ANNUAL REPORT 2017 Annual report d’Aix-en-Provence 2017 d’Aix-en-Provence report Annual A WINNING BET FOR AN INTENSE AND DARING 69TH EDITION

The 2017 edition of the Festival d’Aix was a very great success, The 2017 Festival d’Aix was also present on the airwaves and not only from the artistic point of view, but also for the attention the big screen, as the summer’s five operas were broadcast given to the Festival’s outreach programmes and the media on Arte, France Musique, France Télévisions, Mezzo, Arte coverage from which it benefited. This edition drew almost Concert and Culture Box. Two of them – Carmen and Pinocchio – 85,000 spectators. The five opera productions were all warmly were screened free of charge on 99 big screens in France and welcomed by the public and the national and international abroad. Finally, the closing concert of the Mediterranean Youth press. They also seduced the many professionals who came Orchestra was broadcast live on the Festival’s YouTube channel. from around the world, some of whom expressed their desire to I would like to congratulate Mr Bernard Foccroulle, Director present them in the near future on their home stages. General of the Festival, his entire team, and to express my gratitude to the Ministry of Culture, the municipal authorities The 5th edition of AIX EN JUIN attracted a broad and enthusiastic of Aix-en-Provence, Métropole Aix-Marseille Provence audience to about forty artistic events presented throughout the and the Territoire du Pays d’Aix, the Departmental Council, city of Aix-en-Provence and the surrounding communities the Provence-Alpes-Côte d’Azur Regional Council and the by the amateurs involved in the outreach and socio-artistic European Union for their loyal support, as well as our private projects of the Festival’s Passerelles department and by the and corporate sponsors, whose generosity is essential for the young talents of the Académie. PARADE[S] once again lit up the Festival. Cours Mirabeau, bringing together 5,000 people who came to listen free of charge to extracts from Carmen performed by the soloists, chorus and orchestra of the production presented at Bruno Roger the Théâtre de l’Archevêché. President of the Festival d’Aix-en-Provence

Don Giovanni THE FESTIVAL D’AIX IN THE WORLD

In many respects, 2017 has been an exceptional year for our Moscow is the city that has most honoured our Festival, with Festival. Three criteria allow us to take the full measure of two productions, Written on Skin and Trauernacht, presented on this success: the presence of the foreign audience in Aix, the tour at the Bolshoi last April, and the entry of Alcina into the echoes in the international press, and the circulation of our prestigious theatre’s repertoire starting in October. Similarly, productions around the world. the Stanislavsky Theatre, which co-produced The Rake’s Progress, presented a series of filmings of our productions during free The foreign audience, which is well-represented at the Festival, projections, a way of familiarising the Moscow audience with grew this year, and for the first time we welcomed the presence the creations of Aix. of important delegations from the boards of directors of the Chicago, San Francisco and Los Angeles operas, as well as the Sydney Festival, and a very large number of professionals. The This phenomenon is not about to stop, because all our 2017 identity of our own Festival seems to be better perceived and productions have aroused considerable interest, as exemplified more appreciated than ever. by The Rake’s Progress, which will travel in the next few years to Amsterdam, Moscow, Rome, Chicago, San Francisco, Los This is also what the international press seems to suggest, as we Angeles, and New York. can see from the extracts that appear in this report. Does this mean that we are seeing a standardisation of the Moreover, no less than thirteen opera productions have toured opera on a global scale? I am convinced of the contrary: sharing this year in France and abroad, for a total of 77 performances the best of lyric creation, promoting the circulation of artists (see p. 35) in 16 cities: that is more than double the number of and productions, and participating in the emergence of new those presented in Aix in July! repertoires and new interpretative practices is the best means of fighting against the commercialisation and ‘star system’ that It is not only the most widely publicised productions that go produces a very real and regrettable standardisation. on tour: The Monster in the Maze, the participatory opera that premiered in Aix in 2015, has been reprised by local amateur Each performance of one of our productions in front of a choirs in Lille, Montpellier and Lisbon, with undeniable different audience, whether it be in New York, Beijing, Seoul or success. Contemporary creations, such as Svadba by Ana Montpellier, creates a new encounter that enriches both artists Sokolovic´ (presented in Aix in 2015) and Kalîla wa Dimna by and spectators alike, without diminishing the identity of our Moneim Adwan (which premiered in Aix in 2016) have been partner venues. The knowledge that all these productions have seen and heard in Ljubljana and Casablanca, as well as Paris, been initiated, studied, prepared, rehearsed and staged in Aix is Luxembourg, Dijon and Le Mans. a source of great pride for all our teams.

Bernard Foccroulle Director General of the Festival d’Aix-en-Provence

3 Pinocchio “ The Festival d’Aix-en-Provence continues to pose the question of why other institutions with equally generous resources so seldom come even close to this level. Opera can be this good – and it should be.”

Financial Times

The Rake's Progress PINOCCHIO

Contemporary creation lies at the heart of the mission givent to the Festival d’Aix. This year, it is the turn of the puppet Pinocchio to come to the DIAPASON LES ÉCHOS opera stage for the first time, thanks to a commission given to composer Philippe Boesmans and stage director and librettist Joël Pommerat. Pinocchio is to Boesmans what L’Enfant is to Ravel. A magnificent Philippe Boesmans superimposes soaring and colourful music, The adaptation of this lyrical tale revives the dark interpretation of an unvarnished society that is to be found in Collodi’s work, and that is production by Joël Pommerat, as powerful as it is minimalist, resistant to any explanatory overload on Joël Pommerat's play. … given form by way of six singers who awaken under the impulsion of the narrator, here called the troupe manager. The world premiere of this plunged into an obscurity given life by Renaud Rubiano's video, There’s no doubt that we could not dream (the precise word) of a coming-of-age tale brings the question of freedom to the forefront. which is consubstantial with the stage design and Éric Soyer’s better cast. … Nobody is about to forget Stéphane Degout, both an dreamlike lighting. … One could not dream of a better cast, flattered, admirable Nosferatu-like story-teller and a deeply moving singer. NEW YORK TIMES.COM LE SOIR it is true, by a music that never goes against the voices and assumes It’s undeniable: Philippe Boesmans’ Pinocchio … is a hit. Deftly Pinocchio triumphs in Aix. … Boesmans and Pommerat: the the specificities of the opera. Chloé Briot portrays an ideal Pinocchio, LIBÉRATION probing the nature of honesty, accountability and freedom with a meeting of two giants has created an opera that reconciles the spoken protected by Marie-Eve Munger's Fairy and her crystal-clear trebles. An intimate atmosphere, brilliant performers and stunning music blend of magic, comedy and an ethical quest, it’s a Magic Flute for word and song. The other singers take on several, often opposing, roles, beginning with by Philippe Boesmans. The stage director has succeeded in his poetic our times. the superb Stéphane Degout who is omnipresent as the empathetic or adaptation of the work by Carlo Collodi. LA LIBRE BELGIQUE distant, now speaking, now singing, troupe manager. Yann Beuron FINANCIAL TIMES Pommerat's writing is implacable: a succession of short and punchy is a disturbing crook and despicable as the ridiculous judge. Vincent TÉLÉRAMA These are people (Mr Pommerat, Mr Pomarico and Mr Boesmans) scenes that create a dialogue between a narrator (and also a singer, Le Texier overflows with humanity as the father and is pitiful in the Philippe Boesmans and Joël Pommerat's Pinocchio, whose world who can turn any score into a masterpiece; the musicality, the polish, the wonderful Stéphane Degout) and the development of the plot. role of the school master. Julie Boulianne plays the diva as a cabaret premiere was presented in Aix, keeps its promises, including the the warmth and skill are breathtaking. … Long, philosophical and In a reduced but sumptuous cast, each character is profoundly artist and runs amuck as the bad pupil. difficult task of truly being an opera for all. just a little twisted, it is the Twin Peaks of children’s operas. engaged before being presented by successive brush strokes within a minimalist and meticulous stage setting, where everything that CLASSICAGENDA FRANCE CULTURE DAILY TELEGRAPH can be seen ideally serves the action while connecting closely to the Pinocchio in Aix: The birth of an opera Is Joël Pommerat an alchemist? We would be tempted to say yes when Boesmans’s bittersweet score, a mix of styles that never sounds like spectator’s deepest emotions. In a world of the opera that has been described (and criticised) as a we see the extent to which everything he touches turns to gold. Returning pure pastiche, is unfailingly lively and held together with brilliant relic of the past, whose current news usually resides in the reprise of a to the opera for only the second time in his long career, he has managed assurance by the conductor Emilio Pomarico. … The playing LUXEMBURGER WORT time-honoured repertoire, it is a rare opportunity to witness the birth to transform Pinocchio into a libretto of stunning modernity. of Klangforum Wien is vivid, and the onstage trio (saxophone, Pommerat is a fantastic master of light, working (with his accomplice of a new work that has never been played, never seen, never heard accordion and gypsy violin) is effective. Éric Soyer) in all possible nuances from black to white, and also and never reviewed. A magnificent and magical curtain riser. LA CROIX resorting to video images that contribute to the illusion. Each scene is a model of elegance and aesthetic refinement, from the OPER! LE MONDE dream-like smoke to the violent or subdued lighting, from the discreet … The Klangforum Wien, conducted by Emilio Pomarico, delivers OPERA MAGAZINE A spirited, direct and refined Pinocchio … At 81 years-old, the but meaningful props to the digital effects, in particular when exactly the right amount of precision and sensuality. Captivating and alternately poetic, initiatory and bitter, Pinocchio Belgian composer has never written such direct, simple and familiar Pinocchio follows the bad pupil on the road to the Land of everlasting by Philippe Boesmans (born in 1936) is an undeniable success. … music, a refined and playful guest who invites the entire story of fun or when he is tossed on a sea of laser beams that is more realistic OPERNWELT The strength of the performance intrinsically owes much to this music into his score. than the waves themselves; … Philippe Boesmans weaves a fluid As for the narration, … [Pommerat] needs only a few tables and search for segmentation: each scene induces a feeling, a situation, and brightly-coloured fabric that the virtuoso instruments of the chairs, a cage, some fog and the simplest technical means to create a place, a mood... Philippe Boesmans’s music thus appears like a Klangforum Wien, conducted with verve and precision by Emilio images bathed in a touching and amusing poetry. … Boesmans finds prodigious, shimmering and versatile illumination. Pomarico, make squeak or sparkle, depending on whether Pinocchio a unique musical language for each situation. . waivers on the dramatic or joyful side of his initiatory journey.

6 7 CARMEN

After an absence of 60 years, the Festival d’Aix welcomed this opera, which has become one of the world’s most popular, for the second carry off the proposal with dazzling intensity. … The elation of the LES ÉCHOS time. This universal masterpiece was revisited under the baton of conductor Pablo Heras-Casado at the head of the Orchestre de Paris and audience after the performance and the snatches of conversation Tcherniakov’s idea may surprise or irritate, but it is stunningly thanks to the original vision of stage director Dmitri Tcherniakov. Here, the tragedy of Carmen is staged in a contemporary setting, where Don overheard when leaving the theatre confirm that this Carmen- effective. We surprise ourselves at not being able to take our eyes or José ‘replays’ the mythical story for therapeutic reasons. With a public swept away by the duo of Stéphanie d’Oustrac, in the role of Carmen, Therapy certainly caused one victim... but, above all, it made many ears away from a performance that is so finely tuned and entirely and Michael Fabiano, in that of Don José, this opera – which has enabled Dmitri Tcherniakov to be elected “best director of the year” by the converts. focused on the characters. Conductor Pablo Heras-Casado conducts Opernwelt German magazine – was undeniably one of the highlights of this 2017 edition. with the same clarity and intensity, the same care brought to the LE MONDE nuances and balance of an Orchestre de Paris at its finest. FINANCIAL TIMES OPÉRA MAGAZINE Carmen shook and stunned Aix-en-Provence … With Dmitri Tcherniakov is a master of the funny-uncomfortable, moving us from Yes, Dmitri Tcherniakov strikes again. Strong. And true. Master of the Tcherniakov’s iconoclastic staging, Bizet’s masterpiece overturned LE FIGARO hysterical laughter in the early stages to a sense of genuine horror by game, the Russian stage director sets his own rules. … By chipping the rules of the game … It took exceptional artists to carry off this Carmen seduces but does not convince … It is diabolically clever, the end. … Pablo Heras-Casado whips the Orchestra de Paris into away at the yellowing varnish of tradition, Tcherniakov pursues a challenge. Such is the case of Stéphanie d’Oustrac. played with as much truth as intensity, but … one wonders if a frenzy; his attention to detail, and the thrilling level of excellence, single goal, to render not the literal spirit, but rather the emotional Tcherniakov has not found an easy way to avoid the need for a mirror what we see on the stage. truth of the works, most of which are far more subversive than the LIBÉRATION concept … Stéphanie d'Oustrac's Carmen and Elsa Dreisig's Micaëla image conveyed by their successive interpretations. … At the head of In Aix-en-Provence, Russian stage director Dmitri Tcherniakov are exceptional …. OPERNWELT the Orchestre de Paris, Pablo Heras-Casado conducts a full score that presented an offbeat version of Bizet’s opera before an audience … Unlike for Bizet, Tcherniakov’s Carmen does not live in a minor is less in quest of transparencies or gaudy folklore than in a search that was more seduced than shaken. In the 2nd movement of his L'HUMANITÉ world. She is a young woman who loves life, a spectacular actress for the dark and dense roots of an authentic Spain, enlivened by 13th sonata, Beethoven suddenly marks the theme by inverting A breath-taking Carmen, two stories for the price of one. who marvellously manages to simulate unbridled passion …. irresistible flurries of lyricism. his intentions: the left hand plays staccato and the right hand plays legato, contrary to what it was doing previously. The music LA CROIX LE TEMPS L'AVANT-SCÈNE OPÉRA remains the same. But the listener has a fabulous sense of relief: Musically incandescent, Carmen, according to Dmitri Tcherniakov You thought you knew Carmen by heart? Then you haven’t seen Dmitri The latest opera-jacking by the Russian, whose interpretations we this spatialisation makes them enter the work and discover its and presented at the Festival d’Aix, deeply reveals the power of a work Tcherniakov’s version. This new production of the Festival d’Aix-en- have sometimes praised and have sometimes irritated us? No. ‘It’ structure, as if they were suddenly seeing the lining of a glove turned that retains all its freshness. Tackling a work of art from another angle Provence is a landmark. Revisited by the Russian stage director, Bizet’s works, as the great Sigmund might have said, for a bundle of reasons inside out. That is what is happening on a larger scale in this new is always a feat of daring. … Such a wager can only be convincing if opera smashes the codes of lyric art. … It takes real character to survive that are miraculously combined, like a furtive alignment of planets. production of Carmen by Russian stage director Dmitri Tcherniakov the soloists, chorus and instrumentalists are the real mediums. Ardent, this nerve-wracking catharsis. Little by little, tenor Michael Fabiano On the one hand, Carmen resists everything … On the other hand, and presented at the Festival d’Aix-en-Provence under the baton of sometimes wild, at the risk of a few rhythmic peccadillos, Pablo Heras- invests the vocal and scenic space with stunning conviction, power the proposal aims true: what is a spectator at the opera (or theatre Spanish conductor Pablo Heras-Casado: it is Carmen and yet, it is Casado’s conducts a sovereign Orchestre de Paris. and intensity. His virile and erratic Don José sweeps up everything or cinema) other than a captive in an enclosed space who projects not her. Even though we know her by heart, we have never seen her in its path, except for the warm and devastating voice of Stéphanie their imagination on the fiction that is unfolding before their eyes, like this. … Tcherniakov’s tour de force at the head of his bunch LES INROCKS d’Oustrac's fabulous Carmen. Here, the French mezzo has reached a sort to the point of suspending disbelief? What is the opera (or the theatre of super-motivated choristers and singers is to have known how to By making both the singers and the audience accomplices in the dirty of summit, both in her acting as well as in her singing. … Elsa Dreisig's or cinema) other than those works of fiction that can give or revive the communicate its emotional mechanics. The tour de force of conductor trick they have decided to play on Don José, Dmitri Tcherniakov and brave Micaëla and the brilliant Mercedes portrayed by Virginie Verrez taste for strong emotions and roll back our horizons? … There is no Pablo Heras-Casado, here at the head of the Orchestre de Paris, is to Pablo Heras-Casado turn this nightmare for Michael Fabiano (Don dominate a fine cast that is firmly supported by the Orchestre de Paris. irony against the work in this story within a story, quite the opposite, have found a solid interpretive path through this extravaganza where José) into an adventure that we all take part in. Fifteen minutes That is hardly surprising under Pablo Heras-Casado's baton. The young just finely-tuned theatrics …, humour when needed and, at the end, the music is sometimes illustrative and sometimes drives the action. of standing ovation testified to the success of this unanimously Spanish conductor brings the score to life with impressive clarity and true, naked and poignant drama. … Finally, the last of the aligned acclaimed production. Exceptional. buoyant vitality. We will definitely not forget this Carmen. planets: the excellence of the musical forces that come together to 8 9 THE RAKE’S PROGRESS

