The 68th edition of the Festival was a great success, both for the The Festival d'Aix 2016 was particularly present both over July ‘Festival’as well as AIX EN JUIN. the airwaves and on the web. The five summer operas were rebroadcast on Arte, France Musique, France Télévisions, The keywords of this year’s opera programme were excellence and Mezzo, Arte Concert, Culture Box, Medici.tv and The Opera diversity. With a dream cast in the expert hands of Katie Mitchell Platform. Three of them - Così fan tutte, Pelléas et Mélisande and and Esa-Pekka Salonen, Pelléas et Mélisande was presented after a Kalîla wa Dimna - were projected on the big screens of 73 cities long wait of 44 years. Film-maker Christophe Honoré offered a in France and abroad. Several musical events also benefited new vision of Così Fan Tutte, set in Africa. Krzysztof Warlikowski from 360°immersive recording. Finally, the closing concert of revealed the theatricality of a sublime Handel oratorio, while the Mediterranean Youth Orchestra (MYO) was broadcast live Peter Sellars once again deeply moved festival-goers with a most on YouTube. convincing Stravinsky diptych. Among the nine world premieres of this edition, Moneim Adwan’s Arabic opera Kalîla wa Dimna If more than 75,000 spectators from the local area and further enchanted a wide and highly diverse public. afield were able to participate in the summer magic ofthe Festival d'Aix, it is in part thanks to the renewed support of The new feature of Aix en Juin 2016 was OUVERTURE[S] : a the Ministry of Culture and Communication, the City Council musical walk through the Jas de Bouffan district for a festive and of Aix-en-Provence, Métropole Aix-Marseille-Provence, participatory inauguration event. The fruit of a long-term effort Territoire Pays d’Aix, the Departmental Council, the Regional by the outreach and socio-artistic services of the Festival and Council of Provence-Alpes-Côtes d’Azur, the European Union the European Académie of Music, 62 events were offered free of as well as that of our corporate and private patrons. I would like charge or at affordable prices both in Aix and the surrounding to express my deep appreciation to them all. communities. These artistic events brought together nearly 18,000 spectators, including many young people. Once again, Bruno Roger Parade[s] set the Cours Mirabeau ablaze with a free concert President of the Festival d’Aix-en-Provence mixing traditional African songs and opera.

1 Œdipus Rex

THE STRENGTH AND DIVERSITY OF ARTIST RESIDENCIES

Our Festival in Aix-en-Provence has been developing artist Cellist Jean-Guihen Queyras and saxophonist Raphaël Imbert residencies for several years. The 2016 edition allowed us to were associated artists for this edition of the Festival. Jean- appreciate the results of several of these. Guihen Queyras gave several concerts, participated in the last two public performances given by the Arcanto Quartet and gave Pelléas et Mélisande was the fifth consecutive opera staged in master classes for string quartet. Raphaël Imbert opened the Aix by Katie Mitchell, after Written on Skin, The House Taken Festival on 4 June during a musical walk involving marching Over, Trauernacht and Alcina. In the continuity of her previous bands from school orchestras, gave several concerts and achievements, she constructed her stage production from accompanied an intercultural session of the Mediterranean a feminine point of view, proposing a dreamlike reading of Youth Orchestra, where he joined his friend Jean-Guihen. the opera through the eyes and imagination of Mélisande. These two artists demonstrated a commitment and a sense of In addition to her stage production, Katie Mitchell has been sharing that was as enthusiastic as it was communicative. extremely generous, year after year, in her encounters with the young artists of the Académie. This year, she initiated a Beyond these residencies, we must also underline all the workshop with young creative women that will extend through relationships that have been built over the years with Louis next year, the results of which will be shared with the profession. Langrée, Jérémie Rhorer, Esa-Pekka Salonen and many other artists from the Académie... These loyalties, residencies and Invited on several occasions, Peter Sellars also marked our relationships are built over time with patience, passion and Festival: a charismatic stage director who is adulated by all the creativity, and yield results that would be unimaginable under artists and teams he works with, he was able to touch the public other conditions. They permeate the identity of our Festival and of Aix by the density of his theatrical language and the depth of contribute to make it a unique event in the world. his approach in Iolanta / Persephone in 2015 and Oedipus Rex / Symphony of Psalms in 2016. Bernard Foccroulle Director General of the Festival d'Aix-en-Provence This year we presented the world premiere of Kalîla wa Dimna, an opera written by Moneim Adwan on a libretto in Arabic and French. Since 2008, this Franco-Palestinian artist has developed an ongoing collaboration with our Festival, including the direction of the Ibn Zaydoun choir, which rehearses every week alternating between Aix and Marseille. Without this residency, without the links that have been built over the years and without the stepping-stone of The Dove, the Fox and the Heron (a small opera written and staged in June 2014), the composition of Kalîla would never have obtained the impact it enjoyed this summer.

3 "Music’s greatest scores (…), all played and sung exquisitely and staged with stimulating seriousness."

*Les plus grandes partitions (…), interprétées avec raffinement et dans des mises en scène à la fois réfléchies et stimulantes. Pelléas et Mélisande New York Times Così fan tutte

Così fan tutte LE MONDE LES ÉCHOS Set under the burning sun of Africa, this Così disturbs us. Christophe The jeers that accompanied Christophe Honoré and his team on the No edition of the Festival would be complete without a Mozart masterpiece. This year, it was the turn of one of the most emblematic operas of Honoré’s inflexible stage direction explores every scenic space, evening of the premiere of Così fan tutte in Aix were particularly the repertoire, Così fan tutte, to return to the stage of the Théâtre de l’Archevêché. Transposing the action to colonial Eritrea under Mussolini, delves into the souls of the characters and chisels out their fates. inappropriate: their work is indeed the high point of the performance. this new production by film director Christophe Honoré revealed all the brutality of a deceptively light plot by questioning the notion of desire (…) Honoré has given much to his singers, who have given their (…) The director has had the insight to consider the characters as and the struggle for power that it engenders. A dark interpretation, accompanied from the pit by distinguished Mozartian Louis Langrée and utmost in return. Beginning with Despina, portrayed by a stunning an ultimately rather unpleasant mixture of brainless and annoying the Freiburger Barockorchester, which raised debate and invited us to renew our vision of the opera. Sandrine Piau, whose solar voice and radiant presence captivates the people. (…) He shows it with both relevance and finesse in his stage from one end to the other. Singing with one voice throughout meticulous stage directing, even if the transposition to Mussolini’s THE NEW YORK TIMES LE SOIR the first act (magnificent duo), the two sisters gradually abandon Africa is not always entirely convincing. But his laser-sharp reading The use of the opera to understand the relationships between different It is far from the spirit of the Enlightenment but the approach, served their twinhood. Kate Lindsey’s electric and sexual Dorabella only of the libretto, aware of the toughness of human relations and the cultures and to experiment with several ways of linking them is no longer in all its crudeness and cruelty by razor-sharp directing, remains strengthens her predatory temperament, while Lenneke Ruiten’s pitfalls of the heart, reveal a rare effectiveness. a mere aesthetic possibility, it is a moral necessity. The staging of Così coherent. But, fortunately, an opera also consists of music and here lively Fiordiligi little by little ceases to mime her sister as she has endorsed this responsibility as if it were a battle with no quarter. (…) our happiness is immense. Attentive to every inflection, weaving discovers her true nature. (…) With absolute joy from the pit, where LIBERATION As a spectator, one feels the outrage that Così should always inspire. (…) secret dialogues between the instruments or between the singers and magician Louis Langrée doses and dares, through colour and mad Christophe Honoré politicises Mozart’s opera bouffe, transposed to Dark, demanding staging that speaks all too clearly to our time. the instruments, Louis Langrée’s conducting offers us three hours of inventiveness, to offer us a volatile and vigorous Mozart that is both the Eritrea of the 1930s. A risky wager. (…) The interest of this type of theatrical chamber music. The cast is dominated by the ladies, led by powerful and intoxicating, offsetting the natural sound loss of open mechanism is that it develops over time. If the first act is quite dull, EL WATAN the ironic but disillusioned Despina portrayed by a radiant Sandrine air performance and the intimate volume of the ancient instruments the second explodes. (…) Honoré brings out his joker in the finale: We are embraced by an ineffable sense of happiness with this realistic Piau. played by the excellent Freiburger Barockorchester. whereas in the libretto the reconciled lovers are reunited and leave arm Così, so close to the human condition, nourished by the torments of in arm, here one of the girls does not participate in the celebration. She men and women who are prey to a vain and uncontrollable desire FORUM OPERA FRANCE INFO has understood the cruelty of the betrayal and the wager made by her that is brandished like a banner of victory. The transposition works, thanks to ruthlessly directed acting. (…) Christophe Honoré leaves the beaten track. With the eye of a film lover. She has taken the full blow of the bitter nature of the staging that Christophe Honoré took the public by surprise with the element director who lays bare the emotions of youth, Christophe Honoré has Honoré was seeking, as if she had already seen the performance. OPERA LIVELY that was absent from the two previous operas he had directed: revealed the gravity of the libretto by Lorenzo Da Ponte. (…) He very Someone has finally shone a light on the darkness of this opera, humour. (…) But the end of the first act refutes this impression, intelligently bases his work on the racist bias of these young people L’OBS.COM which has often been stifled by its aspects of light comedy. (…) The with a quiver of gags that corresponds well to the atmosphere of and the caricatured vision of women that emerges from this work. The orchestra is conducted with infinite subtlety, as light as a cloud, as Festival d'Aix strikes again by staging an extraordinary performance. the moment. Musically speaking, Louis Langrée offers us a very (…) It is a highly beautiful, sensual, almost choreographed Così deep and reflective as the thought of a philosopher. A pleasure throughout lively interpretation of the work. His vigorous conducting obliges fan tutte. Louis Langrée highlights the subtleties of Mozart’s music, the performance, where the intelligence of the conducting is never OPERA NEWS the excellent instrumentalists of the Freiburger Barockorchester to the Cape Town Chorus from South Africa are wonderful extras and, overbearing but delicately unveils its attractions. With three singers who It is an intense exploration of desire and violence. According to the constantly push forward, with ever quickening tempi. (…) In a work among the female roles, Sandrine Piau as Despina and Kate Lindsey magnificently serve Mozart and Da Ponte’s Così fan tutte: Lenneke Marquis de Sade, human nature is in constant quest of amusement. with so many ensembles, one is particularly gratified not to hear a as Dorabella delighted the public of Aix. Ruiten as Fiordiligi, Kate Lindsey as Dorabella and Sandrine Piau as (…) Maestro Louis Langrée is elegant and precise. He directs a Così mosaic of individuality, but a true ensemble, whose teamwork is one Despina, who is a wonder in the figures of composition that her role that is as clear and pure as an unbridled fountain, without dwelling of the keys to this successful Così. demands. (…) And even if Christophe Honoré’s transposition does not on sentiment. seem to be the most convincing, at least his stage directing is excellent. 6 7 Pelléas et Mélisande

