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Upload the Biographical Leaflet ACADÉMIE LIST OF PARTICIPANTS BIOGRAPHIES OPÉRA DE-CI DE-LÀ WORKSHOP: JANUARY 27 — 29, 2021 RESIDENCY: JUNE 7 — 12, 2021 OPÉRA DE-CI DE-LÀ RESIDENCY Opéra de-ci de-là residency offers a training program that explores the strengths, the stakes, and the potential for change in the opera industry. The program aims at training young creators and performers to create collaborative and immersive operas, in a setting that favors intercultural dialogue and interdisciplinary exchange. By investigating innovative and creative processes, the program provides young artists with the opportunity to develop short-form performances and offers them an immersive experience in the public space. The second edition of the Opéra de-ci de-là residency originally scheduled in March and June 2020 will last for a full season. After a two-day videoconferencing seminar in June 2020, 4 other sessions are held online during the fall, then 2 face-to-face sessions in January and June 2021. MENTOR PARTICIPANTS Gathering four composers, four stage directors, eight singers, four instrumentalists ANTHONY HEIDWEILLER CHRISTIAN ANDREAS — BARITONE and two authors, the residency aims at underscoring the importance of storyline in SINGER AND ARTISTIC ASSOCIATED GEORDIE BROOKMAN — STAGE intellectual discussions and the creative process. In the context of the pandemic, DIRECTOR OF THE OPERA FORWARD DIRECTOR it also offers a unique space for reflection about the role of art in society today and FESTIVAL OF AMSTERDAM SIMONA CASTRIA — SAXOPHONE how art can be used to respond in times of crisis. The theatre director and 17th- ÉLISE CHAUVIN — SOPRANO century literature and modern science historian Frédérique Aït-Touati, contributed AMY CRANKSHAW — COMPOSER to the reflection with her research on Harmonices Mund by the seventeenth-century JOSIE DAXTER — STAGE DIRECTOR astronomer Johannes Kepler. This iconic book places art and sciences on an equal SEYDOU DIARRA — N’GONI, FLUTE level and discusses the science of the natural world in poetic language. The PENDA DIOUF — PLAYWRIGHT participants will translate Kepler’s inspiration into their own modern thinking, which MIMI DOULTON — SOPRANO will result in a collective creation that places Courage and Feminism at its center. LILI GOMOND — SAXHORN Anthony Heidweiller who regularly holds workshops on artistic projects with a COLIN HELLER — NICKELHARPA participatory dimension, leads the residency. GOLFAM KHAYAM — COMPOSER CARMEN C. KRUSE — STAGE DIRECTOR This residency is supported by Ammodo and Total Foundation. EVAN LAWSON — COMPOSER BENJAMIEN LYCKE — COMPOSER ALBERTO MARTÍNEZ — BARITONE HALIDOU NOMBRE — BARITONE PAULINA PLATZER * — STAGE DIRECTOR LAURE POISSONNIER — SOPRANO ANNA SCHORS — MEZZO-SOPRANO EIRA SJAASTAD HUSE — MEZZO- SOPRANO CLAIRE TIPY — PLAYWRIGHT, STAGE DIRECTOR * Participant supported by institutions members of enoa network: Theaterakademie August Everding – Munich 3 MENTOR PARTICIPANT ANTHONY HEIDWEILLER CHRISTIAN ANDREAS SINGER AND ARTISTIC DIRECTOR BARITONE GERMANY THE NETHERLANDS Christian Andreas holds a Master of Music in Vocal Performance from the Royal College of Music London studying under Peter Savidge and a Bachelor of Music in Opera Performance and Vocal Pedagogy from the Hochschule für Musik Karlsruhe under Stephan Kohlenberg. Anthony Heidweiller is a baritone, operamaker, creator, inspirer and promoter of Since his professional debut in 2009 as Brundibár in the opera of the same name innovative opera concepts. Concepts such as participation and community arts are by Hans Krása at Heilbronn Theater in his native Germany, he has performed across central to much of his work. In 2001, he set up a Youth Opera Festival (YO! Opera) Europe, Africa and the Americas, most notably singing in Bach’s St. Matthew Passion to introduce opera to young people. In 2006, his Yo! Opera community arts project, (Pontifex) at the Teatro del Lago in Chile (2013). He made his debuts at Casino Bern with Opera on the Bus, won an award for “the most innovative event”. In 2008, Yo! Opera the Berner Symphonieorchester and at the Festspielhaus Baden-Baden as Taddeo in was awarded the Prins Bernhard Cultuurfonds prize for art education. In 2011, he Rossini’s L’Italiana in Algeri / Käpt’n Bone in 2015 and 2016 respectively. He joined the received the Culture Award of the Municipality of Utrecht. Since 2012, he has been Royal College of Music International Opera School for performances of Poulenc’s Les artistic director of the Operamakers Foundation. In 2018, the music education Mamelles de Tiresias (Presto) and Janáček’s The Cunning Little Vixen (Harasta) in Britten project Vocal Statements of Operamakers has been nominated. Besides his own Theatre London in 2017. The following year, he was invited to