The Stravinsky cycle continued this year with the new production of The Rake's Progress under the stage direction of Simon McBurney and conducted by Eivind Gullberg Jensen. This adaptation of the ‘career of a libertine’ – which traces the descent into hell of a man with a thirst for pleasure who gets trapped by the power of money – paints a bitter portrait of a volatile, greedy and loose society. Faced with this painful reality, and despite the feeling of constant disillusionment that pervades the work, Simon McBurney’s production, staged in the Théâtre de OPÉRA MAGAZINE LA REVUE DU SPECTACLE l’Archevêché, revealed the force of an unconditional love that escapes the clutches of time. … McBurney knows like no other how to ally the (fake?) naivety of With humour and ingenuity, this production by stage director Simon an assumed part of illusionism, with these scenes that follow each McBurney refreshes this cruel moral fable of the unfortunate ‘desire EL PAÍS FINANCIAL TIMES other in the blink of an eye, leading the spectator from the top of a and conscience’ of the libertine. Simon McBurney has perfectly understood the philosophy behind This is a fine Rake’s Progress, full of superb stagecraft and excellent skyscraper to the slums of London, and the striking lucidity of his this masterpiece, whose dramatic proposal, although undeniably singing, beautiful to behold. vision of a society whose frenzy, greed and inconsistency create a LE MONDE modern, also has something of the 18th century about it; but the machine that crushes man, like a derisory and interchangeable cog The British stage director, a multimedia magician, dazzles us with spectator immediately accepts this double game and the beauty is RTBF.BE precipitated towards loss or madness, or engenders monsters who his stage direction of Stravinsky’s work. Simon McBurney is indeed sustained until the end (an end that even seems to come too soon). A royal feast in which McBurney brings to life Stravinsky’s subtle bow to the adulation of the masses. a magician of multimedia, the man who whispers into the ear of This uninterrupted pleasure is felt for both what is seen and what is reflection on the deviances of sex, money and the illusion of power, lighting, video and screens. heard. All the young singers are of a remarkable level. those devils hidden deep inside us all. With the musical elegance of a DIAPASON resuscitated yet very contemporary 18th century. The English stage director has created a brilliant and rhythmic L'HUMANITÉ NEW YORK TIMES production with gleaming colours, in the spirit of a musical or certain The Rake’s Progress, by Stravinsky, has found top-class treatment A satire of quests for fame and fortune, the piece seems in this staging LUXEMBURGER WORT American films where the characters run headlong towards disaster, with a high-flying cast in a production by Simon McBurney, on a more modern than ever … This “Rake” is witty and visually striking Discovering a Simon McBurney production means you are almost certain with videos that follow each other at a terrifying pace, and where background of painted canvas revisited by today’s technology. … The irony and sharp edges of Stravinsky’s score, as well as the to be brought as close as possible to the work and to its founding realities. the slums are not far from the skyscrapers. It is the story of a golden humor of the madcap staging, keep us at a distance from the action, There are no concepts with McBurney, only sensorial equivalents. He boy manipulated by an unscrupulous coach who has been ruined FRANCE INFO able to witness Tom’s downfall with a cool, critical eye. has not forgotten that a performance is first captured by the senses, what in a stock market crash. … More than an avatar of Faust, he is a The plot is complex, but Simon McBurney knows how to make it we see and hear. McBurney has an approach that is both artisanal and contemporary (anti)hero. clear. … A dizzying work that the performers treat like a sensual digital: a hand-crafted theatre and a technological theatre. choreography.

10 11 DON GIOVANNI

Like every year, Mozart occupies a place of choice in the programme of the Festival d’Aix. This summer, the Festival paid tribute to Don Giovanni at the Théâtre de l’Archevêché. The new production of this timeless masterpiece, staged by Jean-François Sivadier, gives a contemporary and vibrant reading of the mythical opera. Jérémie Rhorer’s musical direction of this revisited classic renders all the musical genius of Mozart. LAREVUEDUSPECTACLE.FR even dead, cannot keep still! Heard last year in Aix in Così fan Jean-François Sivadier returns to the stage of the Palais de tutte, Nahuel di Pierro completes the master-servant tandem with FATTITALIANI.IT understand what Jérémie Rhorer is capable of in this repertoire. His l'Archevêché for this 69th edition of the Festival and offers us a superb a delightfully cunning Leporello. Eleonora Buratto, as a nobly tragic The voices are sublime, between colour and dynamism and the Mozart is neither fat nor lean, neither unkempt nor too powdered; it Don Giovanni that is full of light and finesse, revitalised with all Donna Anna, defiantly eludes the traps of her vocal part, Pavol eternal desire of infinity. is flexible and loose, with silky strings and mocking bassoons, and the energy of popular theatre. Conducted by an ardent Jérémie Rohrer Breslik portrays a radiant Don Ottavio despite the pitfalls of destiny, it avoids the excessive tempos that would over-stretch the point (his and featuring a cast of brilliant and charismatic young singers, and Isabel Leonard moves us to tears with her Donna Elvira, a falsely DIAPASON ‘Ah! Soccorso’ strikes just the right balance) or creates difficulties for Mozart's masterpiece rediscovers its spontaneity and freshness. comic character and true tragic lover. The best surprise of the vocal … A classic but very lively production that sticks closely to the music the singers. cast is without doubt Julie Fuchs’s Zerlina: a fresh, bright timbre, and and the libretto, marrying the magic of the night with the beautiful LE FIGARO unfettered and spirited singing, the soprano gives the little peasant lights from the coloured Murano glass. Yet, nothing has been RESMUSICA … Once again … we are struck by the obviousness of Jérémie Rhorer’s girl a maturity and independence that are both unexpected and very smoothed over: the word Libertá seems written in letters of blood on a [ …] Magnified by Jean-François Sivadier's clear vision for the stage conducting and the natural character of his choice of tempos that always welcome. With Krzysztof Ba¸czyk’s Masetto, they create a duo that is wall destroyed under the blows of a hammer until reaching the niche direction, and thanks to the baton of Mozart specialist Jérémie Rhorer create a perfect equilibrium between vitality and sensuality. The opulent sometimes witty, but, above all, very human and extremely touching. of the Commendatore’s statue. at the head of the Cercle de l'Harmonie, this particularly young and robust voices of Eleonora Buratto and Isabel Leonard, the lighter but Finally, David Leigh’s Commendatore supplies the much expected vocal cast reveals all its ardour and talent, offering spectators a first agile voices of Philippe Sly and Nahuel di Pierro, the irresistible pair of chills. … In the pit, starting right from the overture, Jérémie Rhorer FORUMOPÉRA.COM brilliant performance of this pillar of the Aix programme. servants portrayed by Julie Fuchs and Krzysztof Ba¸czyk. and his Cercle de l'Harmonie sweep us away in a tragi-comic and Whether in the uniform of a majo or almost entirely naked, Philippe ultra-Mozartian whirlwind. Sly is a Don Giovanni in a permanent state of seduction, both CLASSICAGENDA LES ÉCHOS physically and musically, playing on nuances in a velvet voice Jean-François Sivadier marks this opera with the seal of his talent. Bulimic, paroxystic, narcissistic, heretical, political, Christic, L'HUMANITÉ with ingratiating halftones. His serenade is suffocating with He opens the stage to the celebration of the theatre, with the backstage cosmic, mythical, Don Giovanni lends itself to an infinity of … Several roles played by former artists of the Académie, founded sensuality, his final cry seems to have been yanked out of his body, in full view. … As he often does, he shows the process of the theatre, interpretations that are validated by Mozart's dazzling score. Jean- nearly twenty years ago, attest to the relevance of this training and, after his strangely Christic death – far from being engulfed by and it works perfectly. Stage play, disguises and theatricality nourish François Sivadier has understood this very well and refuses to take centre that is part of the Festival d'Aix. Jérémie Rhorer conducts the the underworld, he remains standing, with arms outstretched – the this fable where everything is intertwined. It must be said that the sides, at the risk of abandoning the spectator in front of a blank page Cercle de l'Harmonie with subtlety and a great understanding of the character is overcome by a frenetic dance that leads us to imagine stage director is supported by a high-flying cast that is entirely that they themselves will have to fill in according to their sensitivity. relationship between the text and the music. an eternal cycle of starting anew. Nahuel di Pierro literally explodes devoted to the work. His young and exciting cast is an extra asset for as Leporello, drawing laughter through his mimicry and gestures, a his enterprise of operatic seduction. TÉLÉRAMA FRANCE 3 PROVENCE-ALPES-CÔTE d'AZUR servant who is linked to his master with obvious complicity and gifted The Canadian bass-baritone with a warmly seductive timbre Sparkling and bold staging, with an exceptional vocal cast …. This with a perfectly differentiated timbre … We are really beginning to embodies an athletic and magnetic Don Giovanni to the end, who, new production received a standing ovation from the audience.

12 13 ERISMENA

Erismena, Cavalli’s baroque gem, was a huge success starting with its premiere in Venice in 1655, has been brought back to life at the Festival d’Aix as proposed by Leonardo García Alarcón, one of the greatest specialists of the baroque repertoire of our time. Reworked and staged by this fervent admirer of Cavalli, the work benefits from a lean, new and poetical stage design conceived by Jean Bellorini. Intrigue, boldness and free morals could be the keywords of this work which lies at the tenuous border between games of seduction and true love, and in which disguise defies appearance. With a wealth of tragicomic situations, lovers’ desire remains the central theme of this opera. OPÉRA MAGAZINE OPERA TODAY A tireless innovator, Leonardo García Alarcón yet again invites Erismena in Aix was an incredible feat, captivating its audience EL PAÍS Jackson as a cross-dressing, half-funny and half-grotesque Alcesta, us to explore the forgotten treasures of Francesco Cavalli's (1602- for nearly three hours, evoking a thunderous applause. … It was The greatest praise that can be given is that Jean Bellorini’s stage direction and Lea Desandre as Flerida. 1676) lyrical works. … Macha Makeïeff's costumes literally explode the youth and the charm and the excellent artistry of these artists has rendered the work understandable, without inventing parallel through their varied textures, eye-catching patterns and garish that made the inanities of Venetian opera into high art and great stories. … At the end of the performance, the audience was happy and LE TEMPS colours. The effect is all the more successful thanks to the insolent entertainment. did not cease to praise what they had just seen and heard. Resuscitated The last of the five lyric productions at Aix-en-Provence pays homage youth of the cast, each giving all they have with rare generosity. … at last, Erismena and Francesco Cavalli have definitely come back to to the small format. Pure stage and musical joy with Leonardo García An ardent and zealous guide, Leonardo García Alarcón leads his FORUMOPÉRA.COM stay. García Alarcón confides the roles of Erismena and Aldimira to two Alarcón conducting and Jean Bellorini for the stage direction. … And Cappella Mediterranea ensemble towards enchanting harmonic A new miracle by Alarcón … Leonardo García Alarcón knows magnificent singers, who also have indisputable stage presence. thanks to the sensuality, tenderness and alacrity of the orchestra, horizons, where each instrumentalist performs Cavalli's music with wonderfully how to bring to life a score for which he seems to possess this Erismena reaches a level of exemplarity that will be difficult to a fullness that is simply disarming . A marvellous discovery! all the keys. OPER ! surpass for quite some time. … In Jakub Józef Orlin´ski (Orimeno), Carlo Vistoli (Idraspe) and RES MUSICA LE MONDE Tai Oney (Clerio Moro), we have no less than three distinguished OLYRIX.COM In Aix, Alarcón's latest gem is called Erismena. Between the detailed In Aix, Erismena enchants the eye and the ear. At the head of his counter-tenors in an ensemble in which all the other voices are A vocal and instrumental cosmos orbiting around Francesca musical direction of one of the greatest specialists of the baroque Cappella Mediterranea, the Argentine conductor gives Cavalli’s opera equally original. Aspromonte in the title role bathes the audience of the Théâtre du Jeu repertoire of our time in the person of Leonardo García Alarcón, the recognition it deserves. … It must be said that the cast is young de Paume in a refined and ultra-baroque multi-sensory parenthesis a fresh vocal cast that is just as sublime and composed to a large and beautiful, vocally superb and credible on the stage. … Jean OPERNWELT staged by Jean Bellorini. extent of former artists of the Académie, and the intimacy and ideal Bellorini’s stage direction is no stranger to their success, far from it. … An incubator of first-class talent. … Francesca Aspromonte acoustics of the small Théâtre du Jeu de Paume, Erismena has found With a handful of chairs, two high towers and a heavy metal grille absolutely masters her difficult and demanding role. Sovereign and DESTIMED an exceptional setting in Aix-en-Provence to reveal all the wonders of that can confine or liberate the characters, he has done a meticulous, intelligent in the interpretation of the text: the two counter-tenors, Leonardo García Alarcón enchants the festival nights in Aix with his 17th century Venetian opera. highly precise work, balancing comedy and tragedy in palpable Carlo Vistoli (Idraspe) and Jakub Józef Orlin´ski (Orimeno), Stuart Erismena. reversibility.

14 15 Eugene Onegin concert - Bolshoï Mediterranean Youth Orchestra

CONCERTS

Concerts are at the forefront of the Festival d’Aix programme. As part of its partnership with the Bolshoï Theatre, the Festival d’Aix was honoured to host the soloists, chorus and orchestra of the Bolshoi Theatre and its conductor, Tugan Sokhiev, to conduct the concert version of Tchaikovsky’s famous opera, Eugene Onegin. The 2017 programme invited the public to explore a wide range of musical repertoires, oscillating between the great symphonic or chamber music repertoires and performances or recitals by the Académie’s HSBC Laureates. Tribute was also paid to the Mediterranean : notably, by the way of two ORCHESTRE DE PARIS MATTHEW HERBERT symphonic and intercultural sessions by the Mediterranean Youth Orchestra (MYO). DESTIMED LA MARSEILLAISE A great moment of conducting for Duncan Ward's debut at the Through the prism of electronics, Requiem reveals all the modernity EUGENE ONEGIN DESTIMED Festival d’Aix-en-Provence. of the string quartet of yesterday and today. OPERA WIRE Eugene Onegin at the Festival d’Aix-en-Provence: a triumph made It was an emotional Russian night, in which the talented in Bolshoï. All the instrumentalists of the Bolshoï orchestra display FROM THE EAST TO THE DEPTHS OF THE BALKANS – AKA MOON THE MEDITERRANEAN YOUTH ORCHESTRA Bolshoï artists delivered in a spectacular manner and which was sensitivity and precision, in order to meet the demands of their LA MARSEILLAISE LE MONDE acknowledged by a richly deserved lenghty standing ovation. conductor, who has a very special fondness for this score, which was … Fabrizio Cassol and his jazz group, Aka Moon, presented a concert The Mediterranean Youth Orchestra, which brings together musicians the first opera he ever conducted. Tugan Sokhiev attentively listened that gave the place of honour to the Mediterranean Basin. … The from some twenty nations, is fully engaged in the Festival. LA MARSEILLAISE to his musicians, but also to the soloists and their phrasing in order to programme’s original compositions are like a bridge between the A dream evening and many thanks: ‘Spasiba Bolshoi’! enhance the osmosis between voices and instruments. An enormous music of the Arab world and that of the Balkans and explore all the VAR MATIN amount of work. And what can we say of the chorus, other than that ramifications of their fruitful encounter. This symphony orchestra is a true school of musical excellence and it is close to perfection with a power, clarity, colour and Slavic tone artistic conviviality. like no other. 16 17 FESTIVAL D’AIX EN JUIN

Phone Call to Hades (a creation by enoa) PARADE[S] on the cours Mirabeau Trio So-ra

– TRIO SORA ZIBELINE In the context of the Creation and Innovation Workshop of the The magic unfolded … among the hammered or bowed strings of Académie du Festival d’Aix, the Trio So¯ra, which was among the the Trio So−ra, the piano of Pauline Chenais, the violin of Magdalena trios hosted during AIX EN JUIN, offered an encounter between Geka and the cello of Angèle Legasa, somewhere between contained chamber music and dance around a repertoire of traditional and violence and interiority, rooting the melodic/rhythmic figures of contemporary tango. Bringing together a piano, a violin, a cello and tango into the dancers’ steps. two dancers, this concert-show was presented to the public as a AIX EN JUIN performance to question the influence of choreography on musical interpretation. For its fifth edition, AIX EN JUIN – the prelude to the Festival – proposed around 60 cultural and musical events in the city of Aix-en-Provence and in 56 EVENTS the different municipalities of the region. Spectators were able to discover not only the artists, productions and young talents of the Académie, but also the 17, 66 0 SPECTATORS Les Voix de Silvacane amateurs involved in the creations of Passerelles – the Festival’s educational 4,622 PASSES DISTRIBUTED, INCLUDING 949 and socio-artistic departments. Concerts, recitals and public rehearsals FOR YOUNG PEOPLE UNDER THE AGE OF 30 of operas marked this varied programme, which, coupled with an assertive ticketing policy, attracted over 17,000 spectators in 2017.

LA PROVENCE COTE MAGAZINE … Much more than a simple prelude, AIX EN JUIN has become an Live the month to the sound of music thanks to the AIX EN JUIN integral part of the Festival d’Aix. … It opens the doors of lyric art to Festival. … The antechamber of the Festival d’Aix, this event provides a very broad public, via the Académie du Festival, which hosts a large an opportunity to discover not only renowned musicians and artists proportion of the singers, musicians, stage directors and composers but also young talents before the grand Festival in July. that we later find on the bill of the world’s greatest stages, including Aix. ZIBELINE AIX EN JUIN, the prelude to the Festival d’Aix, has taken on all the trappings of a festival with its own characteristics and eclectic events that enable us to discover some true pearls.