Pelléas et Mélisande LE MONDE LA CROIX Spectacular scenography, meticulous staging, intelligent dramaturgy: the new production by Katie Mitchell combined all the characteristic Laurent Naouri’s haunted, subtle and neurotic Golaud is a perfect If Katie Mitchell has once again demonstrated dazzling virtuosity in ingredients of her work and marked the culmination of her partnership with the Festival d'Aix. Staged as Mélisande’s dream, this inventive musical and dramatic accomplishment. Stéphane Degout’s orchestrating the ballet of characters in a sophisticated stage setting, reading of Debussy’s masterpiece was served by an exceptional cast which brought together Barbara Hannigan, Stéphane Degout, Laurent faultless Pelléas is powerful, almost too adult already, despite his she has, however, somewhat stifled the mysterious poetry of Pelléas Naouri and the Philharmonia Orchestra in the expert hands of Esa-Pekka Salonen. Undoubtedly one of the highlights of this edition, welcomed pigeon toes and autistic waddle. Chloé Briot’s frank and brazen under a shower of sometimes cumbersome situations and images. by an enthusiastic public. Yniold, Franz Josef Selig’s steadfast Arkel, and the magnificent timbre of Sylvie Brunet-Grupposo that makes the ‘letter scene’ read TÉLÉRAMA.FR FINANCIAL TIMES THE TELEGRAPH by Geneviève a pure moment of elegy. And Barbara Hannigan. She is Staged by British director Katie Mitchell as the heroine’s dream, Katie Mitchell tells Pelléas et Mélisande as a dream, a surreal Shaping opera with utmost flexibility, the conductor Esa-Pekka excellent all down the line, including on the prosodic level (…). She admirably played and sung, Claude Debussy’s opera oscillates and fevered sequence that would have given Jung a field day. (…) Salonen gets the Philharmonia Orchestra to play with cultivated captured the very essence of Debussy-esque humming. between realism and fantasy (...) and touches us deeply. This On the podium, Esa-Pekka Salonen makes us believe and feel with warmth and diaphanous beauty. (…) Katie Mitchell fills the sets Pelléas et Mélisande is an exceptional performance. (…) First, the characters, maintaining Mitchell’s sense of waking trance by with dream-like action and Lizzie Clacham’s virtuosic design LIBÉRATION by its musical quality: with a vocal cast that is close to perfection, combining fastidious control and transparency with sensitivity and supplies one visual coup after another. The British stage director has won her bet: her chimera, with its an orchestra in top shape, with conducting that takes your breath warmth. The Philharmonia Orchestra responds with lush playing; light tones and damp walls invaded by trees, matches the symbolist away by its intelligence and sensitivity. (…) But if this production the music is dizzyingly, seductively good. RTBF.BE nature of the work perfectly and leaves spectators with the mists of a enchants us (…), it is also for Katie Mitchell’s reading of the work, Katie Mitchell’s intelligent vision, transcended by the subtle tones fascinating enigma floating before their eyes. which is both dreamlike and realistic. (…) Pelléas et Mélisande, EL PAÍS of a Philharmonia Orchestra in a state of grace under the flexible which had not been presented at the Festival d'Aix since 1972 (…), No praise is high enough for Barbara Hannigan. The Canadian has authority of Esa-Pekka Salonen, transform this Pelléas into a LES INROCKS.COM returns to the Provencal city in grand style, and leaves a lasting asserted herself as a great Mélisande, as did British singers Mary moment of pure joy. A version that will become a reference through What we have before our eyes is the dream-like expression of images impression on our eyes and ears. Garden and Maggye Teyte when they sang this role over a century the successful mixture of a music that reaches indescribable limits produced by our heroine’s subconscious. This exhilarating postulate ago. Through her voice, beauty, fragility, and stage talent, she is a and a fascinatingly intelligent dramaturgical vision. scrambles our points of reference. (…) In a musical showcase LES ÉCHOS perfect Mélisande. (…) Esa-Pekka Salonen’s conducting is one of the where Debussy shines under the exceptional direction of Esa-Pekka A fabulous Pelléas et Mélisande in Aix-en-Provence. There is wonders of this show. FRANKFURTER ALLGEMEINE ZEITUNG Salonen, Katie Mitchell’s production dazzles us once again. nothing new about a dream-like Pelléas, but to represent it through Pelléas et Mélisande is a production with depth, loaded with detail, Mélisande’s imagination is an innovation. (…) The exceptional CLASSIC VOICE made with love and benefiting from a stunning cast; Esa-Pekka LE FIGARO dramatic force of this performance is based on Katie Mitchell’s The choice of the staging convinces us in that it combines reality and Salonen masterfully conducts the Philharmonia Orchestra with Have you ever had this experience? You leave a performance, review capacity to respect the smallest details of the libretto but also to fiction, without precisely defining the contours of either. It manages transparency and tenderness. its different components, observe that each was close to perfection, grasp the different levels of reading. (…) Delving the depths of this this especially thanks to the quality of the cast: in particular Barbara and yet your overall impression remains divided. This is precisely singular opera required a team that was prepared to make a giant Hannigan’s totally empathic Mélisande, as well as Laurent Naouri’s EL PERIÓDICO what happened to us with this Pelléas et Mélisande. (…) In short, leap forward. Recognised for her performance and risk taking, the Golaud and Stéphane Degout’s Pelléas. Possibly the best cast you The stage director offers a debauchery of visual, emotional and intellectual we admired the fabulous machine, while remaining somewhat Canadian soprano is the ideal Mélisande: she slips as seamlessly could bring together today. riches. And she does it not only by perfectly adapting the work (…). She outside it. into the different facets of her character as she does with her dresses, manages to ensure that everything in the score becomes real and intelligible. as if they were so many combat outfits. (…) Unforgettable. 8 9 Il Trionfo del Tempo e del Disinganno

Il Trionfo del Tempo e del Disinganno LE FIGARO LESINROCKS.COM What Sabine Devieilhe has done is simply miraculous. Not only Krzysztof Warlikowski sensitively and accurately grasps the desperate Closing the Handel cycle initiated at the Festival d'Aix in 2014, a sumptuous baroque jewel adorned the Théâtre de l’Archevêché this summer: because she sang all evening like an angel descended from heaven, torment of the loss of youth and Handel shines like a black star under Il Trionfo del Tempo e del Disinganno. Rising to the challenge of staging this oratorio in the form of an allegory, Krzysztof Warlikowski has with a supernatural range of nuances and technical skill, but she the direction of Emmanuelle Haïm. (…) So there are no characters delivered a disenchanted vision of the wanderings of Beauty between Pleasure, Time and Disillusionment, weaving a performance of ghostly also theatrically embodied the affects which beset her character. (…) Only allegories embodied on the apron by four magnificent beauty around the theme of vanity. A proposal magnified in the pit by Emmanuelle Haïm and her Concert d'Astrée, served by a quartet of Miraculous is also the word that best qualifies the cast, a deluge of singers who transformed the evening into a pure journey of emotion. soloists who are well versed in Handelian virtuosity: Sabine Devieilhe, Franco Fagioli, Michael Spyres and Sara Mingardo. festival stars. Franco Fagioli’s Pleasure is staggering with scope and From Emmanuelle Haïm’s conducting to the two antagonistic virtuosity, Michael Spyres’s Time stuns us with valour and vocal range, couples formed by Sabine Devieilhe (Bellezza) and Franco Fagioli LE TEMPS LUXEMBURGER WORT Truth as portrayed by Sara Mingardo captivates us by the androgynous (Piacere) in the controversy which opposes them to Sara Mingardo The staging is brilliant. (…) All that remains for us to do is to follow The voices are superb. Sabine Devieilhe imposes her Beauty: her singing colour of her amber timbre. (…) And in addition, to make this evening (Disinganno) and Michael Spyres (Tempo), all deserve praise. Sabine the sumptuous music that becomes so evident in this setting. It would and stage performance demonstrate both her existential energy and a total success, Emmanuelle Haïm’s conducting obviously unified the Devieilhe offers us a moment of absolute grace with this suicidal be an understatement to say that the notes are served at the highest the pain of the mortifying resignation to ‘wisdom’. (…) Conductor ensemble. (…) An Aix Festival evening the way we like them. and final vision of succumbing Beauty. Like a saint in tears, her level. Sabine Devieilhe’s dazzling Bellezza sets fire to the stage in a Emmanuelle Haïm, leading her Concert d’Astrée, gives dynamics to all face harmonises with her unforgettable singing to create the perfect suffocating incarnation, from the slightest breath to the explosion of this in a performance that is as convincing as it is gratifying. LE MONDE embodiment of an icon with ‘no future’. incandescent high notes. (…) With tenor Michael Spyres, Tempo has Sabine Devieilhe, a subjugating Beauty. Sometimes things, indeed found a worthy soloist. And supporting these exceptional singers? OPERA TODAY life itself, hang on by a thread: if there were only one scene to LA CROIX The magical Emmanuelle Haïm and her Concert d’Astrée are at The tense, three-hour knock-down-drag-out seduction of Beauty by remember from Il Trionfo del Tempo e del Disinganno, (…) it This bitter vision, set in the beautiful and cold decor of a cinema work. Suffice to say it is voluptuous, vital, aerial and crystalline. A Pleasure consumed our souls in this triumphal evening. Forget Time would have to be the final one. And it would be a salvation in itself. haunted by mannequin-puppets, night owls dressed in glitter and little bit of thinness in the tone of the violin solos changes nothing. and Disillusion as destructors, they were the very constructors of (…) The most amazing, breathtaking and hair-raising thing is sadness, is based on explicit elements of Cardinal Pamphili’s libretto The fifth element that was absent on stage vibrates in the pit: joy. the beauty and pleasure found in this miniature oratorio. (…) The Sabine Devieilhe’s performance as Bellezza. In addition to her true which leave no room for the sweetness of life and only addresses youth casting in Aix was breathtaking. (…) Sabine Devieilhe possesses gifts as an actress, the soprano subjugates us by her almost ethereal to signify its early demise. To show off his precocious talent in the I/O GAZETTE a voice of riveting purity, platinum coloured (i.e. an extravagant high notes and incarnates the bitter heartbreak of renunciation with Eternal City, Handel imagined shimmering music and intoxicating Krzysztof Warlikowski has taken visual emotion to its climax for silver), a range that extends well above the staff upon occasion. Her consummate art. orchestration, so familiar to Emmanuelle Haïm and so voluptuously this premiere. As always, some purists were offended: while others final aria of repentance was spellbinding (as were all of her arias) mastered by the Concert d’Astrée. As for the dizzying vocality, it is were, on the contrary, deeply moved. In this Handelian allegory, a in the splendid bleakness of its despair. (…) Of equal stardom in L’HUMANITÉ sometimes voluble, sometimes suspended, alone capable of taming parable of life’s emptiness and fragility, the Polish director brought this extraordinary evening was the French early music orchestra Le Krzysztof Warlikowski’s staging reflects our contemporary world the unstoppable race of time. strong imagery to the stage, amplified by video. (…) He transformed Concert d’Astrée and particularly its founder and leader Emanuelle and demonstrates that a transposition of period can be relevant, Handel’s parable into a theatre of emotion and truth. Haïm whose sculpted conducting forcefully and fully rendered the impertinent and successful. It can also convey emotion. Sabine muscular, quite architectural components of Handel’s Baroque Devieilhe, Franco Fagioli, Michael Spyres and Sara Mingardo touch orchestral score. the hearts of the audience through the interplay of their voices. 10 11 Kalîla wa Dimna

Kalîla wa Dimna

Forging ever stronger links with the Mediterranean and its different cultures, the Festival d’Aix-en-Provence has commissioned the first opera CLASSICA DIAPASON in Arabic and French by Palestinian composer Moneim Adwan. Inspired by Kalîla wa Dimna, a collection of fables, this small lyrical form mixes We experienced Kalîla wa Dimna by Moneim Adwan, his first opera in The creation of an opera in Arabic, of which only the spoken parts are musical influences of the East and West, bringing together artists from the different shores of our common sea. A project rich in meaning, whose Arabic, as a trial run that was necessary but too uniform to convince. in French, will no doubt remain as the most emblematic event of this ramifications directly echo the most recent events in this part of the world and the issues of our time. opening project for the Festival. (…) Olivier Letellier’s staging, of an TÉLÉRAMA.FR eloquent sobriety too, also preserves the naivety of the tale without FINANCIAL TIMES LE TEMPS Kalîla wa Dimna is a tale, with all the false naivety and meaningful blunting the force of its message. Moneim Adwan himself plays the This is a beautifully crafted chamber work, unpretentious but When the lights of the little Jeu de Paume Theatre went out, there power that this genre can offer. A lyrical tale that is likely to seduce role of Dimna, surrounded by magnificent singers - each a star in profound, retelling an ancient Arabic tale that speaks directly of was a moment of silence before the applause. This came because one all audiences, both children and adults, whether serious music lovers his or her own country. Intended for all audiences, Kalîla wa Dimna today’s political realities. (…) The roots of Fady Jomar and Catherine of the most singular works to be seen and heard on a major lyrical or newcomers, regardless of their origin, nationality or cultural level, defies our criteria of judgement but goes straight to our heart. And it Verlaguet’s libretto grow deep (…) yet the action and intrigue could stage had just ended. It was also because the echoes of the topic and which is a fine achievement in itself. (…) The voices are beautiful, was also a triumph. have been written yesterday as an allegory of the Assad family, or of its treatment resonate well beyond a simple operatic performance. embodied, alive. Not only a composer, but also an oudist and contemporary British politics. (…) Olivier Letellier’s staging, at the It was especially because we realise the extent to which the world singer, Moneim Adwan contributes personally by playing the role OPÉRA MAGAZINE Théâtre du Jeu de Paume, is simple but perfect, the space, set and props premiere of Kalîla wa Dimna opens a new path. (…) The work of the deceitful Dimna. Singer and actress Ranine Chaar (Kalîla) A fine success, which should go on an international tour and which used with consummate imagination and attention to detail. (…) This commissioned by the Festival d'Aix-en-Provence from Palestinian is a charismatic narrator who speaks and sings with warmth and the Festival can be proud of. is an eloquent offering that has found its own musical and dramatic composer Moneim Adwan (also a singer and actor in his own work) clarity. Palestinian Reem Talhami embodies an imposing Queen syntax, an impressive feat for any first opera, and a mark of how has gone beyond its goal. Not only does it strike a chord with all Mother who is just as manipulative as Dimna but far more skilful. LA MARSEILLAISE strongly the Aix-en-Provence Festival believes in cultural diversity. audiences but it also enters the group of great lyrical ‘small forms’ With his caressing, worried or angry voice, Tunisian singer Mohamed A world premiere that reforms the lyrical stage, Kalîla wa Dimna and has attained artistic grace while addressing tragically topical Kebali (King) gives life to all the hesitations of his character, and is a true invitation for a journey, with outstanding musicians, like LUXEMBURGER WORT themes. (…) When art sets out to enlighten the world in so fine, strong Jean Chahid from Lebanon (the 21-year-old finalist of the Lebanese percussionist Wassim Halal or Abdulsamet Celikel on the qanûn. Sparsely staged by Olivier Letellier, this opera compels us by its and simple a manner, it can only touch the heart. Star Académie in 2014) not only possesses the ideal timbre but also With voices that are sometimes celestial and sometimes lyrical, like freshness, its naivety (in the noble sense of the word) and its message. has all the youth, ardour and sincerity it takes for us to immediately the profound voice of Reem Talhami (Queen Mother) or the bright The audience, which demonstrated an admirable diversity of origins EL WATAN identify him with the assassinated poet. (…) It is difficult not to feel voice of Jean Chahid in a memorable Chatraba. With a much- and generations, gave vent to its enthusiasm at the end of the The introduction of vocality and Arab music into a festival directly challenged, in one way or another, by the questions raised by applauded finale that makes you want to go back... performance. traditionally dedicated to western culture could not fail to intrigue. this tale with its timeless and universal beauty. 12 13 Œdipus Rex / Symphonie de Psaumes Ensemble Pygmalion direction Raphaël Pichon