perform with the Royal company Operamakers, he is affiliated with institutions such as the Dutch National Philharmonic Orchestra at Cadogan Hall London, the Orchestra di Padua e del Veneto in Opera, Artistic Associate Director Opera Forward Festival (nominated in 2018 as the Italy and at the Verbier Festival in Switzerland, where he sang Il Conte di Monterone in most important opera festival in the world), Artist in Residence Theaterschool and Verdi’s Rigoletto. He has been a member of the International Opera Studio at the Opéra Conservatorium Amsterdam, Festival of Flanders Brussels and in Germany, RUHR National de Lyon since 2019. Recent engagements include Il Barone Douphol in Verdi’s 2010. In March 2019, he became member of the Royal Netherlands Academy of Arts La traviata in Sicily and Don Inigo Gomez in Ravel’s L’Heure espagnole at the Opéra and Sciences. National de Lyon. He has worked with coaches including Roger Vignoles, Hartmut Höll and Júlia Várady- Fischer-Dieskau and he has performed in masterclasses of Thomas Hampson, Christa Ludwig, Peter Schreier, Brigitte Fassbaender, Thomas Quasthoff, Barbara Frittoli, Ekaterina Semenchuk and Malcolm Martineau. He is also known for his work as a professional chorister and has recorded for Deutsche Grammophon in Mozart’s Così fan tutte (2012) and Die Entführung aus dem Serail (2014) under the baton of Yannick Nézet-Séguin and for Sony in Händel’s Alexander’s Feast (2019) conducted by Lorenzo Ghirlanda. www.christianandreas.com 4 5 PARTICIPANT PARTICIPANT GEORDIE BROOKMAN SIMONA CASTRIA STAGE DIRECTOR SAXOPHONE AUSTRALIA ITALY Geordie Brookman is one of Australia’s leading theatre and music theatre directors. From Simona Castria approached music at very early age by playing the piano. She then began 2012 to 2019, he was the Artistic Director and Co-CEO of State Theatre Company South playing the saxophone and studied in Italy, Belgium and France. In 2017, she joined Claude Australia during which time he more than tripled the Company’s activity and instigated its Delangle’s prestigious class at the Conservatoire National Supérieur de Musique et de Danse first three ever international tours. de Paris for a Master in saxophone. Interested in improvised music, she also attended the Since graduating from Flinders University Drama Centre, he has directed work around classes of Vincent Lê Quang and Alexandros Markeas. After obtaining her master’s degree Australia, the United Kingdom and Asia. One of his latest productions for Frantic in 2019, she continues to perfect her skills in the field of contemporary music in Hae-Sun Assembly and the Lyric Hammersmith, Things I Know to Be True, recently enjoyed a return Kang’s class. In the last few years, she won several prizes in national and international four-month, sell-out season in the United Kingdom. His directing credits also include competitions as soloist or in chamber music configuration (saxophone quartets and duo Machu Picchu, Kryptonite and Spring Awakening: The Musical (Sydney Theatre Company), with piano): Aexigentia competition, Ferrero prize, Cantarone prize and Rosa Ponselle Animal Farm, The Gods of Strangers, Sense and Sensibility, In The Club, Vale, Macbeth, competition among others. A Doll’s House, Betrayal, Summer of the Seventeenth Doll, Footfalls, The Importance of She performs as soloist and in several other musical settings such as orchestras (I Being Earnest, Little Bird, The Seagull, Maggie Stone, Hedda Gabler, The Kreutzer Sonata, Pomeriggi Musicali, Ostinato workshop orchestra), ensembles (Intercontemporain, Speaking In Tongues, romeo&juliet, Ghosts, Attempts on Her Life, The Dumb Waiter, Ensemble du Bout du Monde) and music chamber group (L’Impolie, La Frange). She has Ruby Moon and Hot Fudge (State Theatre Company South Australia), Toy Symphony played under the direction of conductors such as Pierre-André Valade, Simon Proust, Léo (Queensland Theatre Company), Knives In Hens (Malthouse Theatre), Metro Street (Arts Margue and Timothy Brock. Very interested in crossing and mixing the arts, she often Asia Pacific, Power Arts, Daegu International Musicals Festival), Baghdad Wedding, Tender collaborates with artists from different backgrounds. She performs at the Casa Cava and Disco Pigs (Belvoir), The City (nowyesnow), Marathon, Morph and The Return (Fresh theatre in Matera (Italy) and at the Théâtre de la Croix-Rousse in Lyon, and plays regularly Track), Tiny Dynamite (Griffin), Macbeth and The Laramie Project (Adelaide College of the with the dancers and musicians of the improvisation collective “Les Heures Perdues”. Arts). His productions have won and received nominations for Helpmann, Greenroom, Fascinated by contemporary music, she researches the recent repertoire for saxophone and Sydney Critics Circle, Adelaide
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