PARADE[S] LES VOIX DE SILVACANE Once again this year, PARADE[S], the traditional free concert that brings AIX EN JUIN to a close and announces the festivities of July, attracted A highlight of AIX EN JUIN, in 2017 Les Voix de Silvacane offered a programme of three concerts celebrating vocal art under the vaults of the Abbey: around 4,000 people to Cours Mirabeau to listen to extracts from the masterpiece, Carmen, performed by soloists and the Chœur Aedes Faces of the Virgin in Western Sacred Music, with the young choir of the Maîtrise des Bouches-du-Rhône, conducted by Samuel Coquard, Mozart accompanied by the Orchestre de Paris under the baton of Pablo Heras-Casado. and ‘papa’ Haydn, by the singers and pianists of the Académie participating in the Mozart residency, and Dufay in Italy, by the Graindelavoix vocal ensemble. VAR MATIN LA MARSEILLAISE PARADE[S] at Cours Mirabeau. More than a tradition, it has become Popular, friendly and unifying, the large PARADE[S] stage of AIX EN an institution! JUIN, which is set up next to the statue du Roi René at the top of Cours Mirabeau, is a real invitation for a musical journey. 20 21 ACADÉMIE DU FESTIVAL

Fabienne Verdier residency – string quartet Au plus fort de l’orage – musical performance Akilone Quartet concert with Tabea Zimmermann (Stravinsky / Ansermet correspondence)

Since 1998, the Académie du Festival d’Aix has been a reference for advanced vocal and instrumental training, a workshop for reflection, experimentation about the creation of opera, and a place for the professional development of young artists. It offers young professionals the opportunity to participate in residencies and to perform in concert at the Festival d’Aix, to tour throughout the year in France and abroad, and to be cast in the Festival’s operatic productions. The Académie offered the following programme in 2017:

I. VOICE II. CHAMBER MUSIC The Académie enables lyric artists and pianist vocal coaches to study a repertoire through its style, technique and interpretation The Académie hosts established chamber music ensembles, which benefit in Aix from the experience and guidance of internationally during master classes and meetings with renowned specialists. In 2017, three advanced repertoires led to a series of master classes renowned artists through various workshops and master classes. The chamber music residency brought together four string quartets and concerts, both in Aix and in the department of Bouches-du-Rhône in partnership with the Departmental Council: and a trio with piano for an advanced programme and an exceptional multidisciplinary approach: • Mozart: an essential element of the Académie, the Mozart residency was led by an equally essential team: Susanna Eken, Ouri • Advanced development of the classical, romantic, modern and contemporary repertoires alongside violinists András Keller and David Bronchti and Bertrand Halary, joined this year by Roberta Salsi. It was also the first experience with the Académie for British stage Alberman, altist Tabea Zimmermann and clarinettist Mark Withers. This residency was also the opportunity for these ensembles director Joseph Alford, in a Mozart programme that reflected current events. to open themselves to contemporary creation and to familiarise themselves with new musical languages by working with young • Pinocchio: conducted by pianist and vocal coach Jeff Cohen and composer Ondreˇj Adámek, this residency brought together six composers. stand-ins from the Philippe Boesmans production to work alongside three young composers, a percussionist, a harpist and an • Creative and experimental workshop with painter Fabienne Verdier, who created the graphics for the 2017 season of the Festival d’Aix. author in a programme centred around three world premieres and extracts from musicals. Invited to set up her artistic workshop in the Chapel de la Visitation, the artist worked with the ensembles during sessions that • Erismena: In a reprise of Francesco Cavalli’s opera Erismena, four young singers who are also stand-ins for the production, and mixed painting and music in order to study the interweaving of pictorial lines with music. Following each session, which were all a harpsichordist, explored the baroque repertoire through the prism of the Venetian school under the supervision of Leonardo recorded on video, the forms captured were superimposed and digitally modelled to recreate a weave of lines, volumes and sounds. García Alarcón, Jacopo Raffaele and Fabián Schofrin.

24 25 Concert de chant en tournée à Eyguières Life Story – Beate Mordal (Soprano), Nicolas Royez (piano) – 2015 HSBC Laureates

III. CREATION THE HSBC LAUREATES OF THE ACADÉMIE Creation and the contemporary repertoire are at the heart of the Académie, which works to strengthen the links between today’s Every year since 2006, the Académie has enjoyed the support of HSBC France, which supports the HSBC Laureates, young artists artists and creators. The wealth and diversity of the artists present during the festival period provide the occasion for the Académie from the Académie. After 10 years of existence of the HSBC Laureates of the Académie du Festival d’Aix label, this partnership today to open a cycle of workshops dedicated to the creation of opera. Young composers, dramaturges, authors, stage directors, enables young artists (singers, pianists / vocal coaches and chamber music ensembles) to benefit from media visibility as well as choreographers and other creators are invited each year to explore and work on different themes related to today’s lyric creation opportunities to perform in major concerts, thanks to loyal partnerships with top-level cultural institutions, such as the Opéra through meetings, conferences and debates: de Lille, the musical season of les Grands Interprètes de Toulouse, French May in Hong Kong, etc. The names of the 2016 HSBC • ‘Women Creators of Opera’ Workshop, which tackled a social issue: the place of women in the world of opera. The workshop, led by Laureates Académie were revealed at the Philharmonie de Paris on 16 November 2016, in the context of the partnership between stage director Katie Mitchell, fed the debate with proposals for specific action. Composer Charlotte Bray, stage director Lyndsey that institution and the Festival d’Aix. Turner and consultant Lucy Curbel all contributed to this reflection. During the 2016-2017 season, the HSBC Laureates performed on tour in many institutions (see p.63). • Opera in Creation Workshop: dedicated to sharing experiences and reflection on the opera, this year’s workshop was led by stage director Katie Mitchell. Various personalities participated in the workshop, including stage directors Simon McBurney, Jean In partnership with Bellorini, Jean-Francois Sivadier, Joël Pommerat, composer Philippe Boesmans, and conductors Emilio Pomarico, Jérémie Rhorer and Leonardo García Alarcón. • Creation and Innovation Workshop: the Compagnie Kahraba, directed by Aurélien Zouki, benefited from an environment for study and experimentation to create its next musical show for young audiences, which combines dance and puppetry on the theme of Since 2014, certain businesses have chosen to contribute all or part of their apprenticeship tax to the Académie du Festival d’Aix. The exile and migration. Festival d’Aix thanks them for their commitment. In addition, six young stage directors and conductors attended rehearsals for Festival productions in the context of job-shadowing programmes. In all, 22 composers were present in Aix and 14 of them presented several of their works, played by artists of the AGENCE DÉCOUVERTES – ACCÈS SCÈNE – ADELPHOS – ALLOPNEUS – ALLOPNEUS POINT SERVICE – AMBULANCES CRISTAL – AMG-FÉCHOZ – AMICALE Académie during public master classes: Ondreˇj Adámek, Fabrizio Cassol, Moneim Adwan, Benjamin Dupé, Cathy Van Eck, Matthew ZIBELINE – ARCHIPEL 21 – ASSOCIATION ENTRACTE – AUDIENS – AXON INTERNATIONAL – BALADE EN FRANCE – BANQUE LAZARD FRÈRES – BEL AIR MEDIA – BUCÉPHALE FINANCE – BUTARD ENESCOT – CARDALIS – CG IMMOBILIER – CULTURE ESPACES SA – DISTRI SCENES – DIVERSITÉ TV FRANCE – DR JEAN- Herbert, Raphaël Imbert, Robert Pascal, Zied Zouari, Christina Athinodorou, Sivan Eldar, Raphaël Languillat, Oliver Leith and PIERRE DENJEAN – DR RECIPON ET ASSOCIÉS – EDENRED FRANCE – ENSEMBLE PYGMALION – EURIDICE OPÉRA – FINOPSYS – FONDATION ROYAUMONT Camille Pepin. – FRANCOIS ROUSSILLON ET ASSOCIÉS – FRAPROD – FS LOISIRS SARL – GETIC / GESTION ET TRANSACTIONS IMMOBILIERES ET COMMERCIALES – GROUPE CARGO – GROUPE CARGO/CENTRAKOR STORES – GROUPE CARGO / COGEX – GROUPE VÉOLIA – H3G – HEVEA – HÔTEL LA CARAVELLE – HÔTEL LES LODGES IV. RELAY ARTISTS SAINTE-VICTOIRE – IMG ARTISTS – JR CONSULTANT – LA COMPAGNIE HUMAINE / ERIC OBERDORFF – POISSONNERIE L’ARGONAUTE – LES COQUILLAGES DU The Académie du Festival d’Aix offers an outreach training programme for relay artists (instrumentalists and singers) related ROY RENÉ – LOG FOR YOU – LPC / O’ BAGELS – MAGAU – MAISON DU NOUGAT – MEDIA MESURES CENTRE EST – MG INTERNATIONAL – MUSIQUES ÉCHANGES – to questions of transmission, initiation and the discovery of music for young and ‘remote’ audiences through creativity and OPCALIA/OCTALIA – OPÉRA DE DIJON – OPÉRA DE LILLE – OPÉRA DE LYON – OPÉRA 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 participation. The programme is organised in one-off themed training sessions held in Aix-en-Provence over the course of the FINANCES – VAL PRODUCTIONS CONSEIL year. They are led by renowned artist-educators who develop innovative projects, including clarinettist and artistic director of outreach and participatory projects, Mark Withers from LSO Discovery. THE ACADÉMIE DU FESTIVAL D’AIX, a member of the Campus Éco label.

26 27 Mediterranean Youth Orchestra – Intercultural creation session As this Dark Hours End with artists from the Mozart residency

THE NETWORKS ENOA

ACCOMPANYING YOUNG TALENT AND ENCOURAGING THE CREATION OF OPERA The European network of opera academies, enoa, of which the Festival d'Aix and its Académie are founding members, was born from the desire of several institutions of the lyric world to collaborate more closely to support the most talented young artists with their MEDITERRANEAN YOUTH ORCHESTRA professional careers and the development of their artistic ambitions. With the support of the European Union’s Creative Europe programme, enoa launched its Young Opera Makers programme for This year, the musicians of the Mediterranean Youth Orchestra have benefited from various training programmes: performers and creators in May 2016. This programme aims to provide young artists with excellent career training paths, integrating a multidisciplinary and contemporary approach to the opera, bringing them experience of the stage and the production process and • The Symphonic Session brought together 80 young classical musicians supporting the development and distribution of new opera projects that help to attract new audiences. under the baton of Pablo Heras-Casado and with the educational supervision Phone Call to Hades: the first show produced and developed in the context of theYoung Opera Makers programme 136 MUSICIANS (WHOSE 40 RELAY-ARTISTS) of the London Symphony Orchestra. The musical program was structured Cathy van Eck’s Phone Call to Hades, given four times during AIX EN JUIN, is part of the cycle of activities based on the myth of Orpheus 22 MEDITERRANEAN NATIONALITIES around the Mediterranean character of Sheherazade, with Ravel’s proposed by enoa. This production is the first of a series of creations by teams of young artists and supported by the enoa network. Shéhérazade sung by mezzo-soprano Virginie Verrez, followed by Sheherazade Young artists who have come to complete their training and exchange views on the theme of creation 16 TRAINERS by Rimsky-Korsakov. These works were preceded in this programme by Every year, the Académie du Festival d'Aix hosts several artists recommended by the network's member institutions. In 2017, enoa the French premiere of Votrys, a work by young Cypriot composer Christina enabled 15 artists - performers and creators - to take part in the Académie's training programme and reflection workshop. In Athinodorou. Three public presentations were given in the Provence-Alpes-Côte d’Azur (PACA) region: on closing night of the addition, 7 artists have been able this year to participate in the network's training workshops thanks to the Académie. Festival d'Aix, in Puget-Théniers (Alpes-Maritimes) and in Gemenos (Bouches-du-Rhône). Three of the Académie's residencies received financial support fromenoa : • The Intercultural Creation Session brought together 14 improvising musicians from the world of jazz and traditional Mediterranean • Training session for relay-singers on the questions of transmission, initiation and musical discovery, music, guided by saxophonist and composer Fabrizio Cassol. A training session that placed exchange and cultural singularities from 25 February to 1 March 2017 at the heart of the musical creation process. The fruits of this experience were presented during a public concert at the Festival • Mozart residency, from 12 to 24 June 2017 d’Aix, revealing the unique and bold collective compositions of this ensemble. Christiane Louis, trainer at the Philharmonie de • ‘Reflection’ Opera in Creation Workshop, from 26 June to 5 July 2017 Paris, gave several talks to the musicians of the intercultural creation session, which aim to transmit the specific keys of artistic entrepreneurship (promotion of an artistic project through media tools, understanding the logic of cultural financing, working MEMBER INSTITUTIONS OF THE NETWORK in networks, etc.). The Festival d’Aix-en-Provence & its Academie, France / Calouste Gulbenkian Foundation, Portugal / Chapelle Musicale Reine • The Relay Artists Sessions, during which 46 Mediterranean musicians participated in creative workshops for experimentation and Elisabeth, Belgium / Dutch National Opera & Ballet, The Netherlands / Fundacion Albeniz – Escuela Superior de Musica Reina Sofia, improvisation, thus benefiting from unique and lively outreach training provided by Mark Withers. Spain / Helsinki Festival, Finland / La Monnaie | De Munt, Belgium / LOD muziektheater, Belgium / Operosa, Serbia, Montenegro, Bulgaria / Snape Maltings, U.K. / Teatr Wielki – Polish National Opera, Poland / Theaterakademie August Everding, Germany / Theatres de la Ville de Luxembourg, Luxembourg.

This project has been funded with the support of the European Commission. This publication is the sole responsibility of its receives the support of the European Union’s Creative Europe programme. author and the Commission is not responsible for any use made of the information contained therein.

I met excellent musicians with a lot of interesting We have the chance to be trained by the best teachers, experiences, the opportunity to play with them gave play in a very important Festival with great conductors me more passion to continue and learn from everyone and also having a tour. The staff is doing an excellent MEDINEA and to play as best as I can. Great experience was also job and is taking care of us. So we have everything we Coordinated by the Académie du Festival d'Aix, the Medinea (MEDiterranean INcubator of Emerging Artists) network consists of cultural getting in touch with the group of Intercultural Session need to work and create something interesting and organisations from the Euro-Mediterranean region that provide support to artists, and produce and disseminate artistic projects. - I got to know different cultures, their music and unique, like professional orchestras do. The main objective of the network is to provide support to emerging artists from the Mediterranean area for the conception, instruments. Konstantinos Sifakis, 23, Symphonic Session, production and dissemination of innovative artistic projects. The network also provides a platform for the exchange of ideas between Samantha Skorja, 20, Symphonic Session, Double bass, Greece. cultural stakeholders, to promote their circulation in both the Mediterranean basin and Europe while stimulating reflection on Clarinet, Slovenia. artistic creation in the Provence-Alpes-Côte d’Azur region. 28 29 THE AUDIENCES

Théâtre de l'Archevêché FREE SCREENINGS Launched in Aix-en-Provence in 2003 with the Instants d’été, the free screenings of the Festival d'Aix on large screens have widely extended their regional and international influence thanks to the support of Fondation Orange, CIC Lyonnaise de Banque and the partnership of Arte. Two operas, Carmen by Georges Bizet and the world premiere of Pinocchio by Philippe Boesmans, were A BROAD AUDIENCE broadcast live or pre-recorded on large screens free of charge in over 29 towns of the Provence-Alpes-Côte d’Azur region and around thirty cities in over fifteen countries around the world. In 2017, the Festival d’Aix successfully continued its policy of developing new audiences. The spectators who attended its programme – with an opera attendance rate of 95.2% in 2017 – form a composite spectrum that is widening from year to year. Activities designed TV AND RADIO BROADCASTS for a young audience are a priority for the development for the Festival. Going beyond the theatre, the Festival is extending its policy of accessibility and of live and recorded broadcasting to a wider audience through the implementation of partnerships with television, radio and internet media. All the operas of the 2017 edition Since 2016, the price of tickets for young people and those reserved for have been broadcast live on Arte, Mezzo, France Musique, Arte Concert, CultureBox. The concerts of the Orchestre de Paris and the audiences concerned by the Passerelles outreach programmes (originally €15 2017 FESTIVAL Mediterranean Youth Orchestra have also been broadcast on Mezzo, M-Media and YouTube. single rate for operas and €10 for concerts) have now been brought down to a 84,526 SPECTATORS of only €9. In 2017, nearly 1,000 tickets for young spectators were sold to CULTURE NUM: DIGITAL REVOLUTION, CULTURE AND CREATION persons under 30 (including 500 in the context of the Opéra ON programme 48,8% OF REGIONAL SPECTATORS This year, in partnership with Audiens, the Festival d’Aix organised a time for reflection on the new challenges and opportunities – see page 37). Moreover, the number of places available for the ‘children’s 16,8% OF FOREIGN SPECTATORS introduced by digital technology for cultural industries and, more specifically, for the world of live performance. Held on 10 July discovery’ offer, giving one free children’s ticket for the purchase of an adult and moderated by Arnaud Laporte, this 4th edition of Culture Num brought together professionals from the cultural and digital ‘CHILDREN’S DISCOVERY’ OFFERS SOLD ticket, increased considerably. This offer, available for all the operas, has 1,276 sectors, as well as students and festival goers, in three round-tables to discuss the reality of the financial resources offered by digital met a great success with the world premiere of Pinocchio. Thus, the number broadcasting, the digital tools of communication and marketing, and the sources of inspiration that cultural enterprises can offer of people who were able to benefit from this offer more than doubled, going innovative businesses, start-ups and major groups, in terms of fields of activity and organisation. from 534 in 2016 to 1,276 in 2017. PROFESSIONAL MEETINGS: ACCORD MAJEUR, MEDINEA, CERCLE DES ÉCONOMISTES Providing access to performances by an audience that is as diverse as possible lies at the heart of the Festival’s mission. This Accord Majeur, a coordination platform for musical heritage and creation, held its 6th edition at the Festival d’Aix on 11 July 2017. ambition is materialised by the many free tickets offered to the public, but also by keeping a fair proportion of seats sold at less This high point of the French musical scene brought together 300 participants (artists, professionals of music and the performing than €55 for its operas and concerts. Thus, in 2017, over 35% of all the seats sold for the operas and concerts were purchased below arts, and political personalities). the threshold of €55. Finally, the establishment of audio-descriptive opera sessions for blind or visually impaired spectators – four The Rencontres Économiques d’Aix-en-Provence took place at the Festival d’Aix on 7 and 8 July 2017 and brought together 230 sessions for Don Giovanni and Carmen this year – with the support of the Association Accès Culture and the Fondation MMA, once speakers as well as 4,000 participants from around the world (academics, business leaders, politicians and around one hundred again demonstrates the willingness of the Festival to offer and adapt its performances to the largest possible public. students) for 39 sessions and debates. The Rencontres Medinea, held from 17 to 19 July, brought together around twenty stakeholders in the cultural and musical sector The 5th edition of AIX EN JUIN enjoyed an attendance rate of nearly 80%, confirming that this formula and its many free performances of the Mediterranean and members of the Medinea network, which is coordinated by the Festival d’Aix. This professional meeting are now very well identified by the public, in particular the public from Aix-en-Provence and its region. The success of PARADE[S] provided an opportunity to exchange views on the network’s projects for artistic creation and development. on the Cours Mirabeau and its 4,000 spectators is emblematic of this. FABIENNE VERDIER The Académie enables the Festival to offer a wide range of events in June and July – nearly sixty in 2017 – thanks to which 8,364 Digital technology and creation spectators were able to discover the talent of our youngest artists and the lyric repertoire. In 2017, artist Fabienne Verdier, who created the graphics for the Festival d'Aix season, continued her artistic research between painting and music as part of the chamber music residency of the Académie du Festival d’Aix (see page 25). During the summer of 2018, the public will be able to immerse itself in this sonic and pictorial world, opening up new fields of perception. 32 33 Carmen free screening at the Tholonet