Œdipus Rex / Symphonie de Psaumes

After the success of Iolanta / Persephone in 2015, Peter Sellars returned to the Festival d’Aix for a new triptych around two works by Stravinsky: Oedipus Rex and The Symphony of Psalms. Linking these two works around the fate of Œdipus, the American stage director created a dramaturgy that is rich in meaning and federated the energies of the three amateur choirs around this unprecedented project. A production with great emotional and musical power, galvanised by the direction of Esa-Pekka Salonen conducting the Philharmonia Orchestra.

choirs of the Orphei Drängar, the Gustaf Sjökvist Chamber Choir and ‘The Meyer Foundation for Artistic and Cultural Development was born the Sofia Vokalensemble. A male choir for the first part and mixed of the desire of my late father, Philippe, and my own, to create a durable for the second, they are the real victors of this exceptional evening. philanthropic body with which our family could support projects that it held (…) A superb performance that would alone justify the ticket. This is Concerts dear. Its main objective is to promote the expansion of human knowledge and said without injustice to the musical direction of Esa-Pekka Salonen artistic expression through its support. leading the Philharmonia Orchestra, whose subtleness and vigour This year, concerts once again occupied an important place in the Festival programme. An opera in its concert version for Rameau’s Zoroastre, The Meyer Foundation has chosen to provide support to the Festival d'Aix infuse Stravinsky’s score with science and sensitivity. A performance a concert-ballet with the Philharmonia Orchestra… These exceptional forms were associated with the performances of the Freiburger not only for the quality and seriousness of its programme, but also for the of extraordinary emotional force in this time of affliction. To heal us Barockorchester, the Pygmalion Ensemble or the Mediterranean Youth Orchestra, while the HSBC Laureates celebrated ten years of the label with confidence and artistic affinity that it has developed with Bernard Foccroulle. of the ‘plague of the soul’ described by Voltaire. a series of recitals. Carte blanche was given to two of the Festival’s musical accomplices, jazz musician Raphaël Imbert and cellist Jean-Guihen I am very grateful to the Festival d'Aix to have developed and given life to Queyras, who punctuated this edition with proposals marked by sharing and the mixture of genres. the Stravinsky Cycle over a period of 3 years, a project which was initiated DIAPASON by a passion shared with Bernard Foccroulle and Esa-Peka Salonen for Igor Choral art that the performance raises to the rank of total art (...) Stravinsky’s music.’ The magic of a gesture that flourishes in its purity. Vincent Meyer THE PYGMALION ENSEMBLE – BACH MOTETS CONCERT BY JEAN-GUIHEN QUEYRAS AND ALEXANDER MELNIKOV CLASSICA Esa-Pekka Salonen’s conducting has brought enthusiasm to the FORUM OPERA DESTIMED IL GIORNALE DELLA MUSICA diptych. (…) Peter Sellars resumed the mannered yet sensitive An almost ideal cast, an ensemble and a conductor who are the In perfect osmosis, Jean-Guihen Queyras and Alexander Melnikov The staging works well and Esa-Pekka Salonen’s musical production he gave in Salzburg in 1994, with great visual ambassadors of Rameau. deliver (…) a lesson of interpretation, each with extreme attention performance is lovely. The cast also contributes to the success of concentration and without losing its radiant emotion. for the other, with the precision of a Swiss clock, a hypnotic tone and this production, with Joseph Kaiser’s intense Œdipus, the measured DESTIMED well-represented colours. tragedy of Violeta Urmana in the role of Jocaste, as well as the OPÉRA MAGAZINE We know that Bach’s Motets are among the masterpieces of western prestigious presence of Sir Willard White in the triple role of Creon, Sellars plunges the music deep into the body and lodges each polyphony. Each of them is a jewel of complexity and structure based ARCANTO QUARTET Tiresias and the Messenger. individual in a world of suffering humanity. (…) without renouncing on the frequent use of the double choir. Raphaël Pichon plunges precision, with an almost rigid pulsation, the Finnish conductor with delight into this organisation to magnify it with the unfailing BACHTRACK.COM BACHTRACK.COM of the Philharmonia Orchestra identifies and reveals a lyricism, support of his chorus, which most evidently takes extreme pleasure With a tone that is both exquisite and precise, the four voices of the Behind the admirable work of precision and cohesion of Folke Alin especially in the title role, whose softened contours accentuate the in serving these works. quartet elegantly competed for the public’s attention (…), these four with the Orphei Drängar Choir, followed by the Gustaf Sjökvist Choir fracture. magnificent players perfectly controlled the most mature of fugue- and the Sofia Vokalensemble, we find Peter Sellars’s intention to THE PYGMALION ENSEMBLE – ZOROASTRE like intrigues. (…) This concert presented the most refined western give the text in the form of a very free sign language. (…) Esa-Pekka LA PROVENCE art and these precious moments were consciously savoured and Salonen performs a remarkable work, attuned to all the colours and With Œdipus Rex / Symphony of Psalms, Peter Sellars has staged a MIDI LIBRE cherished. nuances of the score (…) all with rare elegance and fluidity. purified, coherent and terribly topical performance. Raphaël Pichon leads the tragedy with a firm baton in his left hand The Pygmalion Ensemble conducted by Raphaël Pichon and carries and sculpts the sound with his right. The musicians phony of Psalms LA MARSEILLAISE DESTIMED respond with fervour. (…) Reinoud Van Mechelen is the ideal With Œdipus Rex and The Symphony of Psalms, Peter Sellars Almost all of Peter Sellars’s work lies in the ‘choreography’ of the Zoroaster, a heavenly 100% counter-tenor with dream-like high has reached the most refined form or purity, he has distilled the chorus. His stage direction refuses any ‘explanatory’ implication notes, velvet basses and an imposing presence. (…) The other founding myth of Œdipus to its essence. (…) The real main character of the oratorio, leaving all the space for Stravinsky’s music. (…) A performers (…) do not lack panache either. Like so many rays around of Œdipus Rex is the people of Thebes, embodied by the three Swedish standing ovation at the end of this great festival performance. a solar Raphaël Pichon. 14 15 Concert de la session de création interculturelle de l'OJM Concert Cairo Jazz Station

THE FESTIVAL D’AIX AND THE MEDITERRANEAN

Since 2008, the Festival d’Aix has maintained a policy of openness towards artists from the countries of the Mediterranean basin. Session of intercultural creation Placed in the expert hands of jazz musician Raphaël Imbert, this session also gave rise to a musical Solicitous both to initiate and perpetuate fruitful intercultural dialogue, the Festival enriches its programme with creators and encounter around the blues in which eleven young improvisers took part. The MYO also worked with a Comorian amateur choir that has performers from many different backgrounds, mixing written and oral already forged links with the Festival in the framework of the Passerelles programme. A warm performance was given in the heart of traditions with ‘serious’ and improvised music. The fruit of this mixture, the Savine district in Marseille. Finally, the excellent cellist Jean Guihen Queyras joined the MYO on the Maynier d’Oppède stage in Aix. the creation of Kalîla wa Dimna, composed by Moneim Adwan and staged Among the goals of the Festival d'Aix for these next few years, we by Olivier Letellier, united the Arabic and French languages this summer THE MEDINEA NETWORK can cite "intercultural creations as a barrier against the violence of in a work combining western form and eastern music. Coordinated by the Festival d’Aix, the Medinea network consists of cultural organisations in the Euro-Mediterranean region which this world". Under its thoughtful director, Bernard Foccroulle, the train musicians, produce and broadcast artistic projects. This year, under the watchful eye of composer Fabrizio Cassol, five coaches Festival has created mentorships between French and Tunisian In addition to the development of the sessions of the Mediterranean guided the artists in Aix-en-Provence: Raphaël Imbert (saxophone), Mark Withers (clarinet), Geneviève Sorin (choreographer), string quartets, promoted the Mediterranean Youth Orchestra, Youth Orchestra, the creation of the Medinea (Mediterranean Incubator Philippe Franceschi (choirmaster) and Léa Canu-Ginoux (choreographer). coordinated Medinea, a network of emerging artists from around of Emerging Artists) network in 2015 has contributed to tighten the links the region, and fostered projects that have brought together artists between the Festival, which is ideally located in a region marked by great The incubator’s projects from different traditions.’ cultural and ethnic diversity, and the countries of the Mediterranean Developed since the autumn of 2015, Medinea’s role of incubator gives artists the possibility to go beyond their training with the New York Times, Zachary Woolfe basin. Convinced that education and culture are the best tools to build Mediterranean Youth Orchestra and to develop collective projects with smaller ensembles in partner countries. Two projects were the world of tomorrow and with a desire to promote the opera beyond accompanied in 2016: ‘Cairo Jazz Station’ and ‘Zyriâb and us’. its borders, the Festival d'Aix ensures the reciprocity of these exchanges Cairo Jazz Station: at the crossroads between jazz and contemporary Middle Eastern music which support mutual enrichment. By promoting the circulation of Mediterranean artists based on shared experience, the Festival Four young artists from the world of oral and improvised music in Europe and the Middle East to create a unique new blend of contributes to the emergence of a common space and thus provides a concrete response to the identity-based tensions that assail timbres, born of the need to bridge the distance between the shores and sonic worlds of a rapidly changing area: Egypt. the world today. 2 residencies in Aix-en-Provence 1 residency in Cairo (Makan Egyptian Center for Culture and Arts, Egypt) THE MEDITERRANEAN YOUTH ORCHESTRA Ziryâb and us: a new vision of the Arab-Andalusian legacy Symphonic session Supervised by the musicians of the London Symphony Orchestra (LSO) and directed by Slovenian conductor How would five Mediterranean artists of the 21st century reinvent the ‘The project aimed not so much to defend the tradition as to Marko Letonja, the 83 musicians of this session played the closing concert of the Festival’s 2016 edition. A bold programme that legacy of the Iraqi musician, Ziryâb? From medieval Spain to the present- establish a common musical language based on the skills of each brought together major works of the symphonic repertoire, such as Shostakovich’s Symphony n°9 or Richard Strauss’s symphonic day imaginary, this project offers a new way of embracing and revisiting of the members. In a very short time, the musicians put together a poem Till Eulenspiegel and less-performed works such as Burlesque, a creation by Vito Žuraj. Singer Aude Extremo also joined the the Arabic-Andalusian musical heritage. varied and demanding repertoire that they performed with energy orchestra to interpret the Songs and Dances of Death by Mussorgsky. After two concerts in the Provence-Alpes-Côte d’Azur region, this 2 residencies in Aix-en-Provence and professionalism.’ session was followed by two concerts in the Balkans. 1 residence in Spain (Berklee College of Music-Valencia Campus and the Matthew Machin-Autenrieth, researcher at Cambridge University Casa Arabe of Madrid)

16 17 aix en juin festival

PARADE[S] Free concert by the Cape Town Chorus Cours Mirabeau Musical walk in Gilbert Vilers Park The Cape Town Chorus at l’Abbaye de Silvacane

ET TÁCHONS D’ÉPUISER LA MORT DANS UN BAISER ‘This performance entitled Et tâchons d’épuiser la mort dans The AIX EN JUIN programme is a privileged venue for innovative small un baiser is treated in very contemporary style with a great deal of format performances. Echoing Debussy’s opera, Pelléas et Mélisande, poetry. It is based essentially on the performance and the singing the 2016 edition proposed a musical show around the composer’s of the cast, who are all very expressive. The public accompanies correspondence and his unfinished opera, The Fall of the House of Usher. Debussy in his reflections and composition. He reveals himself Commissioned by the Académie of the Festival d’Aix and enjoying the through the letters he sent to his editor and friends up to his death. support of Fondation La Poste, this show staged by Marc Lainé brought We also discover the moving correspondence of his wife, Emma.’ together two singers, an actor and a pianist and introduced us into the Le Progrès For its fourth year of existence, the prelude to the Festival d’Aix-en-Provence has once again left its footprint on the regional cultural intimacy of Debussy at the end of his life. landscape. Nourished as always by the Académie’s many events and by incursions into the world of opera offered in July, Aix en Juin enabled over 17,000 spectators to discover renowned artists and promising young talents in 2016. This varied programme, aided by a THE SILVACANE VOICES controlled pricing policy, keeps AIX EN JUIN in line with the fundamentals of the Festival d’Aix: accessibility, creativity and artistic ambition. A highlight of AIX EN JUIN, in 2016 the Silvacane Voices offered a OUVERTURE[S] inaugurated this 4th edition on 4 June with a musical programme of three concerts celebrating vocal polyphony: Sacred Music ‘For this fourth year of collaboration with the Festival d’Aix-en- walk through the Jas de Bouffan neighbourhood that brought together of Africa and Europe with the Cape Town Opera Chorus, Amore Contraffatto, Provence, the majestic Cistercian abbey welcomes the colourful voices students and both professional and amateur artists. Everyone was a work that explores the relationship between the viola and voices and of the Cape Town Opera Chorus, the deep tones of the viola and voices ‘The panorama of a Festival d’Aix that is more open than ever to new invited to take part in this festive stroll punctuated by three key moments interpreted by the Ensemble Soloists XXI, and modern and contemporary of the Ensemble Solistes XXI, and illuminates in the glow of the young horizons.’ led by the musicians and music directors Raphaël Imbert and Mark melodies interpreted by the singers of the Melody and Creation residency artists of the Festival Académie.’ La Provence Withers, choirmasters Philippe Franceschi and Vincent Cladere, and of the Académie. Destimed choreographers Geneviève Sorin and Léa Canu-Ginoux, and which closed ‘This AIX EN JUIN, the prelude to the great Festival d’Aix that opens in with a concert by oudiste Moneim Adwan and violinist Zied Zouari. PARADE[S] July, is shared among various venues during almost a month. It is the OUVERTURE[S] was organised thanks to the collaboration of Fondation occasion for a wide and varied public to discover very beautiful and Vasarely and Bois de l’Aune, and was welcomed in Jas de Bouffan with The tradition of PARADE[S], the big free concert that closes AIX EN JUIN very high quality music for a modest amount, or even for nothing at the help of non-profit organisations, schools and families from the and opens the July Festival, continued this year in Cours Mirabeau before all, as a large number of the concerts are free of charge. We can never neighbourhood. several thousand spectators. PARADE[S] offered an enthusiastic audience tire of highlighting such initiatives…’ a selection of songs drawn from the repertoire of the Cape Town Opera ‘African angels who came to dazzle the Cours Mirabeau.’ Zibeline Chorus, who were also present in July for the operas Così fan tutte and La Provence Pelléas et Mélisande. A memorable evening under the starry sky of Aix-en- Provence. 20 21 THE FESTIVAL ACADÉMIE

