemble Court- Circuit. www.dianasoh.com JUE WANG

COMPOSER UNITED STATES

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

LAURÉATS HSBC DE L’ACADÉMIE DU FESTIVAL D’AIX

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

FONDATION D’ENTREPRISE LA POSTE

La Fondation d’entreprise La Poste favorise le développement humain et la proximité à travers l’écriture, pour tous, sur tout le territoire, et sous toutes ses formes.

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

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

Allopneus, Allopneus Point Service, Ambulances Cristal, AMG-Féchoz, Amicale Zibeline, Archipel 21, ASS. Entracte, Audiens, Axon International, Balade en France, Banque Lazard Frères, Bel Air Média, Bucephale Finance, Butard Enescot, Cardalis, CG Immobilier, Culture Espaces SA, Distri Scènes, Diversité TV France, Dr Denjean Jean-Pierre, Dr Recipon et Associés, Edenred France, Ensemble Pygmalion, Euridice Opéra, Finopsys, Fondation Royaumont, Fonds Libres / Label Campus Eco, François Roussillon et Associés – Fraprod, FS Loisirs SARL, Getic / Gestion et transactions immobilières et commerciales, Groupe Cargo – Cargo, Groupe Cargo - Centrakor Stores, Groupe Cargo – Cogex, Groupe Veolia, H3G, Hevea, Hôtel La Caravelle, Hôtel Les Lodges Sainte-Victoire, IMG Artists, JR Consultant, La Compagnie Humaine - Éric Oberdor , L'Argonaute, Les Coquillages du Roy René, Log for you, LPC, Magau, Maison du nougat, Media Mesures Centre Est, MG International, Musiques Échanges, Opéra de Dijon, Opéra de Lille, Opéra de Lyon, Opéra et orchestre national de Montpellier, Orchestre de Paris, Petit Futé, Pink TV, Premières Loges - L'Avant-Scène Opéra, Primosud SAS, RPB Concept, Semepa-Epage, Texen, UGIP Assurances / Sologne Finances, VAL Productions Conseil

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