2017-2018 TOURS

2018-2020 ORFEO & MAJNUN

2017-2018 SCREENINGS

2017 ACADÉMIE'S CONCERTS IN TOUR LOCAL ATTACHMENT (HSBC Laureates and Medinea )

An international event whose productions and reputation are known over the world, the Festival d’Aix draws the sources of its continuous development from a solid regional attachment that it nurtures from year to year. INTERNATIONAL RENOWN

This attachment is evident in the strong ties between the Festival and the local In 2017, thirteen of its productions toured in France and around the world. public (the public of the Provence-Alpes-Côte d’Azur [PACA] region account for 37 SCREENINGS IN FRANCE 13 OPERA PRODUCTIONS nearly half of attendance), but also in a close link with local communities, the city The collaboration with the Bolshoi has been reinforced and has given large PERFORMANCES IN 16 CITIES of Aix-en-Provence, the Pays d'Aix and Métropole Aix-Marseille-Provence, the IN 29 TOWNS OF THE PACA REGION place to the productions of Katie Mitchell, with the entry into the repertoire 77 department of Bouches-du-Rhône and the PACA region, whose support is essential WITH 6,426 SPECTATORS of her Alcina (Haendel), first performed in Aix in 2015, and, for the first 39 SCREENINGS ABROAD for the financial equilibrium of the Festival. The support of Club Campra, which time, the programming of two operas not in the repertoire: Written on Skin by WITH 6,000 SPECTATORS (JULY) brings together committed businesses of the region, also helps to promote the Festival as a highly federative artistic and cultural George Benjamin (first performed in 2012 in Aix) and Trauernacht based on event on the regional scale. Bach’s cantatas (first performed in 2014 in Aix).

This attachment is largely supported by the activities of the Passerelles department, which was founded in 2007 to create and A new partnership has been created with the New National Theater of Tokyo, which, as of 2018, will welcome into its sustain the conditions necessary to welcome a very diverse public. Passerelles is divided into two bodies that act jointly: an outreach repertoire William Kentridge’s production of Mozart’s The Magic Flute, performed at the Festival d’Aix in 2009, as well programme linked to the school and university environment and a socio-artistic programme for adults and young people via as Katie Mitchell’s production of Pelléas et Mélisande, presented in Aix in 2016. networks of non-profit organisations. Thus, 2,275 people participated in the actions of the socio-artistic programme in 2017, coming from 110 partner associations and structures for events developed in 25 municipalities of the region. In addition, 3,552 The 2017-2018 season has begun in Brussels, Dijon, Nancy, Luxembourg, Moscow, Lille and Lisbon, with five of the pupils from over 100 establishments in the Aix-Marseille educational region participed in the outreach programme. Festival’s productions on tour: Pinocchio by Philippe Boesmans, Mozart’s Don Giovanni and Così fan tutte, Alcina, and Passerelles projects include outreach activities based on the season’s works, but also participatory artistic projects that are an The Monster in the Maze by Jonathan Dove. important vector for the Festival’s local attachment. Thus, in 2017, the Festival participated in the Dimanches de la Canebière, with the work song choir project (also present in the form The performances in Bologna and Reggio Emilia of Martin Kušej’s production of Mozart’s The Abduction from the Seraglio of cine-concerts at the Alhambra in Marseille), which was carried out in association with the Company Woulib Rara and involving (produced in Aix in 2015) enlivened the Italian media and provoked many debates and talks on the theme of terrorism participants from the integration classes for newly arrived refugees, as well as with the Jam Sessions led by jazz musician Raphaël and the place of the opera in the current events. Imbert with schools, secondary schools and conservatories of the department. Also to be noted is cellist Sonia Wieder-Atherton’s ambitious Odyssées project with six classes from Manosque and Aix-en- Co-commissioned by the Festival d’Aix-en-Provence, the London Symphony Orchestra and the Berliner Provence, and the Musiques en Cité programme, festive events held in the public areas of urban neighbourhoods and villages and Philharmoniker, The Monster in the Maze continued its tour in Montpellier and Lisbon. Performed each time with developed with the inhabitants and local associations of Marseille (13th and 15th arrondissements), Aix-en-Provence and La Roque local players, this participatory opera has created some extraordinary experiences for hundreds of locally mobilised d'Anthéron. amateurs. Finally, the Festival is continuing its programme of live broadcasts of its performances in the towns and villages of the PACA region. In July 2017, 37 projections took place in 29 different towns, where the public was able to applaud Carmen or Pinocchio in unison with Svadba by Ana Sokolovic´ (produced in Aix in 2015) and Kalîla wa Dimna by Moneim Adwan (first performed in Aix in the public in the theatres of Aix. 2016) were successfully hosted in Ljubljana, Casablanca, Luxembourg, Paris, Le Mans and Dijon.

34 35 Passerelles - Dimanche de la canebière

… Thank you for this fine year. Thank you very much for this A thank you to Opéra ON for Once again you have offered a wonderful evening. … The students enabling young people like me to wonderful programme and truly went home delighted. … I hope attend such high-quality operas. interesting workshops that the that the outreach programme will François Laroche, students appreciate as much as we continue to offer similar projects to member of Opéra ON do! our students in the years to come – Collège Louis Philibert Le Puy- they really need it. Sainte-Réparade Collège Louis Aragon – Roquevaire

This series of events held throughout the year with the classes and associations creates a close attachment with the Festival, enabling a better understanding and assimilation of the season’s works, and concludes with an invitation to all participants to attend a dress rehearsal of one of the productions for free. In 2017, over 4,100 school children, students and young people under the age of 30, as well as 2,200 people from community groups participated in these opera discovery programmes.

Opéra ON is specifically designed for students of Aix-Marseille University and OPERA ON 2017 young professionals under the age of 30; it takes the form of an outreach programme built around four of the season’s productions, the highlight 577 YOUNG PEOPLE being a night at the opera under exceptional conditions. 500 OPERA TICKETS SOLD Participants receive superior category reserved seats sold at the young 27 ENCOUNTERS persons’ rate of €9 (and only €4 for students holding the AMU cultural pass). As part of the partnership agreement signed with Aix-Marseille University, 16 VOICE WORKSHOPS PASSERELLES Opéra ON has been enriched by new offerings intended for students: in 55% OF NEW PARTICIPANTS particular 16 voice workshops offered on the Marseille and Aix campuses.

As an innovative promoter of the democratisation of art and culture, the Festival of Aix-en-Provence has been developing outreach and socio-artistic projects (named Passerelles) in the Provence-Alpes-Côte d’Azur region for many years. These actions are a true laboratory for introducing opera to young people, families and new or disadvantaged audiences. They create a dynamic within the Festival thanks to the dedication of a wide network of teachers, outreach and social organisations and teaching artists. In 2017, the Passerelles outreach and socio-artistic programmes involved 5,800 participants in their projects, working with the teams of over 100 A day dedicated to the discovery of the opera schools and universities and 100 non-profit organisations and social institutions in the region.

DISCOVERY OF THE OPERA Awareness programmes invite school children and associations to enter the world of the opera; they offer a series of workshops with instructors, visits to the set construction workshops in Venelles and production sites, and meetings with artists and members of the Festival’s technical team. The teaching methods used are creative and involve participation: an approach by way of artistic experimentation, discussion of the works, encounters with the professionals involved in the Festival, articles published on the blog, etc. The programmes adapt to a wide range of audiences: children and teens, students, young people in professional integration programmes, music 3,552 PUPILS AND STUDENTS schools pupils, families, adults receiving social support, intergenerational 103 ESTABLISHMENTS groups, residents of healthcare structures, etc.

180 DISCOVERY SESSIONS This year, several groups have enjoyed exceptional moments with the relay 73 VISITS TO THE VENELLES WORKSHOPS artists of the Académie du Festival, trained for artistic outreach by clarinettist and educator Mark Withers and stage director Sybille Wilson: improvising PRACTICAL ARTISTIC WORKSHOPS 100 a piece of music without being a musician, exploring the lyrical voice or 10 ENCOUNTERS WITH OPERA SINGERS experiencing stage direction in a rehearsal studio all provide remarkable 3 TRAINING DAYS HOSTING 120 TEACHERS experiences for young people and adults who are discovering the opera for the first time.

36 37 Passerelles – work songs at the Alhambra cinema in Marseille Séance interactive - Making Op' - A cdémie / Atelier de Création et Innovation

2,275 PARTICIPANTS IN THE EVENTS OF THE SOCIO-ARTISTIC PROGRAMME 110 COMMUNITY ORGANISATIONS AND SOCIAL STRUCTURES 160 OPERA OUTREACH SESSIONS MEETING THE PUBLIC her world and share with them this musical journey The scholastic and community group publics can also along a path that is well-travelled, but which always 56 ARTISTIC PRACTICE WORKSHOPS We are just finishing the visit of the Théâtre de l’Archevêché. We discovered the attend artistic discoveries in the heart of their urban offers a unique experience: ‘Each venue that welcomes the 7 PUBLIC PERFORMANCES reality and the achievement of an opera’s work in progress. … At the moment neighbourhood, village or school. Festival artists, young show creates a variation of the Odyssées. It thus becomes 45 MUNICIPALITIES we will see Don Giovanni on stage, we will forget the technicians who will have singers and musicians of the Académie offer concerts and the Odyssée of that place.’ This project gave birth this succeeded in giving life to Mozart’s masterpiece. meetings that are open to all and provide an easily accessible summer to two concerts programmed as part of AIX EN 62 INSTRUCTORS A participant of the opera project – Social Center of Martigues musical experience. In 2017, 15 Musical Discoveries were JUIN at the Théâtre Jean Le Bleu in Manosque on 17 June 78 ARTISTS OF THE ACADÉMIE AND THE FESTIVAL proposed, moving lyric art outside of its usual haunts. and at the Théâtre du Bois de l'Aune on 24 June. The work songs adventure has really marked the young people throughout this Making Op’, the educational production created by baritone year. Doing something together, preparing a performance, going on stage or Guillaume Paire and vocal coach Nicolas Royez, and the WORK SONGS AND JAM SESSION producing yourself in the street … people are considering them, they are important. commented concert on the 2017 programme, conceived by In 2017, a choral project was launched with the Compagnie Rara Woulib, under the musical direction of Alexandra Satger, with 90 Such a great pride for them. soprano Blerta Zhegu and pianist Frederic Isoletta, were amateurs performers exploring a repertoire of work songs. During 16 workshops, the group launched itself into the adventure of Coach for the welcome of young recent immigrants – Aix-en-Provence presented to 810 spectators in 9 educational institutions, singing and moving together with a common energy and beat to songs with Afro-American musical roots, between the African social centres and cultural venues. Three Musiques en cité tradition, gospel and jazz. Responding to a desire expressed by several partners, this artistic project brought together a large number The musical meeting with Blerta Zhegu lyric singer is imprinted in our minds. events were organised in social housing districts, offering of young adults from integration training programmes or having recently arrived in France, amateur choristers and a Comorian Being so close to the artist and sharing experiences together made this meeting a festive and musical experiences in Roque d'Anthéron and choir of women and children. It was presented to the public during two cine-concert evenings in partnership with the Alhambra magical time! in north Marseille. Two Opera Days for young audiences cinema, on 5 May in their projection room and outdoors on 11 June at Cité de la Savine, with the Sound Music School. Insertion workshop Manager – Aix-en-Provence and families were programmed with the Maison de Quartier of La Mareschale and the social and cultural À nous de jouer !, orchestrated by the Compagnie Rara Woulib for the CD13 during the Dimanche de la Canebière last 25 June, hosted centre of Château de l'Horloge, in the Encagnane and Jas a festive promenade of this multicultural choir and their work songs. For this event, nearly 150 amateur musicians of all levels and de Bouffan neighbourhoods of Aix-en-Provence. from all backgrounds participated in a Jam Session led by saxophonist and jazz musician Raphaël Imbert. The Orchestra of the primary and secondary schools of Aix-en-Provence, Marseille and Saint Maximin, the students of the conservatories of Aix-en- AMATEUR ARTISTIC PRACTICES Provence, Marseille, Marignane, the Cité de la Musique and those in professional training at the Institut Musical de Formation Artistic and outreach projects provide a sensory way of approaching the works and the music: choral singing, orchestral practice, Professionnelle (IMFP) in Salon de Provence, as well as the professional musicians of the Compagnie Nine Spirit and the Banda des staging, sound and visual arts. Docks, all came together around the music of New Orleans and shared moments of improvisation.

FESTIVAL CHORAL ACADÉMIQUE IBN ZAYDOUN MULTICULTURAL CHOIR As an artistic partner of this cultural outreach programme of the Aix-Marseille educational authority since 2015, the Festival d’Aix has This year, the Ibn Zaydoun multicultural choir, directed by Moneim Adwan and composed of around 50 amateur choristers, enriched joined forces with cellist Sonia Wieder-Atherton and her artist project, Les Odyssées. its repertoire of songs based on texts by the Egypto-Tunisian poet Bayram Al-Tounsi, set to music by their choir leader. It performed For the Aix 2017 version of this musical voyage, the cellist worked in partnership with a choir of nearly 200 young people accompanied 8 concerts in various cultural venues and community organisation festivals in the Aix-Marseille area. by Philippe Franceschi, who is in charge of vocal direction and creative and improvisational workshops offered to teachers and students of the primary and secondary schools of the department. Sonia Wieder-Atherton wanted to invite this large choir into

38 39 THE TEAMS

Installation of the set for Don Giovanni on the Théâtre de l’Archevêché Installation of the set for Pinocchio Installation of the set for Carmen

THE TEAMS

Composed of around 50 permanent employees, the Festival teams are organised into six main divisions, which are shared between the sites of Aix-en-Provence, Venelles and Paris: - Artistic department and the Académie (including the Mediterranean Youth Orchestra), in charge of the artistic programme and residencies of young artists; - Technical department, in charge of the implementation of the programme in all its technical aspects: creation, operation, logistics SUSTAINABLE DEVELOPMENT and security; - Production department, in charge of the contractual, budgetary and organisational implementation of the programme; - Department of patronage and development, responsible for making a significant contribution to the financing of the Festival by Since 2010, the Festival d’Aix-en-Provence has placed sustainable development at the heart of its concerns by way of a series of actions collecting private contributions from businesses and individuals; that enable it to reduce its environmental impact. Responsible travel and procurement, as well as the management of natural resources - Administrative and financial department, in charge of the administrative and financial management of the institution and human and waste, form part of this comprehensive approach that involves all the Festival’s stakeholders. resources; - The general secretariat, which federates services in relation with the public: the department of communication, Passerelles CARMEN, A 100% ECO-FRIENDLY STAGE SET (outreach and socio-artistic services), ticketing, reception of the public, protocol, press, as well as the coordination of the Festival’s Since 2014, the Festival has focused its action on the eco-design of its stage sets, with the support of the ADEME, and the PACA audiovisual broadcasts and digital projects. Region and in collaboration with the Pôle Eco Design. The graph below illustrates one of the specificities of the Festival, i.e. the great variability of its staff, which continues to grow from The test of new materials and the creation of innovative tools (like the ‘materials library’ and a financial, environmental and end- September to July to reach over 800 people in July 2017, comprising the permanent administrative staff, temporary reinforcements, of-life impact calculator), now allow each phase of the life cycle of a stage set to be analysed. Thus, all material is carefully selected technicians and individually hired artists. on the basis of several parameters related to its construction, its transport, its mode of use and, finally, its capacity for recycling. Added to this figure are the artists of the guest ensembles (choirs and orchestras, approximately 270 people) and the 300 young Following a thorough study of the impacts related to the construction of its sets, the Festival Workshops had already reached a stage artists in residency with the Académie and the Mediterranean Youth Orchestra. The major commitment of the technicians and recycling rate of 98.2% in 2016. The ecological target was reached in 2017 after three years of research, analyses and tests: the set of artists throughout the year is also reflected in the many tours undertaken and the work of the workshops. Carmen was entirely eco-designed by the Festival Workshops. They can boast of the total absence of polystyrene : a material that is, nonetheless vitually omniprestent in stage set design and, unfortunately, still remains irreplaceable for the creation of monumental structures.