Mozart Residency Concert Mozart Residency Concert Gerhard Quartet Concert

Since 1998, the Festival d’Aix-en-Provence Académie has been a reference for advanced vocal and instrumental training, a workshop III. CREATION for reflection, experimentation and the creation of opera, and a place for the professional development of young artists. It offers young Creation and the contemporary repertoire are at the heart of the Académie, which works to strengthen the links between today’s professionals the opportunity to participate in residencies and to perform on the stage at the Festival d’Aix, to tour throughout the year in artists and creators. The abundance and diversity of the artists present during the festival period are the occasion for the Académie France and abroad, and also to be cast in the Festival’s operatic productions. to open a cycle of workshops dedicated to the creation of opera. Young composers, dramaturges, authors, stage directors, choreographers and other creators are invited each year to explore and work on different themes related to today’s lyric creation In 2016, the Académie offered four branches of training: through meetings, conferences and debates: • ‘Women Creators of Opera’ Workshop, which tackled a social issue: the place of women in the world of opera. The workshop, led by I. THE VOICE stage director Katie Mitchell, aimed to identify and analyse the causes that hamper the careers of women today and attempted to The Académie enables lyric artists and pianist vocal coaches to study the style, technique and interpretation of a repertoire during provide tools to remedy this; master classes and meetings with renowned specialists. In 2016, two advanced repertoires led to a series of master classes and • Opera in Creation Workshop: dedicated to sharing experiences and reflection on the opera, this year’s workshop was led by dramaturge concerts, both in Aix and in the department of Bouches-du-Rhône (thanks to the tour by Jeunes Voix Lyriques) in partnership with Willem Bruls. Various personalities participated in the workshop, including stage directors Katie Mitchell, Christophe Honoré, the Departmental Council: Krzysztof Warlikowski, Olivier Letellier, videographer Denis Guéguin, etc. • Melody and creation: under the direction of pianist and vocal coach Jeff Cohen and baritone François Le Roux, this residency, a real • Creation and Innovation Workshops: three teams of creative artists and performers benefited from this new training programme, springboard towards the creation of opera, gave six singers and three pianists the opportunity to develop in a repertoire of French which offered a setting for study, experimentation and creation promoting the constitution of innovative musical projects. Hidden melody (Debussy) while discovering new forms of writing through three world premieres commissioned by the Festival Académie in Plain Sight, a musical walk, Making’Op, an interactive outreach session, and Voilà, That’s My Life, a new media performance: these from young composers who benefited from this exceptional setting for the development of vocal composition; three projects were coached by teaching artists Geneviève Sorin, Sybille Wilson and Christine Coulange. Each project was followed • Mozart and Stravinsky: an essential element of the Académie, the Mozart residency, which was flavoured this year by Stravinsky, by a public presentation. was led by a loyal team which included Susanna Eken, Leah Hausman, Ouri Bronchti, Bertrand Halary and Rod Gilfry. In addition, seven young creators (composers, conductors, stage directors and set designers) attended rehearsals of Festival productions in the context of job-shadowing programmes. In all, fourteen composers were present in Aix and seven of them II. CHAMBER MUSIC presented several of their works, played by the Académie’s artists during public master classes: Gilbert Amy, Benjamin de la Fuente, The Académie hosts established chamber music ensembles which benefit in Aix from the experience and guidance of internationally Raphaël Imbert, Jug K. Markovic´, François Meïmoun, Rene Orth and Nuno da Rocha. renowned artists through various workshops and master classes. This year, two chamber music residencies enabled six string quartets and two piano trios to develop in different repertoires: IV. RELAY MUSICIANS • Debussy, Stravinsky, Webern, Schoenberg and Berg: for the second consecutive year, Johannes Meissl, violinist of the Artis Quartet, The Festival d’Aix Académie offers an outreach training programme for relay musicians related to questions of transmission, led this residency, to which choreographer Leah Hausman brought a spatial dimension; initiation and discovery of music for young and ‘remote’ audiences through creativity and interaction. The course is organised in • Classical, romantic, modern and contemporary: alongside Andràs Keller and David Alberman, the presence of the Arcanto Quartet one-off themed training sessions held in Aix-en-Provence over the course of the year. They are led by renowned artists who share (Jean-Guihen Queyras, Antje Weithaas, Daniel Sepec and Tabea Zimmermann) was a strong element of the residency, during which a love for pushing boundaries by creating innovative projects. Tutors include clarinettist and outreach project leader Mark Withers the young string quartets and trios were also able to work with composers Benjamin de la Fuente, Benjamin Attahir and Gilbert (LSO Discovery), dancer and choreographer Geneviève Sorin, saxophonist Raphaël Imbert and stage director Sybille Wilson. Amy. This residency also offered an approach to entrepreneurship and artistic outreach. Gerhard Quartet Concert Mozart Residency Concert 24 25 Recital of the HSBC Laureates - André Björn Róbertsson - Edwige Herchenroder - Fondation Vasarely Concert symphonique de l'OJM

THE MEDITERRANEAN YOUTH ORCHESTRA This year, the musicians of the Mediterranean Youth Orchestra have benefited from various training programmes:

• The Symphonic Session brought together 83 young classical musicians conducted by Marko Letonja and with THE HSBC LAUREATES OF THE ACADÉMIE the educational supervision of the London Symphony 169 MUSICIANS, INCLUDING 40,7% WOMEN Since 2006, the Académie has enjoyed the support of HSBC France which each year supports the HSBC Laureates, among the young Orchestra. Mussorgsky, sung by the mezzo-soprano Aude artists of the Académie. As we approach the 10th anniversary of the label of the HSBC Laureates of the Académie of the Festival d’Aix, Extremo, Shostakovich and Strauss were preceded during 23 NATIONALITIES FROM THE MEDITERRANEAN AREA this partnership today enables young artists (singers, pianists / vocal coaches and chamber music ensembles) to benefit from media this programme by ‘Burlesque’, a composition by the young 28 TRAINERS visibility as well as opportunities to perform in major concerts, thanks to loyal partnerships with top-level cultural institutions. The Slovenian, Vito Žuraj. Four concerts were given during the names of the 2015 HSBC Laureates of the Académoe were revealed on 25 November 2015 at the Philharmonie de Paris, in the context closing of the Festival d’Aix at Théâtre National de La Criée of the partnership between the Festival d’Aix and that institution. During the 2014-2015 season, the HSBC Laureates performed on (Marseille), the ‘Nights of St Donat’ Festival in Zadar (Croatia), and the Festival of Ljubljana (Slovenia). tour in many institutions (see. p.73). • The Session of intercultural creation brought together 11 improvising musicians from the world of jazz and Mediterranean traditional As a partner of the Académie and its laureates, the Alpha Classics label (Outhere Music) co-produced two new albums by HSBC music around saxophonist Raphaël Imbert. This original creation was given in concert on four occasions in the context of the Passerelles Laureates in 2016: Grieg, Wolf, Strauss and Grøndahl interpreted by Mari Eriksmoen and Alphonse Cemin (rated classical album project in the heart of the Cité de la Savine district in Marseille with an amateur Comorian chorus, followed by a performance at the of the month by FIP), and Mozart interpreted by the Van Kuijk Quartet (Choc Classica). These two programmes were performed in Festival d’Aix with guest artist Jean-Guihen Queyras (cello), at Villa Méditerranée in Marseille and at the Unicredit Pavilion in Milan. concert during the 2016 edition of the Festival. • The Relay musicians’ sessions, during which 66 Mediterranean musicians participated in creative workshops for experimentation In addition to providing support throughout the year, the Festival offered a privileged venue to the HSBC Laureates of the Académie and improvisation, thus benefiting from unique and lively outreach training provided by experienced contributors: Mark Withers, during its summer programme, with six concerts dedicated to the Laureates of previous editions: Andri Björn Róbertsson and Sybille Wilson, Geneviève Sorin and Raphaël Imbert. Edwige Herchenroder; Mari Eriksmoen and Alphonse Cemin; the Van Kuijk Quartet; Katharina Melnikova, Scott Conner and Hélio Vida; Chloé Briot and Michalis Boliakis; and the Tana Quartet. >> 99% of the participants reported that the MYO programmes strengthened their motivation to become professional musicians. >> 98% of the musicians say that the MYO programmes enabled them to acquire the professional skills necessary for a musical career in Also in 2016, HSBC Laureates were cast in major roles in Festival productions: Sabine Devieilhe (Bellezza) in Il Trionfo del Tempo e ensembles and orchestras (professional English, better knowledge of the sector of activity, increased autonomy in their musical practice, del Disinganno, Chloé Briot (Yniold) in Pelléas et Mélisande. work experience and networking).

‘The rigorous and exciting musical ‘To be surrounded by excellent coaches ‘It was a marvellous programme, very Since 2014, certain businesses have chosen to contribute part or all of their apprenticeship tax to the Académie of the Festival d’Aix. training is associated with a wonderful (and conductors) who are attentive to useful and valuable. To describe it The Festival d’Aix thanks them for their commitment. human atmosphere. It all ended with our personal progress, to the quality of in one phrase: it is a life-changing

Accès Scène, Aixia, Artcom Diffusion, Association Entracte, Banque Lazard Frères, Bel Air Média, Cargo, Cargolog, Centrakor Stores, CL Sport BTZ, Cogex, a very fine tour: it was a magnificent the conducting (both musically and programme.’ Décor Automates de St Cannat, Dr Recipon and Associates, Edenred France, Eurazeo, Finopsys, Fondation Royaumont, IMG Artists, Jullier Négoce Bois, adventure!’ humanly speaking) and to the overall Ghazi Kanchouch, 22 years old, ney La Maison de la Chine, Le Concert d’Astrée, Merch et Cie, Musiques Échanges, Opera of Dijon, Opera of Lille, Opera of Lyon, Opera and National Orchestra Clément Stauffeneger, 18 years old, result is the best way to make progress and zokra, Tunisia – 2016 session of of Montpellier, Orchestra of Paris, Organisation Voyage Planche, Nouveaux établissements Michel, Roldan, Rove, Servicarte, Solea Management, Sologne cello, Avignon while enjoying what we do.’ intercultural creation Finances, T2S, Texen, Théâtre national de l’Opéra Comique, Turbocar. Matéa Ibanez, 23 years old, viola, 26 Saint-Chamas 27 Medinea Meeting at Villa Méditerrannée Workshop for singers around Lucia di Lammermoor, led by tenor Raúl Giménez of the Dutch National Opera

MEDINEA , MEDITERRANEAN INCUBATOR OF EMERGING ARTISTS THE EUROPEAN NETWORK OF OPERA ACADEMIES

Coordinated by the Académie of the Festival d’Aix, the Medinea network consists ACCOMPANYING YOUNG TALENT AND ENCOURAGING THE CREATION OF OPERA Driven by the Académie of the Festival d’Aix, the enoa network was born of the desire of several institutions of the lyric world - academies, of cultural organisations from the Euro-Mediterranean region which train musicians 9 ARTISTS FROM 8 COUNTRIES and produce and broadcast artistic projects. festivals, foundations, opera producers - to collaborate more closely to support the most talented young artists in their professional The main objective of the network is to provide support for emerging artists 5 coachEs careers and in the development of their artistic ambitions. Efrom the Mediterranean area for the conception, production and broadcast 7 concerts in 6 COUNTRIES With the backing of the European Commission’s Culture Programme since 2011 and the Creative Europe programme since 2016, of innovative artistic projects. The network also provides a platform for enoa works to promote the training and mobility of emerging artists, while encouraging the creation and performance of new operas SPECTATORS the exchange of ideas between cultural stakeholders and to promote their 1500 all over Europe. circulation in both the Mediterranean basin and Europe while stimulating 28 DAYS OF RESIDENCY On the strength of its first five years of experience, theenoa network has renewed its commitment to artists at the beginning of their reflection on artistic creation in the Provence-Alpes-Côte d’Azur region. professional careers and launched its Young Opera Makers programme in May 2016.