100% recyclable and reusable, the eco-designed set offers financial savings of 8% and a savings of 15 tonnes of CO2, emissions in 1,000 comparison with a traditional design. Following the success of the first phase of this eco-design project, the Festival has once again responded to a new call for a three-year 800 project by the ADEME and the Provence-Alpes-Côte d'Azur Region. The new objectives comprise various themes: the logistics of touring, federating cultural stakeholders, the provision of collaborative tools, and the search for alternative materials to polystyrene. 600 COFEES, AN ASSOCIATION OF COMMITTED FESTIVALS Artists 400 As a founding member of COFEES (the association for eco-responsible festivals in the PACA region) which was created in 2014, the Technical Intermittents Festival d’Aix promotes global thinking on sustainable development in the performing arts. Supported by ADEME and the PACA region, the association has adopted the goals of acting together for greater responsibility and 200 Temporary contracts sharing best practices, while, at the same time, encouraging and supporting festivals and cultural venues in their effort to have a Permanent contracts 0 better approach to, and management of, sustainable development. September - January - April - June - Décember 2016 March 2017 May 2017 August 2017

42 43

. THE FESTIVAL AUDIENCES THE FESTIVAL BUDGET

EVENTS BUDGET €23,130,000

enoa NETWORK REVENUE 0,9% enoa NETWORK EXPENDITURE OPERATING 0,9% REVENUE 29 % FIXED COSTS 25,1% STRUCTURAL 6 36 14 4 56 57 76 REVENUE 36,4 % ARTISTIC OPERAS AND MUSICAL OPERA CONCERTS PROFESSIONNIAL EVENTS DURING ACADÉMIE EVENTS SCREENINGS PERFORMANCES PERFORMANCES (EXCLUDING THE MEETINGS AIX EN JUIN (JUNE AND JULY) (37 IN FRANCE, 39 EXPENSES ACADÉMIE) ABROAD) 48,9% ARTISTIC OPERATING REVENUE EXPENSES 26,5 % AND TOURS 33,7% ATTENDANCE AIX EN JUIN FESTIVAL: 17,66 0 SPECTATORS OVERALL ATTENDANCE: 84,526 (VS 17,004 SPECTATORS IN 2016) (VS 75,526 SPECTATORS IN 2016) ACADÉMIE EVENTS: 8,364 SPECTATORS STRUCTURAL REVENUES (investment and operating subsidies, etc.) €8,430,000 OPERA ATTENDANCE: 95,2% FESTIVAL SCREENINGS IN FRANCE AND ABROAD: Subsidies from the State and public authorities €7,950,000 GLOBAL ATTENDANCE RATE: 92,4% 12,426 SPECTATORS (IN JULY) Reversals on equipment grants, investment financing and provisions €480,000 44,212 SPECTATORS FOR THE FESTIVAL’S PAID EVENTS TICKET REVENUE: €4,13 M EXCL. VAT TAX 32,538 SPECTATORS FOR REHEARSALS AND FREE EVENTS ARTISTIC AND TOURING REVENUE (co-productions, ticketing, audiovisual, sale of productions, etc.) €7,800,000

(INCLUDING 4,000 FOR PARADE[S]) Co-production revenue €1,600,000 Ticket revenue € 4,110,000 Audiovisual revenue €1,100,000 Touring income and associated activities €990,000 THE AUDIENCE OPERATING REVENUE (patronage, media partnerships, etc.)€6,700,000 DISTRIBUTION ACCORDING TO GEOGRAPHICAL ORIGIN DISTRIBUTION OF PAID SEATS EXCLUDING INVITATIONS Patronage and sponsorship revenue €4,570,000 Participation of the Casino d’Aix-en-Provence, a historical patron of the Festival €1,600,000 UNDEFINED ORIGIN Media partnerships €300,000 7,9% Other operating revenue €230,000 PACA 48,8% > TO €190 32,7% enoa NETWORK REVENUE (European Network of Opera Academies) €200,000

FOREIGNERS 16,8%

Académie – MYO – enoa €800,000 €31 TO €55 12,5% Concerts €75,000 Lyric productions €7,800,000 OTHER FRENCH Passerelles service €400,000 REGIONS 26,5% €56 TO €110 3,6% AIX EN JUIN €240,000 €111 TO €190 28,3% Conferences, symposia, exhibitions €20,000 Audiovisual €1,000,000 Tours €660,000

OPERATING EXPENSES (presentations to patrons, site operation, reception of the public, communication, etc.) €6,130,000 PRESS BROADCASTS Presentations to businesses €620,000 Technical expenses €3,450,000 193 JOURNALISTS FROM 19 COUNTRIES 5 OPERAS AND 2 CONCERTS ON TELEVISION AND ON THE Communication, publication, press €670,000 (TELEVISION, RADIO, WRITTEN PRESS) WEB Media partnership expenditure €200,000 31 NEWS STORIES AND RADIO PROGRAMMES 5 RADIO BROADCASTS OF OPERAS AND CONCERTS ON Other operating expenditure €1,190,000 18 TV REPORTS AND INTERNET FRANCE MUSIQUE FIXED COSTS (total payroll, overheads, investment expenditure, etc.) €5,805,000

P Staff structure €3,900,000 Overheads €1,355,000 Endowments and exceptional expenses €550,000

enoa NETWORK EXPENSES (European Network of Opera Academies) €200,000

44 45 Carmen THE LOYAL SUPPORT OF THE FESTIVAL’S SUPPORTERS AND PARTNERS

For its 2017 edition, the Festival d’Aix-en-Provence was once again able to rely on the loyalty of its supporters and partners. Through their valuable commitment, corporate and individual supporters play an essential role in the development of Festival d’Aix. In 2017, their contribution representes almost 20% of total resources or more than €4.6m: an increase over the 2016 edition. This support has been the Festival’s primary source of revenue for the past three years.

PRIVATE SUPPORTERS The Festival has been able to rely on the continued support of over 200 private donors through the Club des Mécènes and our organisations of British and American Friends, who have been renewing their support to the Festival’s projects over the years.

For the past few years, some patrons have committed themselves to the Festival in a very ambitious manner. In 2017, several individual donors and family foundations have made major donations to the Festival, inclunding the Fondation Meyer pour le Développement Culturel et Artistique at the forefront. For many years, they have supported the artistic project of Festival d’Aix and its support has been especially crucial to the presentation of three major productions in the scope of the Stravinsky Cycle in 2015, 2016 and 2017. The Fondation Meyer pour le Développement Culturel et Artistique was joined in 2017 by the Karolina Blaberg Stiftung, the Howard and Sarah D. Solomon Foundation, Mr and Mrs Laurence Blackall, as well as many international donors part of in the IFILAF US and IFILAF UK associations, around one of the 2017 edition’s flagship projects: The Rake’s Progress by Stravinsky, staged by Simon McBurney. The support of these foreign partners confirms the attractiveness of Festival d’Aix and its recognition on the international opera stage.

Beyond a significant financial commitment, our supporters are fully aware that long-term investment is crucial to design future programming and to make ambitious artistic decisions. Created in 2016 as a tool enabling the collection of donations from major private supporters, the Festival d’Aix-en-Provence’s Endowment Fund aims at ensuring the sustainability of the Festival, thanks to an anticipation and increase of its self-financing, and to enable it to make mid-term artistic and strategic commitments. The Festival’s endowment Fund is also open to corporate partners willing to concentrate the amount of their multi-year commitment into a single gift. For instance, Château du Seuil, which shares the values of creativity and excellence with Festival d’Aix, has committed to support the Festival for its 2017, 2018 and 2019 editions.

LOYAL CORPORATE PARTNERS Representing nearly 75% of total support received in 2017, corporate partners of Festival d’Aix have played a major role in the development of the Festival’s revenue. Altarea Cogedim, the Festival’s official partner for the third year, and its president, Alain Taravella, provide Festival d’Aix with essential support. Once again, the Académie has been able to rely on the loyal support of HSBC (whose HSBC Laureates label has been present throughout the year in many cultural institutions in France), Fondation La Poste, the SACEM and the SACD. The Mediterranean Youth Orchestra and Medinea, the incubator network for young Mediterranean artists, have been supported this year again by the Musical Sponsorship of Société Générale. Art Mentor Foundation Lucerne has also renewed its support for these two projects. Opera broadcasts have enjoyed growing success in the PACA region and important development abroad thanks to the support of CIC Lyonnaise de Banque and Fondation Orange. The renewed trust and loyalty of KPMG, EDF, LVMH, Groupe Ponticelli Frères, Saint-Gobain, Audiens and Air France and the corporate foundations of Orange, Roederer, Total and CMA-CGM, have enabled the creation of ambitious artistic projects. In 2017, these corporations have been joined by ADAMI, Fondation MMA, Château La Coste, Fonds de Création Lyrique and Procédés Chenel International, which made possible the creation of an innovative stage set for the production of The Rake’s Progress. As a loyal partner of the Festival since 2001, the Cercle des Économistes joined the participants of the Rencontres Économiques d'Aix-en-Provence for the 17th consecutive year, thus providing a core support to the Festival. SPONSORS Joined in 2017 by Banque Martin Maurel, Digital Virgo, Eiffage Immobilier, Adamantis, Agnès Pellegrin, les Coquillages du Roy René, the members of Club Campra have accompanied this 69th edition of the Festival and 10th anniversary of Club Campra, with a great deal of commitment. Thanks to their support, which has reached over 10% of the funds raised by sponsorship for the first time, these local AND PARTNERS businesses actively take part to the cultural influence and attractiveness of their region.

47 FESTIVAL D'AIX-EN-PROVENCE'S THE FESTIVAL D’AIX-EN-PROVENCE THANKS ITS CORPORATE PARTNERS FOR THEIR SUPPORT:: SUPPORTERS

Many French and international individuals support the development of Festival d’Aix-en-Provence, including through the Club des Mécènes and the IFILAF UK and USA International Friends associations. OFFICIAL PARTNER We thank them all for their crucial commitment, and especially our major donors: Fondation Meyer pour le développement culturel et artistique, Karolina Blaberg Stiftung, Mr and Mrs Laurence Blackall, and the Howard & Sarah D. Solomon Foundation.

MÉCÈNES FONDATEURS M. Alain Guy Mr Benoît van Langenhove de M. Bernard Miyet M. et Mme Christopher Carter Mme Sophie Kessler-Matière Bouvekercke M. et Mme Guillaume de M. Nicolas D. Chauvet M. Michael Lunt M. Michel Vovelle Montrichard M. et Mme André Hoffmann M. Alessandro Riva et M. Nicolas M. et Mme Philip Wilkinson Mme Maryse Most M. Bruno Roger Bonnal M. et Mme Robert Zolade Baronne Sheila et Sir Barry Noakes M. et Mme Christian Schlumberger M. et Mme Demesthene Severis Mme Maryvonne Pinault M. et Mme Karel Vinck MEMBRES ACTIFS M. Olivier Renaud-Clément MEMBRES DONATEURS Melle Pascale Alfonsi Mme Jacqueline Roland-Gosselin GRANDS MÉCÈNES M. Jad Ariss Mme Laure Ayache Sartore M. et Mme Jimmy Roze M et Mme Charles Adriaenssen M. et Mme Mark Armour M. et Mme Jean-Paul Bailly M. Jon Rupp M. Jean-Louis Beffa M. et Mme Thierry Aulagnon M. Constant Barbas M. et Mme Jacques-Olivier Mme Diane Britz Lotti M. et Mme Thierry d’Argent Mme Patricia Barbizet Simonneau M. et Mme Didier de Callataÿ M. et Mme Erik Belfrage M. Bernard Barone M. et Mme David Syed M. François Casier Baron et Baronne Philippe Bodson M. et Mme Christian Bauzerand M. et Mme Sebastien Veil M. Nabil Chartouni M. et Mme Jacques Bouhet Mme Marie-Claude Billard M. et Mme Jean-Renaud Vidal Mme Ariane Dandois M. et Mme François Bournerias M. et Mme Olivier Binder M. Philippe Villin M. et Mme Bechara El Khoury M. Eric E. Bowles and Mme Kuri M. et Mme Daniel Caclin Les Rencontres Économiques d'Aix-en-Provence were held on 7, 8 and 9 July 2017. M. Peter Espenhahn Torigoe Mme Christine Cayol- BOARD OF TRUSTEES GROUPE PONTICELLI FRÈRES, LVMH, MÉCÉNAT MUSICAL SOCIÉTÉ GÉNÉRALE, SAINT-GOBAIN M. et Mme Nicholas L.D. Firth M. et Mme Jordi et Patricia Caballé Machenaud IFILAF USA M. Michael J. Foley Mme Christelle Colin et M. Gen Oba Mme Marie-Claude Char M. Jean-Claude Gruffat ALSO SUPPORTING THE FESTIVAL D'AIX Mme Nathalie Coll Mme Paz Corona et M. Stéphane Président M. et Mme Burkhard Gantenbein Air France, Audiens, British Council, Butard Enescot, Château La Coste, Coffim, diptyque, Fondation CMA CGM, Fondation Crédit Coopératif, M. et Mme Virgile Delâtre Magnan M. Richard J. Miller Trésorier Mlle Nomi Ghez et Dr. Michael Fondation MMA, Les Vins de Provence, Procédés Chénel International S. Siegal M. Roland Descouens M. Alan R. Cravitz M. Jérôme Brunetière M. et Mme Jean-Claude Gruffat M. et Mme Charles-Henri Filippi M. Pierre-Louis Dauzier Secrétaire M. Frédéric Habets M. Pierre-Yves Gautier M. Etienne Davignon Mme Diane Britz Lotti Club Campra brings together regional companies, businesses people and professional organisations from different sectors of various sizes who wish to support the Festival. Thanks to their civic-mindedness, they contribute to increasing the region’s cultural influence and promoting access to culture for all. M. et Mme Alain Honnart M. et Mme Pierre Guenant M. Laurent Diot M. Nabil Chartouni Supporting Members GPI & associés, Société Ricard Mme Edmée de M. Firth M. et Mme Philippe Jabre Dr. John A. Haines et Dr. Anand M. et Mme Alain Douteaud Benefactor Members Banque Martin Maurel, Digital Virgo, Durance Granulats, Eiffage Immobilier, Groupe SNEF, NGE Baron et Baronne Daniel Janssen Kumar Tiwari M. et Mme Olivier Dubois Mme Marie Nugent-Head Marlas Donor Members Adamantis, Bouygues Bâtiment Sud-Est, CEA Cadarache, Colas Midi-Méditerranée, Crédit Agricole Corporate And M. et Mme Richard J. Miller Mme Yanne Hermelin M. et Mme Philippe-Henri Dutheil Dr. Michael S. Siegal Investment Bank, GrDF, Original System, Orkis, Roland Paix Traiteur Mme Marie Nugent-Head et M. M. William Kadouch-Chassaing M. 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Peter Espenhahn Trésorier MEMBRES BIENFAITEURS Mme Sylvie Ouziel M. Jacques Le Pape M. Laurence Blackall MEDIA PARTNERS Baron et Baronne Jean-Pierre M. Henri Paret M. Cédric Leoty M. Jérôme Brunetière Berghmans M. Thomas Rottner Mme Janine Levy Mme Béatrice Schlumberger M. et Mme Walter Butler M. Etienne Sallé Mme Francine Loreau M. David Syed M. et Mme François Debiesse M. et Mme Leonard Schrank M. Thierry Martinache THE FESTIVAL D’AIX-EN-PROVENCE AND ITS ACADÉMIE ARE SUPPORTED BY: Mme Catherine Stephanoff M. et Mme Jean-Pierre Megnin M. Michel Frasca Partenaire du Festival d’Aix- en-Provence Some of our donors wish to remain anonymous. depuis 1948 48 If you would like to join us and become a supporter of the Festival, you can contact us at +33 (0)4 42 17 43 56 - [email protected] 49 APPENDIX

Carmen PINOCCHIO THE RAKE’S PROGRESSLA CARRIÈRE DU LIBERTIN PHILIPPE BOESMANS (1936) IGOR STRAVINSKI (1882-1971) Opéra sur un livret de Joël Pommerat Assistante aux costumes Marie Szersnovicz Musiciens de troupe Opéra en trois actes Seconde assistante à la mise en scène Gabriella Schmidt, Clemmie Sveaas d’après Carlo Collodi Assistant à la lumière Gwendal Malard Fabrizio Cassol – saxophone / coordinateur Livret de Wystan Hugh Auden et Luna Muratti* Commande du Festival d’Aix-en-Provence et de l’improvisation Chester Simon Kallman d’après Assistante aux costumes Nathalie Chœur English Voices du Théâtre Royal de la Monnaie Le directeur de la troupe / premier escroc / Philippe Thuriot – accordéon William Hogarth Pallandre Chef de chœur Tim Brown Création mondiale deuxième meurtrier / le directeur de cirque Tcha Limberger – violon tzigane Créé le 11 septembre 1951 à La Assistante aux décors Alejandra Gonzales Stéphane Degout* Orchestre Klangforum Wien Fenice, Venise Assistante à la vidéo Philippine Laureau Orchestre Orchestre de Paris Direction musicale Emilio Pomarico Le père / troisième meurtrier / le maître Mise en scène Joël Pommerat d’école Vincent Le Texier Commande et nouvelle production du Direction musicale Eivind Gullberg Jensen Anne Trulove Julia Bullock Nouvelle production du Festival d’Aix- Décors et lumière Éric Soyer Le pantin Chloé Briot* Festival d’Aix-en-Provence Mise en scène Simon McBurney Tom Rakewell Paul Appleby en-Provence Costumes, maquillage, perruques Isabelle Deuxième escroc / le directeur de cabaret En coproduction avec : La Monnaie / De Dramaturgie Gerard McBurney Nick Shadow Kyle Ketelsen En coproduction avec Dutch National Deffin / le juge / premier meurtrier / le marchand Munt, Opéra de Dijon, Opéra national de Décors Michael Levine Nick Shadow 2, Le Gardien de l’asile Opera, Amsterdam et avec le Théâtre Vidéo Renaud Rubiano d’ânes Yann Beuron Bordeaux Costumes Christina Cunningham Evan Hughes* Stanislavski, Moscou La chanteuse de cabaret / le mauvais élève Aide à l’écriture d’une œuvre musicale Lumière Paul Anderson Trulove David Pittsinger En collaboration avec Complicite, Londres Collaboration artistique à la mise en scène Julie Boulianne originale du ministère de la Culture et de la Vidéo Will Duke Mother Goose Hilary Summers Gilles Rico*, Jane Piot La fée Marie-Eve Munger* Communication Chorégraphe, collaboratrice à la mise Baba la Turque Andrew Watts Avec le soutien de : IFILAF (International Assistant musical Nicolas Chesneau* en scène Leah Hausman Sellem Alan Oke Friends of the International Lyric Art Chefs de chant Frédéric Calendreau, Figurantes Jilan Al Hassan, Charlène Girin, Éditeur de la partition : Éditions Jobert Festival), Howard and Sarah D. Solomon Nicolas Royez* Camille Lucas, Garance Rivoal, Claudine Avec le soutien du Fonds de Création Assistante à la mise en scène Josie Daxter Acteurs.rice.s Antony Antunes, Kirsty Foundation, Mr and Mrs Laurence and Assistante aux décors Marie Hervé Sarzier Lyrique Assistant musical Case Scaglione Arnold, Nichole Bird, Karl Fagerlund Brekke, Oonagh Blackall, Karolina Blaberg Chefs de chant Alphonse Cemin* / Nino Andrew Gardiner, Chihiro Kawasaki, Stiftung, Fondation Meyer pour le Pavlenichvili Maxime Nourissat, Jami Reid-Quarrell, Développement Culturel et Artistique

CARMEN GEORGES BIZET (1838-1875) Opéra-comique en quatre actes Interprète Delia Roubtsova Morgan Ouhida, Cécile Peyrot, Matthieu DON GIOVANNI Livret d’Henri Meilhac et Ludovic Halévy Instructeur Frédéric Gallois Philippon, Kévin Poli, Etienne Roudel, Joëlle WOLFGANG AMADEUS MOZART (1756-1791) d’après la nouvelle de Prosper Mérimée Savinien, Robin Sebeille, Jim Solian, Bernard Dramma giocoso en deux actes Pianistes répétiteurs Jorge Gimenez / Figurant.e.s Juliette Allain, Cyprien Créé le 3 mars 1875 à l’Opéra-Comique à Paris Carmen Stéphanie d’Oustrac* Traversa, Emilie Yana Livret de Lorenzo Da Ponte Benjamin Laurent* Colombo, Rachid Zanouda Dialogues parlés réécrits par Dmitri Don José Michael Fabiano Créé le 29 octobre 1787 au Théâtre des Répétitrice de langue Roberta Salsi Tcherniakov Micaëla Elsa Dreisig* Chœur Chœur Aedes États de Prague Assistant à la mise en scène Rachid Chœur English Voices Escamillo Michael Todd Simpson Chef de chœur Mathieu Romano Zanouda Chef de Chœur Tim Brown Direction musicale Pablo Heras-Casado Frasquita Gabrielle Philiponet Chœur d’enfants Maîtrise des Bouches-du- Direction musicale Jérémie Rhorer Assistante aux costumes Morganne Legg Mise en scène, décors et costumes Mercédès Virginie Verrez Rhône Mise en scène Jean-François Sivadier Assistant à la lumière Jean-Jacques Orchestre Le Cercle de l’Harmonie Dmitri Tcherniakov Zuniga Christian Helmer Chef de chœur Samuel Coquard Décors Alexandre de Dardel Beaudouin Costumes Elena Zaytseva Moralès Pierre Doyen Costumes Virginie Gervaise Nouvelle production du Festival d’Aix- Lumière Gleb Filshtinsky Le Dancaïre Guillaume Andrieux* Orchestre Orchestre de Paris Lumière Philippe Berthomé Don Giovanni Philippe Sly en-Provence Le Remendado Mathias Vidal* Maquillage / coiffure Cécile Kretschmar Leporello Nahuel di Pierro En coproduction avec : Opéra national Assistant musical Emmanuel Calef Nouvelle production du Festival d’Aix-en- Donna Anna Eleonora Buratto de Lorraine, Les Théâtres de la Ville de Chefs de chant David Zobel / Nino Pavlenichvili L’Administrateur Pierre Grammont Provence Collaboratrice à la mise en scène Don Ottavio Pavol Breslik Luxembourg, Teatro Comunale di Bologna Assistant à la mise en scène Joël Lauwers Figurant.e.s Jean-Philippe Ansaldi, Adrien En coproduction avec Les Théâtres de la Véronique Timsit Donna Elvira Isabel Leonard Assistante aux costumes Elisabeth de Sauverzac Arnaud, Florian Arnaud, Vincent Cavallotto, Ville de Luxembourg Collaboratrice aux mouvements Zerlina Julie Fuchs* Reproduction de l’œuvre Cloak of Assistante aux décors Katia Mochenova Sandra Core, Quentin Filippi, Julien Gourdin, Éditeur de la partition : Éditions Alkor Johanne Saunier Masetto Krzysztof Ba¸czyk* Conscience avec l’aimable autorisation *Ancien.ne.s artistes de l’Académie Assistant musical Nicholas Bootiman Il Commendatore David Leigh de l’artiste Anna Chromy 52 53 *Ancien.ne.s artistes de l’Académie Orchestre des Jeunes de la Méditerranée

ERISMENA FRANCESCO CAVALLI (1602-1676) Dramma per musica en un prologue et trois Collaborateur artistique à la mise en scène Erimante Alexander Miminoshvili* actes Mathieu Coblentz Flerida Lea Desandre* Livret d’Aurelio Aureli Assistante à la direction musicale, cheffe Andrea Vincenzo Bonsignore* Créé le 26 (ou le 30) décembre 1655 au de chant Monica Pustilnik Argippo Andrea Bonsignore* Théâtre San Apollinare de Venise Chefs de chant Ariel Rychter, Jacopo Alcesta Stuart Jackson* Raffaele Clerio Moro Tai Oney Réalisation de la partition par Leonardo Conseiller musical et linguistique Fabián Diarte Jonathan Abernethy* García Alarcón et Ariel Rychter Schofrin Assistante aux costumes Claudine Orchestre Cappella Mediterranea Direction musicale Leonardo García Alarcón Crauland Mise en scène et lumière Jean Bellorini Nouvelle production du Festival d’Aix-en- Décors Jean Bellorini et Véronique Chazal Erismena Francesca Aspromonte* Provence et de son Académie Costumes Macha Makeïeff Idraspe Carlo Vistoli* En coproduction avec Les Théâtres de la Maquillage / coiffure Cécile Kretschmar Aldimira Susanna Hurrell Ville de Luxembourg CONCERTS Orimeno Jakub Józef Orlin´ski DE L’EXTASE AUX SOUPIRS – LAURÉATS HSBC DE L’ACADÉMIE MATTHEW HERBERT & LE QUATUOR VAN KUIJK – REQUIEM 1ER JUILLET – 21H30 – HÔTEL MAYNIER D’OPPÈDE 7 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS Soprano Emmanuelle de Negri (Lauréate 2008) MILHAUD Baryton Edwin Crossley-Mercer (Lauréat 2007) Quatuor Van Kuijk (Lauréat HSBC 2014) Piano Edwige Herchenroder (Lauréate 2013) Matthew Herbert musicien électronique Intégrale des mélodies d’Henri Duparc. Création live mondiale, Requiem révèle à travers le prisme de l’électronique toute la modernité du quatuor à cordes d’hier (Haydn) ENSEMBLE KLANGFORUM et d’aujourd’hui. 5 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS Co-commande de l’Académie du Festival d’Aix, de la BBC Radio 3 et MILHAUD gmem – Centre national de création musicale. Cet ensemble viennois que l’on peut entendre dans Pinocchio, nous offre quelques perles contemporaines alliant virtuosité et QUATUOR BÉLA – TROIS FRÈRES DE L’ORAGE expressivité. Parmi elles, l’irrésistible Sequenza II pour harpe de 9 JUILLET – 18H – CAMP DES MILLES Berio. Ce concert redonne vie aux œuvres de trois compositeurs juifs ayant subi la persécution puis l’oubli, et présente une co-commande SONIA WIEDER-ATHERTON – À VOIX NUES du Festival d’Aix et du Quatuor Béla passée au compositeur Robert EUGÈNE ONÉGUINE 6 JUILLET – 21H30 – HÔTEL MAYNIER D’OPPÈDE Pascal, en hommage à ce site mémorial. PIOTR ILITCH TCHAÏKOVSKI (1840-1893) Conception, musique, création bande-son et violoncelle Sonia Wieder-Atherton AKA MOON – DE L’ORIENT AUX PRONFONDEURS BALKANIQUES Scènes lyriques en trois actes Eugène Onéguine Igor Golovatenko Solistes, chœur et orchestre du Bolchoï – Réalisation Bande-son Franck Rossi 9 JUILLET – 22H – THÉÂTRE DE L’ARCHEVÊCHÉ Livret de Piotr Ilitch Tchaïkovski et Vladimir Lenski Bogdan Volkov Théâtre académique d’État de Russie Lumières Christian Drillon Saxophone, composition Fabrizio Cassol Constantin S. Chilovski, d’après Alexandre Prince Grémine Ain Anger Collaboration pour la diffusion Julie Grisel Kaval Nedyalko Nedyalkov Pouchkine Zaretski / Le Capitaine Goderdzi Janelidze D’après une idée de Xavier Arias Voix Tima Nedyalkova Créé le 29 mars 1879 au Théâtre Maly de Monsieur Triquet Stanislav Mostovoy Ce concert est l’aboutissement d’une expérience onirique et Violon, voix Tcha Limberger Moscou sensorielle rassemblant la violoncelliste et des voix d’élèves Trompette, santur, voix Amir ElSaffar Opéra en version de concert Chœur Chœur du Bolchoï – Théâtre d’établissements de l’académie d’Aix-Marseille. Un projet mené dans Accordéon João Barradas* académique d’État de Russie le cadre du Festival choral académique avec le service Passerelles Basse Michel Hatzigeorgiou Direction musicale Tugan Sokhiev Chef de chœur Valery Borisov du Festival d’Aix. Batterie Stéphane Galland Fabrizio Cassol et son groupe de jazz proposent un concert où le Madame Larina Irian Rubtsova Orchestre Orchestre du Bolchoï – Théâtre pourtour de la Méditerranée est à l’honneur. Tatiana Anna Nechaeva académique d’État de Russie Olga Evgenia Asanova Filippievna Svetlana Shilova *Ancien artiste de l’Académie *Ancien.ne.s artistes de l’Académie 54 55 De Venise à broadway Quatuor Arcanto

LIFE STORY – LAURÉATS HSBC DE L’ACADÉMIE CAIRO JAZZ STATION – FRAGMENTS D’UNE MÉDITERRANÉE 11 JUILLET – 20H – THÉÂTRE DU JEU DE PAUME ACTUELLE Soprano Beate Mordal (Lauréate 2015) 16 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS Piano Nicolas Royez (Lauréat 2015) MILHAUD Collaborateur artistique Joseph Alford Saz Abdallah Abozekry* Gershwin, Britten, Poulenc, Weill et Satie sont au menu de ce récital Percussions Ismail Altunbas* placé sous le signe du cabaret, conjuguant musique et humour ! Accordéon João Barradas* Contrebasse Loris Lari* ORCHESTRE DE PARIS 12 JUILLET – 20H – GRAND THÉÂTRE DE PROVENCE CONCERT BAROQUE – LES MUSES ITALIENNES DU ROI-SOLEIL Direction musicale Duncan Ward 19 JUILLET – 21H30 – HÔTEL MAYNIER D’OPPÈDE Sous la baguette de Duncan Ward, l’Orchestre de Paris nous propose Direction musicale Leonardo García Alarcón un concert réunissant Schubert, Beethoven et Stravinski. Clavecin et chef de chant Jacopo Raffaele Conseiller musical et linguistique Fabián Schofrin L’INSTINCT LYRIQUE – LAURÉATS HSBC DE L’ACADÉMIE Violons, viole de gambe, archiluth Musiciens de la Cappella 13 JUILLET – 21H30 – HÔTEL MAYNIER D’OPPÈDE Mediterranea Baryton-basse Evan Hughes (Lauréat 2016) En parallèle à la recréation d’Erismena, Leonardo García Alarcón Piano Hélio Vida (Lauréat 2014) tient l’orgue le temps d’un concert réunissant des musiciens de Evan Hughes, qui incarne Nick Shadow 2 dans The Rake’s Progress, son ensemble Cappella Mediterranea et les chanteur.se.s de la offre un récital des plus intimes et contrastés où le sombre mystère résidence Erismena. Une soirée « Grand Siècle » placée sous le des Lieder schumanniens côtoie les fulgurances de Sibelius. signe de l’inventivité et de la virtuosité du répertoire lyrique italien Avec le soutien du Département des Bouches-du-Rhône. du XVIIIe siècle.

SALTANA QUARTET – VOYAGE D’EXIL ET D’AMOUR ORCHESTRE DES JEUNES DE LA MÉDITERRANÉE – L’ESPRIT 13 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS DE SHÉHÉRAZADE MILHAUD 22 JUILLET – 20H – GRAND THÉÂTRE DE PROVENCE Saxophone Raphaël Imbert Direction musicale Pablo Heras-Casado 'Ûd Moneim Adwan Orchestre Orchestre des Jeunes de la Méditerranée Violon Zied Zouari Mezzo-soprano Virginie Verrez Percussions Jean-Luc Di Fraya Dirigé par Pablo Heras-Casado, un concert symphonique autour de Habitués du Festival d’Aix autant que citoyens du monde de la la figure de Shéhérazade. Œuvres de Rimski-Korsakov, Ravel et de Musique, le saxophoniste Raphaël Imbert, le ûdiste Moneim Adwan, Christina Athinodorou. le violoniste Zied Zouari et le percussionniste Jean-Luc Di Fraya vont nous emmener en voyage… JULY ACADÉMIE UDOPIA MARDI 4 JUILLET JEUDI 6 JUILLET SAMEDI 8 JUILLET 14 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS CONCERT MASTER CLASSE DE MUSIQUE DE CHAMBRE MASTER CLASSE DE COMPOSITEURS MILHAUD Résidence de musique de chambre Résidence de musique de chambre Résidence Pinocchio 'Ûd, composition Thymios Atzakas Les ensembles de la résidence interprètent András Keller, violoniste et membre du Raphaël Languillat et Olivier Leith, Saxophone, lyra James Wylie des œuvres classiques, romantiques et Quatuor Keller, fait travailler les ensembles compositeurs, font travailler ensemble Flûte Ney Nikos Paraoulakis contemporaines. de la résidence. les chanteur.se.s et intrumentistes de la Violoncelle, viole de gambe Elektra Miliadou Hôtel Maynier d’Oppède – 21h30 Hôtel Maynier d’Oppède – 12h résidence, en présence d’ O n d r eˇ j Adámek. Batterie, percussions Kostas Anastasiadis Auditorium du Conservatoire Darius Milhaud Marimba, percussions Dimitris Zacharakis MERCREDI 5 JUILLET VENDREDI 7 JUILLET – 12h Voix Avgerini Gatsi CONCERT DE MUSIQUE DE CHAMBRE EN MASTER CLASSE DE COMPOSITEUR Un véritable récit musical où le 'ûd s’entoure de six musicien.ne.s TOURNÉE Matthew Herbert, musicien électronique CONCERT aux multiples horizons pour bâtir une Udopia musicale faite de Quatuor Gerhard Auditorium du Conservatoire Darius Milhaud Résidence de musique de chambre polyphonies, d’improvisations et de traditions musicales des Œuvres de György Kurtág et de Robert – 12h Les ensembles de la résidence interprètent Balkans et de Grèce. Schumann. des œuvres classiques, romantiques et En collaboration avec Les Suds, à Arles. Châteauneuf-les-Martigues, église de la contemporaines. Mède – 19h Avec le soutien du Territoire Auditorium du Conservatoire Darius Milhaud du Pays d’Aix – Métropole Aix-Marseille- – 20h Provence.