THE INCUBATOR’S PROJECTS Young artists who have come to complete their training and exchange experience on the theme of creation Since the autumn of 2015, Medinea’s role as an incubator has offered artists the possibility to go beyond their training with the Every year, the Académie of the Festival d’Aix hosts several artists recommended by the network’s member institutions. In 2016, Mediterranean Youth Orchestra to develop smaller-scale joint projects in the partner countries. enoa enabled 9 artists – performers and creators – to take part in the Académie’s training programme and creation workshop. Two projects have been accompanied: ‘Cairo Jazz Station’ and ‘Zyriâb and us’ (see p. 17). Two of the Académie’s residencies received financial support from enoa: Outreach workshops with the public and training in cultural entrepreneurship complete these training residencies. • Training session for relay singers on the questions of transmission, initiation and discovery of music, from 22 to 25 January 2016 These residencies have given rise to presentations to both the public and professionals to report on the results obtained. • ‘Reflection’ Opera in Creation Workshop, from 21 to 30 June 2016 These presentations were held both in Aix and abroad (Egypt, Spain, Morocco and Algeria). MEMBER INSTITUTIONS OF THE NETWORK THE MEDINEA MEETINGS Festival d’Aix-en-Provence & its Académie, France / Aldeburgh Music, United Kingdom / Calouste Gulbenkian Foundation, ‘Art and social links in the Mediterranean’ Portugal / Queen Elisabeth Musical Chapel, Belgium / Dutch National Opera & Ballet, Netherlands / Fundación Albéniz - Escuela What is the importance of art in the creation of social links? From Cairo to Superior de Música Reina Sofía, Spain / Helsinki Festival, Finland / La Monnaie, Belgium / LOD Music Theatre, Belgium / Operosa, Marseille and Aix-en-Provence, from Tunis to London, inspiring testimonials Serbia, Montenegro, Bulgaria / Teatr Wielki - Polish National Opera, Poland / Theaterakademie August Everding, Germany / Theatres of the City of Luxembourg, Luxembourg. have nourished the debate. Moderated by Arnaud Laporte, this public meeting ‘In Cairo, we discovered a very fertile environment was held on 20 July at Villa Méditerranée and was attended by a large public in which to work on the construction of our of professionals. It was preceded by 2 days of work for the members of the artistic identity.’ network, who had already met in Valence in March. Loris Lari, bassist This project has been funded with the support of the European Commission. This publication is the sole responsibility of its author and the receives the support of the Cultural Programme of the European Union. Commission is not responsible for any use made of the information contained therein.

28 29 THE AUDIENCES

Théâtre de l'Archevêché FREE SCREENINGS Launched in Aix-en-Provence in 2003 with the Instants d’Eté d’Aix-en-Provence, 32 SCREENINGS IN FRANCE the free broadcasts of the Festival d’Aix on big screens have widely extended their regional and international influence thanks to the support of Fondation Orange, CIC 42 SCREENINGS ABROAD Lyonnaise de Banque and the partnership of Arte. Three operas, Così fan tutte, Kalîla 8,000 SPECTATORS wa Dimna and Oedipus Rex / Symphony of Psalms, were screened live or rebroadcast on the big screen in the Provence-Alpes-Côte d’Azur region and abroad. Many venues a broad audience have now established a regular calendar with ‘seasons’ to screen the operas of the Festival d’Aix. TV AND RADIO BROADCASTS The attendance rate of the operas this year reached 97.9%, confirming the strong support of the public for the Festival’s artistic Going beyond the theatre, the Festival extends its policy of accessibility and live and recorded broadcasting to a wider audience project. While spectators from Provence-Alpes-Côte d’Azur region predominate (44.3%), spectators from the rest of France are through the implementation of partnerships with television, radio and the internet media. All the operas of the 2016 edition ever more numerous (28.9%) and the attendance of the foreign public remains stable (17.3% this year). were broadcast live on Arte, Mezzo, France Musique, Arte Concert, CultureBox, Medici.tv and The Opera platform (www. theoperaplatform.eu). The concerts of the Freiburger Barockorchester, the Mediterranean Youth Orchestra, the Arcanto Quartet In addition to the significant offer of free seat, the Festival has renewed and the exceptional concert by Jean-Guihen Queyras and Alexander Melnikov were broadcast on France Musique, ClassicAll, TV 40,4% OF THE TICKETS SOLD its determination to open its paid performances to as wide and diverse Sud and YouTube. audience as possible: in 2016, the share of seats sold at less than €55 has FOR LESS THAN €55 been maintained at over 40% of the total number of seats sold for the operas A DIGITAL FESTIVAL and concerts. To enable the public to discover the opera and productions of the Festival d’Aix wherever they may be in France or abroad, the Still within the context of its policy of accessibility, the Festival has engaged in two important new pricing measures: Festival continues to create web documentaries that are accessible on its website, with a large amount of interactive multimedia • the decrease in the price of seats for young people and ‘action’ seats, reserved for the participants of outreach programmes, which content concerning the opera (history, composers and repertoire) and the productions of the Festival: animated films, interactive went from €15 for operas and €10 for concerts to only €9. comics, podcasts, interviews, texts, photo galleries and audio clips. • the creation of a rate reserved for welfare recipients, also at €9 for both operas and concerts. Launched on 8 May 2015 with the support of the European Union’s Creative Europe programme, The Opera Platform is the first Thus, in 2016, nearly 1,200 seats for young people were sold to people under the age of 30 (including 300 for the Opera On free digital platform entirely dedicated to broadcasting operas, accessible in 6 languages. A partner of this platform, this year the programme - see p. 37) and the number of seats sold at the ‘action’ rate increased by 35%. Festival d’Aix-en-Provence enabled the live broadcast of Pelléas et Mélisande and Così Fan Tutte. In addition, 534 people benefited from the ‘children’s discovery’ offer, which consists of an invitation for any child sitting next to an adult. CULTURE NUM: DIGITAL REVOLUTION, CULTURE AND CREATION Every year, the Festival also offers an opera with audio-description thanks to the support of Accès Culture Association. In 2016, In partnership this year with Audiens, the Festival d’Aix organised a time for reflection around the new challenges and opportunities around 30 visually-impaired people were able to benefit from this specific facility accompanied by another person. introduced by digital technology in cultural industries and, more specifically, in the world of live performance. Moderated by Arnaud Laporte and held on 13 July, this third edition of Culture Num brought together specialists of culture and The 4th edition of AIX EN JUIN recorded an attendance rate of nearly 90%, confirming digital technology around three round-tables to exchange views on the role of digital technology in the democratisation of culture Festival d’Aix en Juin : that this formula and its many free performances are now very well-identified by the and the creation of social links, on the importance for a cultural institution to know its audiences in the digital era, not only for 17,004 SPECTATORS public, in particular by public from Aix-en-Provence and its region. The success of the greater democratisation, but also to anticipate the new needs of its audiences, and, finally, to share new artistic experiences made possible by digital technology. 3,000 SPECTATORS FOR PARADE[S] PARADE[S] concert on Cours Mirabeau with 3,000 spectators in June 2016 testifies to this. MEDINEA MEETINGS The Académie enables the Festival to offer a very broad range of nearly 60 events in June and July during which more than 12,000 The Medinea network, coordinated by the Festival d’Aix, this year organised a debate on the role of artistic creation in the spectators were able to discover today’s talents, and, for a large share of them, to discover the lyric repertoire. development of social links at the local level, through original initiatives carried out in various Mediterranean countries: What is the importance of art in the creation of social links, particularly in contexts where public artistic expression or the collective voicing The Preludes, which allow spectators to prepare themselves before each performance thanks to a dramaturgical presentation of the of opinions become acts of resistance? How can artistic practice consolidate the social links and create a feeling of belonging to the Festival’s works and productions, received a large audience. With an audience of over 2,000 in 2016, the attendance of the Preludes community? The inspiring testimonials of participants from Cairo, Marseille, Aix-en-Provence, Tunisia or London nourished the testifies to the growing willingness of the public to enrich its festival experience. debate. 32 33 Medinea intercultural creation concert at Cité de la Savine in Marseille A reprise of Benjamin Britten’s A Midsummer Night's Dream at the Beijing Festival in October 2016

LOCAL ATTACHMENT INTERNATIONAL RENOWN Over the past few years, the Festival d'Aix-en-Provence has been committed to intensifying its international development while strengthening its attachment to the local and regional territory. 2016 was marked by numerous international tours and collaborations for the Festival d'Aix, both in Europe and the rest of the world (see p.60). Thanks to its Passerelles service, which groups its outreach and socio-artistic services, the Festival develops partnerships with educational institutions (primary and secondary schools), universities (AMU) and numerous non-profit organisations and social Spearheads for the Festival’s reputation, the productions of previous years structures to co-develop its projects of cultural action and to participate in the cultural development of contrasting territories have largely contributed to its renown during their tours. Created in 2014, Trauernacht went on a long European tour to Amsterdam, Valencia, Lisbon and (urban and peri-urban neighbourhoods, villages, but also in hospitals or prisons). A project like OUVERTURE[S], conducted in 9 OPERA PRODUCTIONS 2016 in the Jas-de-Bouffan district of Aix (see p. 20), illustrates the strength of these approaches, which are capable of creating a Paris (in a collaboration of the Festival with the Philharmonie de Paris) and real link with the populations. initiated a new collaboration with Le Tandem, the national theatre of Arras/ 57 PERFORMANCES IN 16 cities The collaborations between Passerelles and the Festival Académie intensified during the 2016 season. The emblematic examples Douai. The tour of Winterreise, another success from 2014, has also helped to 42 SCREENINGS IN 10 countries are Zyriâb and us and Cairo Jazz Station. These two young Mediterranean ensembles in residence at the Académie of the Festival were forge links with new partners: the International Arts Festival of Singapore and created in the wake of the Mediterranean Youth Orchestra and supported by the Medinea (Mediterranean Incubator of Emerging the Settimana Senese in Siena. It was the same for George Benjamin’s opera, Artists) network. They conducted a week of workshops from 13 to 19 July with a group of twenty amateur choristers from different Written on Skin, which, after having created a sensation when it premiered at the Festival in 2012 and seduced the audiences of cultural backgrounds: experienced adult choristers (from Antequiem, Ibn Zaydoun and gospel chorus), students in musicology, the major international stages in London, Vienna, Amsterdam, Toulouse and Paris, won resounding success at the Mostly Mozart young people from La Gare Franche theatre group in Marseille, young newcomers from the Modac classes of Lycée Gambetta in Aix Festival in New York. and Lycée St-Exupéry in Marseille, and young people from the École de la Deuxième Chance.

At the same time, the Rencontres en Musique and Jeunes Voix Lyriques once again proposed a series of concerts given by young artists Also worthy of note is the inclusion of the productions of La Traviata (2011) and Rigoletto (2013) in the repertoire of the co-producers, of the Académie in the communities of the Aix-Marseille urban area and the department of Bouches-du-Rhône, often accompanied respectively the Vienna Staatsoper and the Bolshoi Theatre, which provide these productions with major visibility on prestigious by outreach activities. stages. The local attachment of the Festival is also demonstrated through innovation. Since 2014 the Culture Num digital meetings have rooted new technologies into the priorities of the Festival by granting a large space to local stakeholders. During the 2016 season a In the same way, the new productions of the 2015 Festival have already received the promise of a bright future beyond Aix-en- new collaboration with the Festival of Avignon and French Tech Culture was created, with a premiere in July: the broadcast on the Provence. Requested to tour in France and abroad for the next two or three seasons, Svadba (see p. 14) will give rise to collaborations France Télévisions Culturebox platform of a series of short 360° virtual reality films shot during the rehearsals of performances in not only with French national stages but also, for the first time, with European festivals such as Ars Musica in Brussels and the Aix and Avignon. Ljubljana Festival. Co-commissioned by the Festival d'Aix-en-Provence, the London Symphony Orchestra and the Berliner Finally, the live broadcasts of the Festival’s operas in the communities of the Provence-Alpes-Côte d’Azur region continue their Philharmoniker, and co-produced in its French version by the operas of Lille and Montpellier, The Monster of the Maze (see p. 15) extension and in 2016 were welcomed by more than thirty communities, ranging from the large cities of the region to rural villages. also seduced several foreign cultural officials present at the 2015 Festival: the Gulbenkian Foundation in Lisbon, the Cervantino These screenings are now accompanied by reduced ticket rates for Festival performances reserved for screening audiences and the Festival in Mexico, the Lincoln Center in New York, the Opera of Chicago and the Grand Theatre of Luxembourg. Convinced by the possibility for the communities to organise groups to attend a Festival performance at special rates. quality and the relevance of this unprecedented project, these venues will take up the concept with their own forces. 34 35 OUVERTURE[S] – A musicall walk through Gilbert Vilers Park OUVERTURE[S]