*Ancien artiste de l’Académie 56 57 LUNDI 10 JUILLET des plus intimes et contrastés où le les quatuors de la résidence de musique de MASTER CLASSE DE COMPOSITRICES sombre mystère des Lieder schumanniens chambre, l’artiste peintre Fabienne Verdier Résidence Pinocchio / Résidence de côtoie les fulgurances de Sibelius. rencontre le public du Festival d’Aix. HORS-SÉRIE musique de chambre Cassis, Jardin de la Villa L’Ariane – 19h Hôtel Maynier d’Oppède – 12h Sivan Eldar et Camille Pepin, compositrices, Avec le soutien du département des LUNDI 3 JUILLET Aix-en-Provence, Cour du collège Sainte- JEUDI 13 JUILLET travaillent avec les chanteur.se.s et Bouches-du-Rhône. CONCERT PROJECTION Catherine de Sienne – 18h-20h TÊTE-À-TÊTE instrumentistes ainsi que les ensembles Résidence de musique de chambre The Juilliard Experiment (2016) Rencontre avec Carlo Vistoli, Jakub Józef CONCERT Pour le concert de clôture de la résidence, de musique de chambre en résidences à Documentaire de Mark Kidel sur le travail de DIMANCHE 9 JUILLET Orlin´ski et Taï Oney, contre-ténors dans Erismena. Résidence de musique de chambre des ensembles se produisent avec Tabea l’Académie, en présence de Jeff Cohen. Fabienne Verdier, l’artiste peintre, qui a signé le RENCONTRES ÉCONOMIQUES D’AIX-EN-PROVENCE Cour du Presbytère – 18h Auditorium du Conservatoire Darius Milhaud Les ensembles de la résidence interprètent Zimmermann dans un programme de visuel de saison 2017 du Festival d’Aix. Aix-en-Provence, Université d’Aix-Marseille, – 12h des œuvres classiques, romantiques et quintette à cordes et quatuor avec piano. Aix-en-Provence, Cité du Livre – 11h Site Schuman – 8h30-14h VENDREDI 14 JUILLET contemporaines. Hôtel Maynier d’Oppède – 21h30 TÊTE-À-TÊTE CONCERT Hôtel Maynier d’Oppède – 21h30 TÊTE-À-TÊTE ÉMISSION FRANCE MUSIQUE Rencontre avec Philippe Sly, baryton-basse Concert de créations LUNDI 17 JUILLET Rencontre avec Philippe Boesmans, La Tribune des critiques de disques : rôle-titre dans Don Giovanni. Quatre compositeurs d’aujourd’hui – parmi JEUDI 13 JUILLET MASTER CLASSE DE CHANT compositeur de la création mondiale Pinocchio. spéciale Carmen Cour du Presbytère – 18h lesquels la jeune révélation française MASTER CLASSE DE MUSIQUE DE CHAMBRE Résidence Pinocchio Aix-en-Provence, Cour du Presbytère – 18h Émission en direct et en public animée par Camille Pepin – présentent autant de Résidence de musique de chambre Jeff Cohen, pianiste et chef de chant, Jérémie Rousseau. SAMEDI 15 JUILLET créations mondiales, commandes de Tabea Zimmermann, altiste et membre fait travailler les chanteur.se.s et MARDI 4 JUILLET Aix-en-Provence, Cour du collège Sainte- TÊTE-À-TÊTE l’Académie du Festival d’Aix, ainsi qu’une du Quatuor Arcanto, fait travailler les instrumentistes de la résidence sur un TÊTE-À-TÊTE Catherine de Sienne – 18h-20h Rencontre avec Julia Bullock et Paul œuvre d’O n d r eˇ j Adámek, interprétées ensembles de la résidence. programme de comédies musicales. Rencontre avec Simon McBurney, metteur Appleby, Anne Trulove et Tom Rakewell par les chanteur.se.s et instrumentistes Hôtel Maynier d’Oppède – 12h Hôtel Maynier d’Oppède – 12h en scène de The Rake’s Progress. LUNDI 10 JUILLET dans The Rake’s Progress. de la résidence Pinocchio ainsi que les Cour du Presbytère – 18h CULTURE NUM Cour du Presbytère – 18h ensembles de la résidence de musique de CONCERT DE CHANT EN TOURNÉE CONCERT Révolution numérique, culture et création MERCREDI 5 JUILLET En partenariat avec Audiens. LUNDI 17 JUILLET chambre. De Venise à Broadway De Venise à Broadway TÊTE-À-TÊTE Auditorium du Conservatoire Darius Milhaud TÊTE-À-TÊTE Hôtel Maynier d’Oppède – 21h30 Répertoire baroque italien croisé à des Répertoire baroque italien croisé à des Rencontre avec Jean-François Sivadier, – 10h30-17h30 Rencontre avec Fabrizio Cassol, En partenariat avec la Sacem et Copie comédies musicales interprétés par les comédies musicales interprétés par metteur en scène de Don Giovanni. saxophoniste et compositeur pour son privée. chanteur.se.s et instrumentises des les chanteur.se.s et instrumentises Cour du Presbytère – 18h TÊTE-À-TÊTE groupe de jazz Aka Moon et encadrant de la résidences Pinocchio et Erismena. des résidences Pinocchio et Erismena. Rencontre avec Leonardo García Alarcón, session de création interculturelle de l’OJM. Eyguières, Parc des Frères Recordier (parc Hôtel Maynier d’Oppède – 21h30 MARDI 11 JUILLET JEUDI 6 JUILLET directeur musical d’Erismena. Cour du Presbytère – 18h des Platanes) – 19h MASTER CLASSE DE MUSIQUE DE CHAMBRE TÊTE-À-TÊTE Cour du Presbytère – 18h Avec le soutien du Département des MARDI 18 JUILLET Résidence de musique de chambre Rencontre avec Stéphane Degout et Chloé MARDI 18 JUILLET Bouches-du-Rhône. MASTER CLASSE DE COMPOSITEUR David Albermann, violoniste et ancien Briot, Le directeur de troupe et Le pantin MARDI 11 JUILLET TÊTE-À-TÊTE membre du Quatuor Arditti, fait travailler Fabrizio Cassol fait travailler les musicien.ne.s dans la création mondiale Pinocchio. RENCONTRES NATIONALES ACCORD MAJEUR Rencontre avec Michael Fabiano, Don José les ensembles de la résidence. CONCERT DE MUSIQUE DE CHAMBRE EN de la session de création interculturelle de Cour du Presbytère – 18h La musique : une affaire de sens dans Carmen. Hôtel Maynier d’Oppède – 12h TOURNÉE l’OJM autour de l’improvisation musicale et Auditorium du Conservatoire Darius Milhaud Cour du Presbytère – 18h Quatuor Hanson de la composition collective. PROJECTIONS D’OPÉRA EN DIRECT DU – 9h30-17h30 CONCERT DE MUSIQUE DE CHAMBRE EN Les Quintes de Haydn et Quatuor en sol Hôtel Maynier d’Oppède – 12h FESTIVAL D’AIX Avec le soutien du groupe Audiens, de la MERCREDI 19 JUILLET TOURNÉE mineur de Debussy. Carmen (Bizet) Pablo Heras-Casado / Sacem et du Crédit Coopératif. TÊTE-À-TÊTE Quatuor Hanson Cornillon-Confoux, Place de la Mairie – 19h CONCERT Dmitri Tcherniakov Rencontre avec Francesca Aspromonte, Les Quintes de Haydn et Quatuor en sol Avec le soutien du Territoire du Pays d’Aix – Création interculturelle Dans les villes d’Aix-en-Provence, Apt, Cassis, TÊTE-À-TÊTE Susanna Hurell et Lea Desandre, sopranos mineur de Debussy. Métropole Aix-Marseille-Provence. Orchestre des Jeunes de la Méditerranée Chorges, Cornillon-Confoux, Coudoux, Cucuron, Rencontre avec Stéphanie d’Oustrac, et mezzo-soprano dans Erismena. Avec le soutien du Territoire du Pays d’Aix – De jeunes musicien.ne.s méditerranéen.ne.s Évenos, Gardanne, La Penne-sur-Huveaune, mezzo-sopano rôle-titre de Carmen. Cour du Presbytère – 18h Métropole Aix-Marseille-Provence. VENDREDI 14 JUILLET présentent leur création collective élaborée L’Isle-sur-la-Sorgue, Marseille, Martigues, Miramas, Aix-en-Provence, Cour du Presbytère – 18h Martigues, Chapelle de l’Annonciade – 19h MASTER CLASSE DE CHANT avec Fabrizio Cassol lors de la session Nice, Rousset, Septèmes-les-Vallons, Sisteron, JEUDI 20 JUILLET Résidence Erismena de création interculturelle mêlant jazz, Venelles – 21h30 SOIRÉE CINÉ-CONCERT TÊTE-À-TÊTE MERCREDI 12 JUILLET Leonardo García Alarcón, directeur improvisation et musiques traditionnelles Musiques en cité Rencontre avec Émilie Delorme, VENDREDI 7 JUILLET Une soirée conviviale de concert, repas partagé Directrice de l’Académie du Festival MASTER CLASSE DE CHANT musical, fait travailler les chanteur.se.s et de la Méditerranée. RENCONTRES ÉCONOMIQUES D’AIX-EN-PROVENCE et cinéma en plein air au cœur de la Cité de d’Aix, de l’OJM et des réseaux enoa et Résidence Erismena instrumentistes de la résidence. Hôtel Maynier d’Oppède – 21h30 À la recherche de nouvelles formes de prospérités la Savine, qui ponctue la résidence créative Medinea, elle présente les projets à venir. Jacopo Raffaele, claveciniste et chef Hôtel Maynier d’Oppède – 12h Session de réflexion et de débats organisés autour de work songs, menée par Alexandra Cour du Presbytère – 18h de chant, et Fabián Schofrin, conseiller JEUDI 20 JUILLET par le Cercle des Économistes Satger et Wilda Philippe de la Compagnie Rara musical et linguistique, font travailler CONCERT CONCERT Aix-en-Provence, Université d’Aix-Marseille, Woulib, avec des choristes amateur.trice.s de VENDREDI 21 JUILLET les chanteurs, les chanteuses et Résidence de musique de chambre Vanderbilt Music Académie Site Schuman – 9h45-18h45 l’association Sound Musical School B. Vice. TÊTE-À-TÊTE Les ensembles de la résidence interprètent Concert final avec les instrumentistes de la instrumentistes de la résidence. Marseille, Cité de la Savine – à partir de 19h Rencontre avec Bernard Foccroulle, des œuvres classiques, romantiques et Vanderbilt Music Académie sous la direction Hôtel Maynier d’Oppède – 12h SAMEDI 8 JUILLET En partenariat avec l’Alhambra cinémarseille Directeur général du Festival d’Aix. contemporaines. musicale de Thomas Verrier. RENCONTRES ÉCONOMIQUES D’AIX-EN-PROVENCE et Sound Musical School B. Vice. Cour du Presbytère – 18h CONCERT DE CHANT EN TOURNÉE Hôtel Maynier d’Oppède – 21h30 Hôtel Maynier d’Oppède – 21h30 Aix-en-Provence, Sciences Po Aix– 8h-18h15 L’Instinct lyrique MERCREDI 12 JUILLET SAMEDI 22 JUILLET Evan Hughes (Lauréat HSBC 2016) SAMEDI 15 JUILLET ÉMISSION FRANCE MUSIQUE TÊTE-À-TÊTE TÊTE-À-TÊTE Hélio Vida (Lauréat HSBC 2014) RENCONTRE Carrefour de Lodéon Rencontre avec Jérémie Rhorer, directeur Rencontre avec Alain Perroux, Conseiller Evan Hughes, qui incarne Nick Shadow 2 Résidence de musique de chambre Émission en direct et en public animée par musical de Don Giovanni. artistique et dramaturge du Festival d’Aix. Il dans The Rake’s Progress, offre un récital À l’issue de 2 semaines de création avec Frédéric Lodéon en compagnie de nombreux Cour du Presbytère – 18h présente la programmation de l’édition 2018. invités et artistes du Festival d’Aix. Cour du Presbytère – 18h 58 59 Concert Résidence Mozart

LUNDI 19 JUIN CONCERT DE CHANT EN TOURNÉE CONCERT DE CHANT EN TOURNÉE MASTER CLASSE DE CHANT ET DE PIANO As this Dark Hour Ends (Et c’est ainsi que La Belle Maguelone Résidence Mozart cet obscur temps s’achève) John Chest (Lauréat HSBC 2015 de Ouri Bronchti, pianiste et chef de chant, Les artistes de la résidence Mozart donnent l’Académie), Marcelo Amaral & Julie travaille le répertoire mozartien avec les jeunes une restitution de leur travail autour d’airs Moulier chanteur.se.s et pianistes de la résidence. et ensembles d’opéras mozartiens sur le Récital de quinze Lieder de Johannes Hôtel Maynier d’Oppède – 12h thème de la séparation. Brahms inspiré du roman de Ludwig Ceyreste Cour de l’école Albert Blanc – 19h Tieck, Les Amours de la belle MARDI 20 JUIN Maguelonne et de Pierre de Provence. CONCERT DE MUSIQUE DE CHAMBRE EN CONCERT-SPECTACLE Fuveau, église Saint-Michel – 19h – TOURNÉE ¿Tangos ? / Trio Sora Avec le soutien du Département des D’un Viennois à l’autre Une rencontre entre la musique de chambre Bouches-du-Rhône. Quatuor Arod (Lauréat HSBC 2016 de et la danse autour d’un répertoire de tango l’Académie) traditionnel et contemporain dans le cadre CONCERT – PARADE[S] Œuvres d’Anton Webern et de Franz Schubert. de l’Atelier de Création et d’Innovation. Sélection d’airs de Carmen interprétés par Mallemort, église Saint-Michel – 19h Hôtel Maynier d’Oppède – 21h30 l’Orchestre de Paris, les solistes de la pro- Avec le soutien du Territoire du Pays d’Aix – duction et le Chœur Aedes, dirigés par Pablo AIX EN JUIN Métropole Aix-Marseille-Provence. SAMEDI 24 JUIN Heras-Casado. CONCERT Aix-en-Provence, Cours Mirabeau – 21h45 PROJECTION Odyssée n°7 – À voix nues / Sonia Wieder- MERCREDI 7, JEUDI 8, VENDREDI 9 JUIN CONCERT DE CHANT EN TOURNÉE chœur imaginaire. Les Aventures de Pinocchio Atherton MARDI 27 JUIN SPECTACLE BENJAMIN DUPÉ Mozart et « papa » Haydn / Artistes de la Saint-Marc-Jaumegarde, Salle Frederi (Luigi Comencini) Aix-en-Provence, Théâtre du Bois de l’Aune RÉCITAL Comme je l’entends résidence Mozart Mistral – 19h Aix-en-Provence, Institut de l’Image – 19h – 20h La Belle Maguelone En clôture de sa résidence à Sciences Airs et ensembles de musique sacrée de En partenariat avec le Festival choral John Chest (Lauréat HSBC 2015 de Po Aix, Benjamin Dupé présente Comme Mozart et de Haydn. Académique, dispositif culturel du rectorat MERCREDI 21 JUIN CONCERT DE CHANT l’Académie), Marcelo Amaral & Julie je l’entends, un solo construit sur Trets, Cour du Château –20h Aix-Marseille, le Conservatoire de Manosque RÉPÉTITION PUBLIQUE D’OPÉRA As this Dark Hour Ends (Et c’est ainsi que cet Moulier l’enregistrement des impressions des Avec le soutien du Département des (CRD), le Théâtre Jean le Bleu (Manosque) The Rake’s Progress (Stravinski) obscur temps s’achève) Hôtel Maynier d’Oppède – 21h30 auditeur.trice.s face à sa musique. Bouches-du-Rhône. et le Bois de l’Aune (Aix-en-Provence) Théâtre de l’Archevêché – 18h Les artistes de la résidence Mozart donnent Aix-en-Provence, 3 bis f – 20h30 (Me, Je) et Dans le cadre de Trets, Capitale provençale Manosque, Théâtre Jean le Bleu – 20h une restitution de leur travail autour d’airs et MERCREDI 28 JUIN 15h (Ve) de la Culture 2017. CONCERT DE MUSIQUE DE CHAMBRE EN ensembles d’opéras mozartiens sur le thème de RÉPÉTITION PUBLIQUE D’OPÉRA En partenariat avec Aix-Marseille Université. SPECTACLE MUSICAL TOURNÉE la séparation, mise en espace par Joseph W. Alford. Pinocchio (Boesmans) SAMEDI 17 JUIN Au plus fort de l’orage D’un Viennois à l’autre Hôtel Maynier d’Oppède – 21h30 Grand Théâtre de Provence – 19h LUNDI 12 JUIN CONCERT DE CHANT - LES VOIX DE Spectacle musical autour de la Quatuor Arod (Lauréat HSBC 2016 de PANORAMA - SOIRÉE MUSICALE SILVACANE correspondance d’Igor Stravinski et l’Académie) DIMANCHE 25 JUIN VENDREDI 30 JUIN Avec les artistes de la programmation de juillet. Dufay en Italie / Graindelavoix d’Ernest Ansermet. La Penne-sur-Huveaune, église Saint- LES DIMANCHES DE LA CANEBIÈRE CONCERT Aix-en-Provence, Hôtel Maynier d’Oppède – 19h La Roque d’Anthéron, Abbaye de Silvacane Production de l’Académie du Festival d’Aix, avec Laurent – 19h À nous de jouer ! Prix Gabriel Dussurget – Abbatiale – 16h le soutien de la Fondation d’entreprise La Poste. Des groupes amateurs et des acteur.trice.s L’association Gabriel Dussurget remet MERCREDI 14 JUIN En collaboration avec la Comédie de Saint- JEUDI 22 JUIN culturels du département se réunissent le Prix Gabriel Dussurget au pianiste MASTER CLASSE DE CHANT CONCERT DE CHANT EN TOURNÉE - LES VOIX Étienne – Centre dramatique national et la RÉPÉTITION PUBLIQUE D’OPÉRA autour de la Compagnie Rara Woulib pour Alphonse Cemin et le Prix Jeune Espoir au Résidence Mozart DE SILVACANE compagnie The party. Don Giovanni (Mozart) fêter l’été en musique et en danse avec le violoncelliste Rafaël Arreghini. Les remises Susanna Eken propose un perfectionnement Mozart et « papa » Haydn / Artistes de la Hôtel Maynier d’Oppède – 21h30 Théâtre de l’Archevêché – 18h public. Dans ce cadre, Passerelles propose de prix sont suivies d’un concert avec les vocal autour du répertoire de Mozart et résidence Mozart un projet amateur d’improvisation autour artistes récompensés, accompagnés par d’Haydn. Airs et ensembles de musique sacrée de SPECTACLE CONCERT du jazz avec les classes orchestres d’Aix- l’Orchestre du Conservatoire Darius Milhaud Hôtel Maynier d’Oppède – 12h Mozart et de Haydn. Phone Call to Hades Confidence pour confidence en-Provence, Marseille et Saint-Maximin-la- d’Aix-en-Provence (CRR) et par l’Orchestre La Roque d’Anthéron, Abbaye de Silvacane Trois interprètes guident le spectateur dans Quatuor Arod (Lauréat HSBC 2016 de Sainte-Baume, dirigé par Raphaël Imbert, symphonique d’Aix-Marseille Université CONCERT – Abbatiale – 19h une mystérieuse balade nocturne en plein l’Académie) un concert du chœur Ibn Zaydoun ainsi (OSAMU). Chœur Ibn Zaydoun air. Œuvres de Felix Mendelssohn et de Franz qu’un projet choral amateur rejoignant work Auditorium du Conservatoire Darius Milhaud – Direction, chant, ‘ûd Moneim Adwan CONCERT DE CHANT EN TOURNÉE Une production de la Münchener Biennale et Schubert. songs piloté par la Compagnie Rara Woulib. 20h30 Chœur Chœur multiculturel Ibn Zaydoun Erismena (Cavalli) de la Theaterakademie August Everding créée Hôtel Maynier d’Oppède – 21h30 Marseille, La Canebière – de 11h à 18h Répertoire de chants traditionnels du Extraits de l’opéra Erismena, par les artistes le 31 mai 2016 à la Biennale de Munich. Un événement du Département des CONCERT Moyen-Orient et de poésies arabes de la nouvelle production du Festival d’Aix et En coproduction avec la Chapelle musicale VENDREDI 23 JUIN Bouches-du-Rhône. Trio Tatavla anciennes et contemporaines, sur des de l’Académie. Reine Elizabeth et Les Théâtres de la Ville de MASTER CLASSE DE COMPOSITEUR En partenariat avec l’IMPF (Salon-de- Un concert explorant les musiques compositions originales de Moneim Adwan. Saint-Marc-Jaumegarde, Salle Frederi Luxembourg. Résidence Pinocchio Provence), le Conservatoire Darius Milhaud traditionnelles grecques, leurs éléments Hôtel Maynier d’Oppède – 21h30 Mistral – 19h Avec le soutien du programme Young Opera Philippe Boesmans, compositeur de d’Aix-en-Provence (CRR), le Conservatoire autochtones ainsi que les multiples Avec le soutien du Département des Makers d’enoa et du Programme Europe Pinocchio, présente son opéra en Pierre Barbizet de Marseille (CNRR) et la héritages et influences dont ces œuvres VENDREDI 16 JUIN Bouches-du-Rhône Créative de l’Union européenne. compagnie de Nicolas Royez, pianiste Cité de la Musique de Marseille. se sont nourries au fil du temps. Un voyage CONCERT DE CHANT - LES VOIX DE SILVACANE Aix-en-Provence, Parc de la Torse – 22h et 23h et chef de chant, et des chanteur.se.s musical proposé par Tcha Limberger, Visages de la Vierge dans la musique CONCERT engagé.e.s comme doublures pour cette LUNDI 26 JUIN violoniste dans Pinocchio, création sacrée occidentale Odyssée n°7 – À voix nues / Sonia Wieder-Atherton DIMANCHE 18 JUIN création mondiale. MASTER CLASSE DE MISE EN SCÈNE mondiale donnée en ouverture du Festival. Jeune chœur de la Maîtrise des Bouches- Sonia Wieder-Atherton emmène avec elle SPECTACLE Hôtel Maynier d’Oppède – 12h Atelier Opéra en Création Hôtel Maynier d’Oppède – 21h30 du-Rhône 160 jeunes chanteur.se.s de chorales Phone Call to Hades Katie Mitchell, metteuse en scène, partage avec Musiques sacrées de la Renaissance à nos jours. d’établissements de l’Académie d’Aix- Aix-en-Provence, Parc de la Torse – 22h et RÉPÉTITION PUBLIQUE D’OPÉRA des artistes de l’Académie son rapport à l’opéra La Roque d’Anthéron, Abbaye de Silvacane Marseille pour une variation de son 23h Carmen (Bizet) et, plus particulièrement, à la mise en scène. – Abbatiale – 19h spectacle Odyssée pour violoncelle et Théâtre de l’Archevêché – 18h Hôtel Maynier d’Oppède – 12h

60 61 Il trionfo del Tempo e del disinganno (Festival d’Aix 2016)

Mexico / Guanajuato – Institut français 14 octobre 2017 Madrid – Institut français 7 novembre 2017 Marne-la-Vallée – La Ferme du Buisson 19 décembre 2017 Antananarivo – Institut français 11 novembre 2017

LE TURC EN ITALIE THE RAKE’S PROGRESS Yaoundé – Institut français 3 février 2017 Istanbul – Institut français 2 août 2017 Prague – Institut français 24 août 2017 ALCINA BROADCASTS AND TOURS Antananarivo – Institut français 14 janvier 2017 CONCERT DES LAURÉATS HSBC DE L’ACADÉMIE Paris – Le Théâtre – La Scène Thélème 28 mars 2017 WRITTEN ON SKIN DON GIOVANNI SVADBA Beate Mordal, soprano (Lauréate HSBC 2015) Nouvelle production du Festival d’Aix-en-Provence 2012 Nouvelle production du Festival d’Aix-en-Provence 2017 Marrakech – Institut français 14 avril 2017 Nicolas Royez, piano (Lauréat HSBC 2015) Londres – Covent Garden – Royal Opera House 13, 18, 23, 27, 30 Nancy – Opéra national de Lorraine 1er, 3, 5, 9, 10, 12 octobre 2017 Meudon – Archimusic La Boutique du Val 18 juin 2017 Programme : Life Story janvier 2017 Luxembourg – Les Théâtres de la Ville de Luxembourg 23, 25, 27 Martigues – Festival Le Train Bleu - Théâtre des Salins Moscou – Théâtre du Bolchoï 22 et 23 avril 2017 octobre 2017 COSÌ FAN TUTTE 31 mars 2017 Yaoundé – Institut français 21 avril 2017 Beate Mordal, soprano (Lauréate HSBC 2015) IL TURCO IN ITALIA ERISMENA Nicolas Royez, piano (Lauréat HSBC 2015) Nouvelle production du Festival d’Aix-en-Provence 2014 Nouvelle production du Festival d’Aix-en-Provence 2017 KALÎLA WA DIMNA Programme : Life Story Varsovie - Teatr Wielki – Polish National Opera 17, 19, 21, 23, 25 Versailles – Château de Versailles spectacles 2, 3 décembre 2017 Marrakech – Institut français 1er février 2017 Lille – Opéra de Lille 5 avril 2017 mars 2017 Andri Björn Róbertsson, baryton-basse (Lauréat HSBC 2014) PROJECTIONS SUR GRAND ÉCRAN ŒDIPUS REX Edwige Herchenroder, piano (Lauréate HSBC 2013) TRAUERNACHT LE ROSSIGNOL ET AUTRES FABLES Meknès – Institut français 14 février 2017 Programme : D’amour et de mort Nouvelle production du Festival d’Aix-en-Provence 2014 Buenos Aires – Alliance française 27 janvier 2017 Marrakech – Institut français 1er mars 2017 Waterloo – Chapelle Musicale Reine Elisabeth 26 avril 2017 Moscou – Théâtre du Bolchoï 25 et 26 avril 2017 Gijón – Alliance française 24 mai 2017 Kiev – Institut français 12 mars 2017 Quatuor Van Kuijk (Lauréat HSBC 2014) Prague – Institut français 22 août 2017 Prague – Institut français 29 août 2017 Programme : Mozart – Dissonances L’ENLÈVEMENT AU SÉRAIL Mexico / Guanajuato – Institut français 15 octobre 2017 À l’occasion de la sortie du disque Mozart (production du Festival Nouvelle production du Festival d’Aix-en-Provence 2015 Barcelone – Institut français décembre 2017 CARMEN d’Aix et d’Alpha Classics) Bologne –Teatro Comunale di Bologna 20, 22, 24, 26, 29 janvier 2017 Valence – Institut français 11 juillet 2017 Hong Kong – French May Arts Festival - City Hall - Concert Hall Reggio Emilia –Teatro Romolo Valli 10 et 12 février 2017 LA TRAVIATA Safi – Alliance française 14 juillet 2017 3 juin 2017 Bilbao – Institut français 27 janvier 2017 Istanbul – Institut français 26 juillet 2017 Quatuor Van Kuijk (Lauréat HSBC 2014) LE MONSTRE DU LABYRINTHE Marne-la-Vallée – La Ferme du Buisson 31 janvier 2017 Prague – Institut français 8 août 2017 Aubagne – Musicales de la Font de Mai - Font de mai Nouvelle production du Festival d’Aix-en-Provence 2015 Antananarivo – Institut français 8 avril 2017 Antananarivo – Institut français 9 septembre 2017 29 juillet 2017 Montpellier – Opéra de Montpellier 21, 22 avril 2017 Gwangmyeong – Ville de Gwangmyeong 14, 15 avril 2017 Milan – Institut français Milano-Corso-Magenta 21 septembre 2017 Léa Trommenschlager, soprano (Lauréate HSBC 2011) Lisbonne – Fondation Gulbenkian 27, 28, 29 septembre 2017 Gijón – Alliance française 3 mai 2017 Madrid – Institut français 3 octobre 2017 Damien Pass, baryton-basse (Lauréat HSBC 2011) Meudon – Archimusic La Boutique du Val 21 mai 2017 Moscou – Institut français Stanislavski 18 octobre 2017 Alphonse Cemin, pianiste (Lauréat HSBC 2010) SVADBA Mexico / Guanajuato – Institut français 13 octobre 2017 Safi – Alliance française 27 octobre 2017 Programme : Comédies musicales Nouvelle production du Festival d’Aix-en-Provence 2015 Ouagadougou – Institut français 28 octobre 2017 Paris – Philharmonie de Paris 12 octobre 2017 Luxembourg – Les Théâtres de la Ville de Luxembourg 14, 15 DAVID ET JONATHAS Yaoundé – Institut français 9 novembre 2017 John Chest, baryton (Lauréat HSBC 2015) février 2017 Meknès – Institut français 12 décembre 2017 Rabat – Institut français 21 novembre 2017 Marcelo Amaral, pianiste Ljubljana – Festival de Lubljana 22 août 2017 Julie Moulier, comédienne LES NOCES DE FIGARO DON GIOVANNI Programme : La Belle Maguelone COSÌ FAN TUTTE Gwangmyeong – Ville de Gwangmyeong 14, 15 avril 2017 Safi – Alliance française 28 juillet 2017 Chili – Teatro del Lago 4 novembre 2017 Nouvelle production du Festival d’Aix-en-Provence 2016 Valence – Institut français 10 juillet 2017 Prague – Institut français 3 août 2017 Léa Trommenschlager, soprano (Lauréate HSBC 2011) Lille – Opéra de Lille 30 septembre, 3, 5, 8, 10, 12 octobre 2017 Beuvrequen – Autres caps – Association Sous l’Opalétuvier Damien Pass, baryton-basse (Lauréat HSBC 2011) ELEKTRA 9 août 2017 Alphonse Cemin, piano (Lauréat HSBC 2010) IL TRIONFO DEL TEMPO E DEL DISINGANNO Marne-la-Vallée – La Ferme du Buisson 14 mars 2017 Istanbul – Institut français 9 août 2017 Mougins – Scène 55 7 novembre 2017 Nouvelle production du Festival d’Aix-en-Provence 2016 Rivne – Institut français 13 janvier 2017 Safi – Alliance française 13 octobre 2017 Beate Mordal, soprano (Lauréate HSBC 2015) Lille – Opéra de Lille 12, 14, 17, 19, 21 janvier 2017 Yaoundé – Institut français 8 juin 2017 Meudon – Archimusic La Boutique du Val 22 octobre 2017 Nicolas Royez, pianiste (Lauréat HSBC 2015) Caen – Théâtre de Caen 3, 5 février 2017 Barcelone – Institut français novembre 2017 Programme : Life Story RIGOLETTO Madrid – Institut français 5 décembre 2017 KALÎLA WA DIMNA Rivne – Institut français 20 janvier 2017 CONCERT DE L’ORCHESTRE DES JEUNES DE LA Nouvelle production du Festival d’Aix-en-Provence 2016 ERISMENA MÉDITERRANÉE Le Mans – Les Quinconces 13, 14 janvier 2017 ARIODANTE Prague – Institut français 18 juillet 2017 SESSION SYMPHONIQUE Festival de Casablanca 23 mars 2017 Bilbao – Institut français 20 janvier 2017 Istanbul – Institut français 16 août 2017 Puget-Théniers – Hôpital du Pays de la Roudoule 25 juillet 2017 Opéra de Dijon 11, 13, 14 mai 2017 Gijón – Alliance française 27 février 2017 Gémenos – Théâtre de verdure dans le cadre du festival Les Arts Philharmonie de Paris 19 mai 2017 Kiev – Institut français 23 avril 2017 PINOCCHIO Verts 26 juillet 2017 Istanbul – Institut français 19 juillet 2017 MEDINEA – Cairo Jazz Station PINOCCHIO LA FLÛTE ENCHANTÉE Safi – Alliance française 21 juillet, 20 octobre 2017 Heidelberg (Allemagne) – Festival Heidelberg Frühling - Création mondiale du Festival d’Aix-en-Provence 2017 Buenos Aires – Alliance française 19 janvier 2017 Clermont-en-Genevois – Château de Clermont 22 juillet 2017 Kongresshaus Stadthalle 21 avril 2017 Bruxelles – La Monnaie / De Munt 5, 7, 8, 10, 12, 13, 15, 16 Kiev – Institut français 12 février 2017 Prague – Institut français 17 août 2017 Lisbonne (Portugal) – Festival Jardim de Verão - Fondation septembre 2017 Gijón – Alliance française 27 mars 2017 Yaoundé – Institut français 22 septembre 2017 Calouste - Gulbenkian 29 juin 2017 Dijon – Opéra de Dijon 6, 8 et 10 octobre 2017 Meudon – Archimusic La Boutique du Val 30 avril 2017 Barcelone – Institut français octobre 2017 62 63 BOARD OF DIRECTORS

Mr Bruno Roger Président Mr Jean-Francois Dubos Secretary General Mrs Catherine Démier Treasurer

Mr Stéphane Bouillon Mrs Martine Vassal Prefect of the Provence-Alpes Côte d’Azur region and Bouches-du- Chairperson of the Departmental Council of Bouches-du-Rhône Rhône represented by Mrs Sabine Bernasconi Mrs Régine Hatchondo Vice-President of the Departmental Council of Bouches-du-Rhone General Director of Artistic Creation, Cultural Delegate Ministry of Culture Mr Renaud Muselier Mr Marc Ceccaldi President of the Provence-Alpes-Côte d’Azur Regional Council Regional Director of Cultural Affairs, represented by Mr Michel Bissière Ministry of Culture Regional councillor and delegate for artistic creation Mrs Maryse Joissains-Masini Mr Jean-Marc Forneri Mayor of Aix-en-Provence, President of the Conseil de Territoire du Qualified person, named by the Pasino of Aix-en-Provence Pays d’Aix, Vice-President of Metropole Aix-Marseille Provence Mr Alain Taravella Mr Gérard Bramoullé Qualified person, named by the State Deputy Mayor of Aix-en-Provence, delegate for the Festival of Aix- en-Provence Mr Jean-Claude Gaudin President of Metropole Aix-Marseille-Provence, Mayor of Marseille, Vice-President of the Senate represented by Mr Daniel Gagnon Vice-President of Metropole Aix-Marseille Provence, delegate for Culture and Cultural Facilities, Mayor of Cornillon-Confoux

PHOTO CREDITS : ©Sonia Barcet : p.24 ©Artcompress / Patrick Berger : Cover, 2, 6, 8, 20, 49, 50, 52, 62 ©Artcompress / Pascal Victor : Inside cover, inside back cover, 4, 10, 12, 14, 53, 54 ©Vincent Beaume : pages 16, 17, 18, 25, 26, 28, 29, 36, 37, 38, 54, 55, 57, 60 ©Jean-Claude Carbonne : pages 27, 30, 34 ©Philippe Chancel : page 22 ©Clément Vial : pages 32, 40, 42, 43, 46, 59 ©Laurie Wagner : page 35

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