Opera On is specifically designed for students of Aix-Marseille OPERA ON 2016: University and young professionals under the age of 30. It takes the form of an outreach programme built around two of the season’s Passerelles 372 YOUNG PEOPLE productions, the highlight being a night at the opera under 300 OPERA TICKETS SOLD exceptional conditions. As an innovative stakeholder for the democratisation of art and culture, the Festival d'Aix-en-Provence has been developing 109 TICKETS SOLD AT THE YOUTH RATE Within the framework of the partnership agreement signed with outreach and socio-artistic projects in the Provence-Alpes-Côte d’Azur region for many years. These actions, named Passerelles, Aix-Marseille University, Opera On has been enriched with new are an ideal experimental platform for introducing opera to young people, families and new or disadvantaged audiences. They 70% NEW PARTICIPANTS proposals intended for students, in particular with twelve voice create a dynamic within the Festival thanks to the dedication of a workshops proposed on the Marseille and Aix campuses. wide network of teachers, community workers, non-profit organisations Reduction of the student rate: in 2016, the Festival d’Aix reduced the student rate from €15 to €9, thus allowing students holding 4,370 PUPILS AND STUDENTS and teaching artists. In 2016, the Passerelles outreach and socio- the AMU cultural pass, who benefit from an additional reduction of €5, to access Festival d’Aix productions for the price of €4. 106 INSTITUTIONS artistic services associated 6,600 participants with their projects, in 133 CLASSES, FROM PRE-SCHOOL TO SECONDARY SCHOOL complicity with the teams of more than 100 schools and 100 non- profit organisations and social institutions of the region. 136 PARTICIPANTS IN CREATIVE PROJECTS ‘The students really enjoyed working on this project (...). A real performance, a real stage, and musical backing in addition to the libretto, 157 SESSIONS AROUND THE THEME OF OPERA DISCOVERY OF THE OPERA of course. The interesting thing about working on an opera is the fact that although the projects are not produced, they are of a professional 70 VISITS TO THE VENELLES WORKSHOPS Opera discovery programmes invite school children and non-profit level and reveal themselves to be close to what is produced on the market.’ organisations to enter the world of the opera; they offer a series COMMUNITIES Technical secondary school - Celony - teacher feedback 35 of workshops with instructors, visits to the Venelles workshops > 50 INSTRUCTORS and production sites, meetings with artists and members of the ‘The opera isn’t so bad after all, and I won’t be afraid of it anymore!’ Festival’s technical team. The teaching methods involved are creative Collège Cousteau – Rognac – secondary school student and involve participation: an approach through artistic experimentation, discussion of the works, encounters with the professionals involved in the Festival, articles published in the blog, etc. The programmes adapt to a wide range of audiences: children and ‘Thank you for your support for this fine cultural project. I received very positive feedback from my students, who were really captivated by teens, students, young people in professional integration programmes, students of music schools, families, adults receiving social this opera. They didn’t see the time go by (nor did I) (...) which must be a very good sign.’ support, intergenerational groups, residents of health care structures, etc. Collège Lakanal – Aubagne – teacher feedback

Several educational performances provided an entertaining and participative approach to the opera and its multiple facets (baroque music, the profession of lyrical artist, stage directing, etc.) to several hundred young spectators. MEETING THE PUBLIC This series of events, which take place throughout the year with classes and non-profit organisations, creates a familiarity with the Welcomed to the Festival, audiences from schools and non-profit organisations can also attend artistic discoveries in the heart of works and the Festival and is followed by an invitation to a dress rehearsal for one of the productions under performance conditions. their urban neighbourhood, village or school. Festival artists, young singers and musicians of the Académie offer concerts and In 2016, over 3,000 school children, over 1,000 students and 1,600 people from community groups participated in these opera meetings that are open to all and provide an easily accessible musical experience. discovery programmes. In 2016, 18 Musical Discoveries were proposed, taking lyrical art outside of its usual venues.

36 37 Voice workshop around Kalîla wa Dimna Interactive session - Making Op' – Académie / Creation and innovation Workshop

Relay singers and enoa meeting lower secondary students in the Jas de Bouffan neighbourhood In 2016, the Festival d’Aix Académie offered a Relay Musicians’ training session for the first time, exclusively dedicated to singers and initiated in the framework of enoa. Twelve singers from different backgrounds gathered in Aix-en-Provence around musician and teacher Mark Withers and stage director Sybille Wilson to learn how to transmit the keys of their art to different audiences. At the end of the weekend, the relay singers put these approaches and tools into practice by meeting students from the general and vocational education classes of the Jas de Bouffan lower secondary school. From Fondation Vasarely to the Bois de l’Aune, through 2,260 ADULTS the wooded lanes and the Théâtre de Verdure in A rare opportunity came with the presence in Aix-en-Provence of one of the composers in residence at the Festival and his 110 NON-PROFIT ORGANISATIONS AND SOCIAL STRUCTURES Parc Vilers, the musical and creative proposals willingness to share his music enabled the organisation of several friendly meetings with Passerelles audiences: young people and echoed Stravinsky’s modes of composition and the their families demonstrated their interest in the musical world of Moneim Adwan and the discussions around the opera Kalîla wa 170 OPERA OUTREACH SESSIONS Festival programme, thanks to the strings of the Dimna. 60 ARTISTIC PRACTICE WORKSHOPS AND 8 PERFORMANCES Korsec School Orchestra and the Cité de la Musique of Marseille, the secondary school brass bands On 15 July 2016, Musiques à la Savine created a musical discovery with the musicians of the intercultural session of the Mediterranean 11 MUSICAL ENCOUNTERS from Versailles Marseille / Cité de la musique of Youth Orchestra, an amateur chorus of traditional Comorian songs and three relay musicians from the Académie, all led by jazz musician 2,679 INVITATIONS TO REHEARSALS Marseille, Lei Garrus in Saint-Maximin, and Paul Raphaël Imbert. Organised in partnership with 30 TOWNS Eluard in Port-de-Bouc, and the voices of the the Sound Musical School cultural association, chorists of Antequiem, Ibn Zaydoun, Libre Voce, which has been established in the heart of 56 INSTRUCTORS Canta l’Aigo and the Maîtres Chanteurs. Cité de la Savine in Marseille for 25 years, this ‘The interactivity of the sessions encourages the young participants to 45 SPEAKERS, FESTIVAL ARTISTS festive event transformed the intercultural express themselves. The fact of meeting professionals also helps you realise The event was hosted in Jas de Bouffan with the elements of the neighbourhood into a breeding the possibilities that are still open to us. We enable them to enter and see complicity of neighbourhood schools and non-profit ground for Mediterranean musical creation. It what is around them, to open their eyes. The meeting with the costume organisations: with the participation of over 220 amateurs, 20 artists and 1,450 spectators. ended with an open-air meal shared with the designer was striking: the taste, the research, the details of the work, the local public and others who had come specially passion.’ IBN ZAYDOUN MULTICULTURAL CHOIR for the occasion. Vocational trainer – Aix This year, the Ibn Zaydoun multicultural choir, directed by Moneim Adwan and composed of around 50 amateur singers, enriched its repertoire of ancient and contemporary Arab poems, set to music by their choir leader. It gave six performances in different venues ‘This is not just about music. We are not playing for the sake of playing, but AMATEUR ARTISTIC PRACTICES and cultural events in the Aix-Marseille region, such as the Train Bleu in Ensuès, or for an evening entitled On Air at the Friche de Artistic and educational projects provide an also for everything that music allows us to share: shared emotions and a new la Belle de Mai. approach to the works and the music: choral way of perceiving each other and our respective countries.’ singing, orchestral practice, staging, sound and Musician of the Mediterranean Youth Orchestra intercultural session EPHEMERAL CHOIR visual arts. During the residency of the young ensembles Zyriâb and us and Cairo Jazz Station, and with the support of the Medinea network, a week of workshops was offered to a group of amateur singers of different ages, backgrounds and origins. Within a few days, they OUVERTURE[S] formed a vocal ensemble and created a vocal work set to music and staged with the nine Medinea artists, with the educational One of the flagship projects for Passerelles in 2016, OUVERTURE[S] inaugurated AIX EN JUIN and opened the festival season with a accompaniment of choir leader Philippe Franceschi, choreographer Léa Canu-Ginoux and composer and artistic adviser Fabrizio Cassol. musical itinerary in the heart of Jas de Bouffan, in Aix-en-Provence on 4 June 2016. The public was invited to take part in a walk The purpose was to experience a collaborative, creative and educational project in which exchanges, the ensemble and the cultural that brought together school orchestras and amateur choirs, with the complicity of the artists who had accompanied the project and musical influences of each participant played a central role. This vocal and instrumental experience was presented to the public throughout the year: with Raphaël Imbert, Mark Withers and the Béla Quartet conducting, Philippe Franceschi assisted by Vincent in the form of short presentations on 19 July during a concert at the Hôtel Maynier d’Oppède. 38 Cladere for the direction of the chorus, and Geneviève Sorin assisted by Léa Canu-Ginoux for the staging and choreography. 39 THE TEAMS

The technical teams of Pelléas et Mélisande Installation of the set for Così fan tutte Installation of the set for Triomfo del Tempo

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; Aware of the environmental impact that the constant evolution of its activities can generate throughout the year, the Festival d’Aix - Department of patronage and development, responsible for making a significant contribution to the financing of the Festival by has put sustainable development at the heart of its concerns since 2010. collecting private contributions from businesses and individuals; Travel, natural resources, responsible procurement and waste management are among the priorities of this approach, which comes - Administrative and financial department, in charge of the administrative and financial management of the institution and human as the result of a carbon assessment carried out for the Festival in 2012. resources; The only festival with a permanent official responsible for sustainable development, it considers this approach as part of its policy - The general secretariat, which federates services in relation with the public: the department of communication, Passerelles for continuous improvement, as recommended by the ISO standards for environmental management. (outreach and socio-artistic services), ticketing, reception of the public, protocol, press, as well as the coordination of the Festival’s audiovisual broadcasts and digital projects. INNOVATION AND 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 With the support of ADEME and the Provence-Alpes-Côte d’Azur region, the expertise of Pôle Éco-Design and the participation September to July to reach over 700 people in July 2016, comprising the permanent administrative staff, temporary reinforcements, of its scenographers, the Festival launched an eco-design research and development project for its sets in 2014. Following an technicians and individually hired artists. in-depth impact study associated with the construction of its sets and taking into account their entire life cycle (raw materials, Added to this figure are the artists of the guest ensembles (choirs and orchestras, approximately 270 people) and the 300 young manufacturing, use, transport and end of life), in 2016 the Festival’s workshops reached a 98.2% recyclability rate for its sets, in artists in residency with the Académie and the Mediterranean Youth Orchestra. particular with the set of Pelléas et Mélisande. The major commitment of the technicians and artists throughout the year is also reflected in the many tours undertaken and the Major work has also enabled the creation of tools, such as a methodological guide, a ‘materials library’ and an impact calculator. In work of the workshops. response to its commitment to share and disseminate the results of its research, the Festival d’Aix is collaborating on this subject with many opera houses in France and abroad, such as the operas of Lyon and Nice, Théâtre Royal de la Monnaie in Brussels and France Télévisions. It also participates in the Green Team of the Opera Europa network, of which it is a member. This project was 1,000 also presented to international cultural stakeholders during ArtCop 21, which was held in the margin of the COP21 conference in Paris in December 2015. 800 TRAVELS 600 Established as a priority in 2012, the Festival strives to reduce its carbon footprint through the use of hybrid or electric vehicles,

Artists in partnership with Club Écomobile and Nissan Couriant, and by encouraging the use of carpooling and public transport. Thus, in 400 2016, a partnership with Cartreize enabled the organisation of public transport for festival goers to return to Marseille after two Technical Intermittents opera performances at the Théâtre de l’Archevêché. 200 Temporary contracts This effort by the Festival d’Aix is supported by the Provence-Alpes-Côte d’Azur Regional Council, the Departmental Council of Permanent contracts 0 Bouches-du-Rhône, the Communauté d’Agglomération du Pays d’Aix and ADEME PACA. September - January - April - June - A member of the Eco-Responsible Festivals Group of the Provence-Alpes-Côte d’Azur region (COFEES), created in 2014, the December 2015 March 2016 May 2016 August 2016 Festival d’Aix participates in the dissemination of good practices in the field of sustainable development. 42 43 THE FESTIVAL AUDIENCES THE FESTIVAL BUDGET

EVENTS BUDGET 22 445 000 €

STRUCTURAL ARTISTIC REVENUE EXPENSES 36,2 % 48,9% 5 31 14 48 62 56 74 enoa enoa ARTISTIC OPERAS AND MUSICAL OPERA CONCERTS MEETINGS EVENTS DURING ACADÉMIE EVENTS SCREENINGS NETWORK NETWORK PERFORMANCES PERFORMANCES (EXCLUDING THE / CONFERENCES AIX EN JUIN (JUNE AND JULY) (32 IN FRANCE, 42 REVENUE REVENUE EXPENDITURE ACADÉMIE) / SEMINARS ABROAD) 0,9% AND TOURS 0,9% 34,8% OPERATING OPERATING FIXED COSTS EXPENSES REVENUE 25,4% 24,8 % 28,1 % ATTENDANCE AIX EN JUIN FESTIVAL: 17,004 spectators OVERALL ATTENDANCE: 75,526 ACADÉMIE EVENTS: 12,134 spectators STRUCTURAL REVENUE (investment and operating subsidies, etc.) €8,135,000 OPERA ATTENDANCE RATE: 97,9% FESTIVAL SCREENINGS IN FRANCE AND ABROAD: 7,969 GLOBAL ATTENDANCE RATE: 94,2% SPECTATORS (JULY) Subsidies from the State and public authorities €7,676,000 Reversals on equipment grants, investment financing and provisions €459,000 39,972 SPECTATORS FOR THE FESTIVAL’S PAID EVENTS PRELUDES TO OPERAS: 2,209 spectators 24,883 SPECTATORS FOR REHEARSALS AND FREE EVENTS, TICKET REVENUE: €3.72 m excl. tax ARTISTIC AND TOURING REVENUE (co-productions, ticketing, audiovisual, sale of productions, etc.) €7,817,000 INCLUDING 3,000 for PARADE[S] Co-production revenue €1,455,000 Ticket revenue €3,695,000 Audiovisual revenue €1,165,000 Touring income and associated activities €1,502,000 THE AUDIENCE OPERATING REVENUE (patronage, media partnerships, etc.) €6,303,000 DISTRIBUTION ACCORDING TO GEOGRAPHICAL ORIGIN DISTRIBUTION OF PAID SEATS EXCLUDING INVITATIONS Patronage and sponsorship revenue €4,325,000 Participation of the Casino of Aix-en-Provence, a historical patron of the Festival €1,655,000 UNDEFINED ORIGIN Media partnerships €140,000 9,4% PROVENCE-ALPES Other operating revenue €183,000 ≤ €30 26,3% -CôTE D’AZUR 44,3% enoa NETWORK REVENUE (European Network of Opera Academies) €190,000

FOREIGNERS 17,3% > €190 30,2% (INCLUDING EUROPEANS 9,4%) ARTISTIC EXPENDITURE (operas, concerts, outreach and socio-artistic programmes, audiovisual, tours, etc.) €10,985,000

Académie - MYO enoa - €800,000 Concerts €260,000 Lyric productions €7,300,000 OTHER FRENCH €31 to €55 14,2% Passerelles service €330,000 REGIONS 28,9% ≤ €55 40,4% AIX EN JUIN €270,000 €111 to €190 24,2% Conferences, symposia, exhibitions €25,000 €56 to €110 5,2% Audiovisual €1,000,000 Touring €1,000,000

OPERATING EXPENSES (presentations to patrons, site operation, reception of the public, communication, etc.) €5,565,000 PRESS BROADCASTS Presentations to businesses €575,000 Technical expenses €3,190,000 197 JOURNALISTS FROM 22 COUNTRIES 5 OPERA BROADCASTS ON TELEVISION AND ON THE WEB Communication, publication, press €615,000 (TELEVISION, RADIO, WRITTEN PRESS) 8 RADIO BROADCASTS OF OPERAS AND CONCERTS ON Media partnership expenditure €90,000 30 NEWS STORIES AND RADIO PROGRAMMES FRANCE MUSIQUE Other operating expenditure €1,095,000 19 TV REPORTS AND INTERNET FIXED COSTS (total payroll, overheads, investment expenditure, etc.) €5,435,000

Staff structure €3,805,000 Overheads €1,380,000 Endowments and exceptional expenses €520,000

enoa NETWORK EXPENSES (European Network of Opera Academies) €190,000

44 45 THE LOYAL SUPPORT OF THE PATRONS AND PARTNERS OF THE FESTIVAL

For its 2016 edition, the Festival was once again able to rely on the loyalty of its patrons and partners. Through their commitment to the Festival, companies and private patrons are essential to the development of the Festival d’Aix-en-Provence. In 2016, their support represented almost 19% of total resources, with more than 4.3 million euros, remaining stable with respect to the 2015 edition. These supports are the Festival’s primary resource.

PRIVATE PATRONAGE AND THE CREATION OF AN ENDOWMENT FUND The Festival has been able to count on the support of over 200 private members of the Patrons Club and the associations of English and American friends who renew their support to the Festival’s projects year after year. In the past few years, certain private patrons have committed themselves to the Festival in a very ambitious manner. In 2016, several donors made major donations to the Festival: The Meyer Foundation for Cultural and Artistic Development, Mr and Mrs Rupert Hambro. The support of the Meyer Foundation for Cultural and Artistic Development for the Stravinsky cycle was particularly crucial for the production of Iolanta / Persephone in 2015 and Oedipus Rex / Symphony of Psalms in 2016. Beyond a significant financial commitment, the patrons of the Festival are aware that long-term investment is essential both for future programming and to enable ambitious artistic decisions.

This is the spirit in which the Endowment Fund of the Festival d’Aix was established in the spring of 2016. Designed as a tool for the collection of donations from major private donors, the Endowment Fund of the Festival d’Aix-en-Provence must allow it to ensure the sustainability of the Festival, thanks to a consolidation and an increase in self-financing, and to make mid-term artistic and strategic commitments. This Endowment Fund is also open to businesses willing to concentrate the amount of their multi-year commitment into a single gift.

LOYAL BUSINESSES Representing nearly 80% of the support in 2016, the partner companies of the Festival d'Aix have played a major role in the patronage resources of the Festival. An official partner for the second year, Altarea Cogedim and its president, Alain Taravella, strengthened its support for the Festival in 2016. Once again this year, the Académie has been able to count 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 by the musical patronage of Société Générale. Art Mentor Foundation Lucerne has also continued its support for these two projects. Opera broadcasts have been a great success in the Provence-Alpes Côte d’Azur region and have seen important development abroad thanks to the support of CIC Lyonnaise de Banque and Fondation Orange. The renewed confidence and loyalty of KPMG, EDF, LVMH, Groupe Ponticelli Frères and Saint Gobain, and the company foundations of Orange, Roederer, Total and CMA CGM, have enabled the creation of the Festival’s ambitious artistic projects. These companies were joined in 2016 by the Audiens Group, which has given its support to the Culture Num meetings, and by Air France. Partner of the Festival since 2001, the Cercle des économistes joined the participants of the Rencontres économiques of the Festival PATRONS d’Aix for the 16th consecutive year. Joined in 2016 by ORKIS and CG Immobilier, the members of Club Campra accompanied the 68th edition of the Festival with a great AND PARTNERS deal of commitment and through their support participated in the cultural influence and attractiveness of their territory

47 THE PATRONS OF THE FESTIVAL THE FESTIVAL D’AIX-EN-PROVENCE THANKS THE FOLLOWING FOR THEIR SUPPORT: D’AIX-EN-PROVENCE

Many French and foreign patrons support the development of the Festival d’Aix. We thank them all for their commitment and more particularly our major donors: OFFICIAL PARTNER Mr and Mrs Rupert Hambro and the Meyer Foundation for Artistic and Cultural Development.

FOUNDING PATRONS M. Alessandro Riva et M. Nicolas M. Michel Vovelle Baronne Sheila et Sir Barry M. et Mme Laurence Blackall Bonnal M. et Mme Philip Wilkinson Noakes M. et Mme Christopher Carter M. Bruno Roger M. et Mme Robert Zolade Mme Sylvie Ouziel M. Nicolas D. Chauvet M. Etienne Sallé M. Didier Poivret The Ettedgui Charitable Trust M. et Mme Denis Severis ACTIVE MEMBERS M. Olivier Renaud-Clément M. et Mme André Hoffmann Mlle Pascale Alfonsi M. et Mme Yves Roland-Gosselin M. Michael Lunt DONOR MEMBERS Mme Laure Ayache Sartore M. et Mme Jimmy Roze M. et Mme Christian M. Jad Ariss M. et Mme Jean-Paul Bailly M. et Mme Anton van Rossum Schlumberger M. et Mme Thierry Aulagnon M. François Balaresque M. et Mme Leonard Schrank M. et Mme Thierry d’Argent M. Constant Barbas M. et Mme Jacques-Olivier PRINCIPAL PATRONS M. et Mme Erik Belfrage Mme Patricia Barbizet Simonneau M. et Mme Jean Baudard M. et Mme André Benard M. Bernard Barone Mme Ninou Thustrup et M. Jean- M. Jean-Louis Beffa M. et Mme Michel-Yves Bolloré M. et Mme Christian Bauzerand Marc Poulin Mme Diane Britz Lotti M. et Mme François Bournerias M. et Mme Olivier Binder M. et Mme Jean-Renaud Vidal M. et Mme Didier de Callataÿ M. Eric Bowles Mme Annick Bismuth-Cuenod M. Philippe Villin M. Nabil Chartouni M. et Mme Jordi Caballé M. et Mme Daniel Caclin Mme Carole Weisweiller Mme Ariane Dandois Mme Bernadette Cervinka Mme Christine Cayol-Machenaud M. et Mme Bechara El Khoury Mme Christelle Colin Mme Marie-Claude Char BOARD OF TRUSTEES M. et Mme Nicholas L.D. Firth et M. Gen Oba Mme Nayla Chidiac-Grizot IFILAF USA The Rencontres Économiques of Aix-en-Provence were held on 1 - 3 July 2016 M. et Mme Barden N. Gale Mme Nathalie Coll Mme Myriam de Colombi-Vilgrain M. Jean-Claude GruffatPrésident M. et Mme Burkhard Gantenbein M. et Mme Virgile Delâtre Mme Paz Corona et M. Stéphane M. Richard J. Miller Trésorier AIR FRANCE, GROUPE PONTICELLI FRERES, LVMH, MÉCÉNAT MUSICAL SOCIÉTÉ GÉNÉRALE, SAINT-GOBAIN Mlle Nomi Ghez et Dr. Michael M. Roland Descouens Magnan M. Jérôme Brunetière Secrétaire S. Siegal M. et Mme Alain Douteaud M. Alan Cravitz Mme Diane Britz Lotti ALSO SUPPORTING THE FESTIVAL Audiens, British Council, Butard Enescot, Coffim, diptyque, Fondation CMA CGM, Fondation Crédit Coopératif, Les Vins de Provence. M. et Mme Jean-Claude Gruffat M. et Mme Dominique Dutreix M. Pierre-Louis Dauzier M. Nabil Chartouni Mme Edmée de M. Firth M. et Mme Alain Honnart M. et Mme Charles-Henri Filippi M. Laurent Diot Baron et Baronne Daniel Janssen M. Pierre-Yves Gautier M. et Mme Olivier Dubois Mme Flavia Gale Supporting Members GPI & associés M. et Mme Richard J. Miller M. et Mme Pierre Guenant M. et Mme Philippe-Henri Dutheil Mme Marie Nugent-Head Marlas Benefactor Members Durance Granulats, Société Ricard Mme Marie Nugent-Head Mme Marceline Gans M. et Mme Peter Espenhahn Dr. Michael S. Siegal Donor Members CEA Cadarache, Colas Midi-Méditerranée, Crédit Agricole Corporate & Investment Bank, GrDF, Groupe SNEF, Original System, Orkis, Roland Paix Traiteur et M. James C. Marlas Dr. John A. Haines et Dr. Anand M. et Mme Christian Formagne The Honorable Anne Cox Chambers Associate Members Affiche +, Alpinea Shipping, Bellini joaillier – horloger, Boutiques Gago, Bouygues Bâtiment Sud-Est, Kumar Tiwari M. Jean-Marie Gurné Membre Honoraire M. Pascal Tallon CG Immobilier, Calissons du Roy René, Finopsys, John Taylor, Mas de Cadenet – Grand Vin de Provence, Ortec, SEMEPA, Société M. et Mme Henri-Michel Mme Yanne Hermelin M. Elias Khoury M. Jacques Bouhet de Courtage des Barreaux Tranchimand M. William Kadouch-Chassaing Mme Gabriele Kippert Membre Honoraire M. et Mme Raphaël Kanza M. Didier Kling BENEFACTOR MEMBERS M. et Mme Samy Kinge M. Jean-Pol Lallement IFILAF UK PROFESSIONAL PARTNERS Baron et Baronne Jean-Pierre M. Jean-Paul Labourdette M. Jean-Marc La Piana Mme Jane Carter Présidente Berghmans Mme Danielle Lipman W. Boccara M. Jacques Le Pape M. Peter Espenhahn Trésorier M. et Mme Jacques Bouhet M. et Mme Michel Longchampt M. et Mme Jacques Latil M. Laurence Blackall M. et Mme Walter Butler M. et Mme Jacques Manardo Mme Marie-Thérèse Le Liboux M. Jérôme Brunetière MEDIA PARTNERS M. François Casier Mme Anne Maus Mme Janine Levy Mme Béatrice Schlumberger M. et Mme François Debiesse M. et Mme Meijer-Bergmans M. Thierry Martinache M. David Syed M. Michel Frasca M. Henri Paret M. Nicolas Mazet M. Alain Guy M. Philip Pechayre M. et Mme Jean-Pierre Mégnin THE FESTIVAL D’AIX-EN-PROVENCE AND ITS ACADÉMIE ARE SUPPORTED BY: M. Olivier Schucht M. et Mme Guillaume de Mme Sophie Kessler-Matière Partner of the Festival M. et Mme Xavier Moreno Mme Catherine Stephanoff Montrichard d’Aix-en-Provence since 1948

Several of our patrons wish to preserve their anonymity. If you would like to become a patron of the Festival, you can contact us on +33 (0)4 42 17 43 56 - [email protected] 48 49 APPENDIX

Così fan tutte Pelléas et Mélisande Così fan tutte Il Trionfo del Tempo e del Disinganno Kalîla wa Dimna

Il Trionfo del Pelléas Tempo e del Kalîla et Mélisande Così fan tutte Disinganno wa Dimna CLAUDE DEBUSSY (1862-1918) WOLFGANG AMADEUS MOZART (1756-1791) Le Triomphe du Temps et de la Désillusion MONEIM ADWAN (1970) GEORG FRIEDRICH HAENDEL (1685-1759) Drame lyrique en cinq actes et 12 tableaux de Maurice Maeterlinck Dramma giocoso en deux actes Opéra en arabe et français D'après sa pièce Pelléas et Mélisande (1892) Livret de Lorenzo Da Ponte Oratorio en deux parties Livret de Fady Jomar et Catherine Verlaguet d'après Le Livre de Créé le 30 avril 1902 à l'Opéra Comique Créé le 26 janvier 1790 au Burgtheater de Vienne Livret du cardinal Benedetto Pamphili Kalîla et Dimna attribué à Ibn al-Muqaffa’ Créé en 1707 à Rome Commande du Festival d’Aix-en-Provence Direction musicale Esa-Pekka Salonen Direction musicale louis Langrée Création mondiale Mise en scène Katie Mitchell / Jérémie Rhorer (17, 19 juillet) Direction musicale Emmanuelle Haïm Décors lizzie Clachan Mise en scène Christophe Honoré Mise en scène Krzysztof Warlikowski Direction musicale Zied Zouari Costumes Chloe Lamford Décors Alban Ho Van Décors et costumes Małgorzata Szczeniak Mise en scène Olivier Letellier* Lumière james Farncombe Costumes Thibault Vancraenenbroeck Dramaturge Christian Longchamp Décors Philippe Casaban et Éric Charbeau Responsable des mouvements joseph W. Alford Lumière Dominique Bruguière Lumière Felice Ross Costumes Nathalie Prats Dramaturge Martin Crimp Assistant musical Nicolas Kruger Chorégraphie Claude Bardouil Lumière Sébastien Revel Assistant Musical Adrien Perruchon Pianiste répétiteur Mathieu Pordoy Vidéo Denis Gueguin Assistant à la mise en scène Sacha Todorov Chefs de chant David Zobel / Ouri Bronchti Répétitrice de langue Roberta Ferrari Assistant Musical David Bates Assistants à la mise en scène Robin Tebbutt / Gilles Rico Assistante à la mise en scène Sandrine Lanno Répétitrice de langue Rita de Letteriis Kalîla Ranine Chaar Assistante aux décors Blanca Añón Assistante aux décors Ariane Bromberger Assistante à la mise en scène Marielle Kahn Dimna Moneim Adwan Assistante aux costumes Marie Szersnovicz Assistante aux costumes Nathalie Pallandre Assistante aux décors et costumes Barbara Creutz Le Roi Mohamed Jebali Casting des figurants Sébastien Lévy Assistant vidéo Fabien Laubry La Mère du roi Reem Talhami Pelléas Stéphane Degout* Chatraba jean Chahid Mélisande Barbara Hannigan Fiordiligi lenneke Ruiten Bellezza Sabine Devieilhe* Golaud laurent Naouri Dorabella Kate Lindsey Piacere Franco Fagioli Violon Zied Zouari Arkel Franz-Josef Selig Despina Sandrine Piau Disinganno Sara Mingardo Violoncelle Yassir Bousselam* Geneviève Sylvie Brunet-Grupposo Ferrando joel Prieto Tempo Michael Spyres Clarinette Selahattin Kabacı * Yniold Chloé Briot* Guglielmo Nahuel di Pierro Figurants Mama Bouras, Margot Briosne Qanûn Abdulsamet Celikel* Le Médecin Thomas Dear Don Alfonso Rod Gilfry Frejaville, Sherine Colin, Johanna Percussions wassim Halal Actrices Sarah Northgraves Figurants Thierry Ambengat, Julien Antonini, Costa, Léa De Carvalho Massabo, Sacha Plaige Christophe Dossou, Mathilda Amani Djelassi, Thaïs Drujon D'astros, Nouvelle production du Festival d’Aix-en-Provence 2016 Mia Theil Have Doucouré, Tibo Drouet, Joel Koné, Hélène Fouque, Rui Jin, Colette Levron, En coproduction avec : Opéra de Lille, Opéra de Dijon Antoine Lacroix, Hichimoudine Elena Parniere, Pablo Pillaud-Vivien, Avec le soutien du Festival d’Abu Dhabi Chœur Cape Town Opera Chorus Mondoha,Thibault Morel, Nangué Sabaly, Marina Saïd, Chef de chœur Marvin Kernelle jean Schabel, Nicolas Sutter, Marie Signoret-Ollive, Emilia Sitek, *anciens artistes de l’Académie Orchestre Philharmonia Orchestra N'Nabintou Touré juliette Vetillard, Lucie Weller, Clara Weller, Agathe Williamson Nouvelle production du Festival d’Aix-en-Provence Chœur Cape Town Opera Chorus En coproduction avec : Teater Wielki - Opera Narodowa / Polish Chef de chœur Marvin Kernelle Orchestre le Concert d'Astrée National Opera, Beijing Music Festival Orchestre Freiburger Barockorchester Continuo Violoncelle Felix Knecht, Oleguer Continuo Roberta Ferrari Aymami Contrebasse Nicola Dal Maso *anciens artistes de l’Académie Luths Laura Monica Pustilnik, Rémi Nouvelle production du Festival d’Aix-en-Provence Cassaigne Clavecins Benoît Hartoin, En coproduction avec : Opéra de Lille, Korea National Opera, Philippe Grisvard Orgue Benoît Hartoin Edinburgh International Festival Nouvelle production du Festival d’Aix-en-Provence En coproduction avec : Opéra de Lille, Théâtre de Caen

*anciens artistes de l’Académie 52 53 Œdipus Rex / Symphonie de Psaumes Orchestre de Paris, direction Esa-Pekka Salonen

Œdipus Rex / Symphonie de Psaumes Cycle Stravinski IGOR STRAVINSKI (1882-1971) Œdipus Rex Concerts Opéra-oratorio d'après Sophocle, livret de Jean Cocteau traduit en latin par le cardinal Jean Daniélou Texte parlé : adaptation d'après Sophocle par Peter Sellars, traduite en français par Alain Perroux et DISSONANCES • Lauréats HSBC de l'Académie RAPHAËL IMBERT NEW QUINTET INVITE MARION RAMPAL Vincent Huguet 2 juillet – 12h – Conservatoire Darius Milhaud, 8 juillet – 21h30 – Hôtel Maynier d'Oppède Créé le 30 mai 1927 en version de concert au Théâtre Sarah-Bernhardt, Paris Auditorium Campra Chant, récit Marion Rampal Symphonie de Psaumes Quatuor Quatuor Van Kuijk Saxophones, clarinette basse Raphaël Imbert Créée le 13 décembre 1930 à Bruxelles (Lauréat HSBC 2014) Guitares Thomas Weirich, Pierre Durand Concert à l’occasion de la sortie du disque du Quatuor Van Kuijk, Orgue, piano, accordéon, Direction musicale Esa-Pekka Salonen consacré aux quatuors de Mozart. Dédicace à l’issue du concert. trombone Simon Sieger Mise en scène Peter Sellars Batterie, voix jean-Luc Di Fraya Sculptures Elias Sime UNE CIGOGNE DE NUIT • Emmanuel Baily Un nouveau quintet pour une création originale en hommage à Paul Costumes Dunya Ramicova / Helene Siebrits 6 juillet – 21h30 – Hôtel Maynier d'Oppède Robeson, dans le cadre de la carte blanche à Raphaël Imbert. Lumière james F. Ingalls Cornet à bouquin lambert Colson Assistant musical Natalie Murray Clarinette jean-François Foliez MÉLODIES TZIGANES • Lauréats HSBC de l'Académie Pianiste répétiteur Nino Pavlenichvili Percussions xavier Rogé 9 juillet – 12h – Théâtre du Jeu de Paume Assistant à la mise en scène Vincent Huguet* ‘Ûd & chant Khaled Aljaramani Soprano Chloé Briot (Lauréate HSBC 2014) Assistante aux décors Véronique Chazal Guitare & chant Emmanuel Baily Piano Michalis Boliakis Assistante aux costumes Clémence Pernoud * Le guitariste et compositeur Emmanuel Baily invite à un voyage (Lauréat HSBC 2011) poétique à la croisée du jazz, du baroque et de la musique Œuvres de Duparc, Debussy, Faure, Ravel, Dvorˇák, Rachmaninov... Œdipe joseph Kaiser traditionnelle. Jocaste Violeta Urmana PHILHARMONIA ORCHESTRA • Cycle Stravinski Créon / Tirésias / le Messager Sir Willard White LES PÉCHÉS DE ROSSINI • Lauréats HSBC de l'Académie 9 juillet – 20h – Grand Théâtre de Provence Le Berger joshua Stewart* 7 juillet – 20h – Théâtre du Jeu de Paume Direction musicale Esa-Pekka Salonen Antigone (récitante) Pauline Cheviller Soprano Katharina Melnikova Chorégraphie Karole Armitage Ismène (danseuse) laurel Jenkins (Lauréate HSBC 2014) Danseurs Armitage Gone! Dance Basse Scott Conner Œuvres d’Igor Stravinski. Chœurs Orphei Drängar, Gustaf Sjökvist (Lauréat HSBC 2013) Chamber Choir, Sofia Vokalensemble Piano Hélio Vida JEAN-GUIHEN QUEYRAS ET ALEXANDER MELNIKOV Chef de chœur Folke Alin Œuvres de Rossini. 11 juillet – 20h – Conservatoire Darius Milhaud, Orchestre Philharmonia Orchestra Auditorium Campra FREIBURGER BAROCKORCHESTER Piano Alexander Melnikov Production révisée pour le Festival d'Aix-en-Provence en coproduction avec le Philharmonia Orchestra, 7 juillet – 21h30 – Théâtre de l'Archevêché Violoncelle jean-Guihen Queyras d'après une production du Los Angeles Philharmonic Direction musicale / violon Petra Müllejans Sonates de Beethoven, dans le cadre de la carte blanche à Jean- Avec le soutien de la Fondation Meyer pour le développement culturel et artistique Flûte Daniela Lieb Guihen Queyras. Clavecin Sebastian Wienand *anciens artistes de l’Académie Œuvres de Bach et de Haendel.

54 55 Quatuor Arcanto Jeunes Voix Lyriques à Saint-Chamas

NUIT DE LA CRÉATION ZOROASTRE 12 juillet – 21h30 – Hôtel Maynier d'Oppède 18 juillet – 20h – Grand Théâtre de Provence Batterie Sébastien Hervier Opéra de Rameau en version de concert. Œuvres contemporaines de Benjamin de la Fuente, Sébastien Direction musicale Raphaël Pichon* Hervier, Benjamin Attahir et Gilbert Amy, par les ensembles de la Zoroastre Reinoud Van Mechelen résidence de musique de chambre. Commandes de l’Académie du Abramane Nicolas Courjal Festival d’Aix et de ProQuartet – Centre européen de musique de Amelite Katherine Watson chambre, en partenariat avec la SACEM et Copie Privée. Erenice Emmanuelle de Negri* Zopire, La vengeance Christian Immler QUATUOR ARCANTO Céphie léa Desandre* 14 juillet – 20h – Conservatoire Darius Milhaud, Orchestre et chœur Ensemble Pygmalion Auditorium Campra Violons Antje Weithaas, Daniel Sepec RÉCITAL JEAN-GUIHEN QUEYRAS ET MARC MAUILLON JULY ACADÉMIE Alto Tabea Zimmerman 19 juillet – 20h – Conservatoire Darius Milhaud, Violoncelle jean-Guihen Queyras Auditorium Campra Vendredi 1er juillet Lundi 4 juillet Mercredi 6 juillet Œuvres de Purcell, Britten et Beethoven, dans le cadre de la carte Baryton Marc Mauillon blanche à Jean-Guihen Queyras. Violoncelle jean-Guihen Queyras CONCERT DE CHANT EN TOURNÉE MASTER CLASS DE CHANT ET DE PIANO MASTER CLASS Flûte Olivier Girardin* Résidence Mozart / Jeunes Voix Lyriques Résidence Mozart Résidence de musique de chambre QUATUOR ARCANTO Piano Alphonse Cemin* Les artistes de la résidence interprètent des Ouri Bronchti travaille le répertoire mozartien David Alberman, violoniste et ancien 15 juillet – 20h – Conservatoire Darius Milhaud, Œuvres de Britten et de Ravel et création mondiale du Poète œuvres du répertoire mozartien. avec les jeunes chanteurs et pianistes de la membre du Quatuor Arditti, fait travailler les Auditorium Campra inachevé de Gilbert Amy, dans le cadre de la carte blanche à Jean- Rognes, Anciennes Carrières – 19h résidence. ensembles de la résidence de musique de Violons Antje Weithaas, Daniel Sepec Guihen Queyras. Hôtel Maynier d'Oppède – 12h chambre. Alto Tabea Zimmerman CONCERT DE MUSIQUE DE CHAMBRE EN Hôtel Maynier d'Oppède – 12h Violoncelle jean-Guihen Queyras QUATUOR TANA • Lauréats HSBC de l'Académie TOURNÉE Mardi 5 juillet Œuvres de Bach, Mendelssohn et Berg, dans le cadre de la carte 20 juillet – 18h – Auditorium Campra, Conservatoire Quatuor Van Kuijk / Lauréat HSBC de CONCERT DE MUSIQUE DE CHAMBRE EN blanche à Jean-Guihen Queyras. Darius Milhaud l'Académie MASTER CLASS DE MOUVEMENT TOURNÉE Quatuor Quatuor Tana* (Lauréat HSBC 2013) Œuvres de Mozart et de Kurtág. Résidence Mozart Quatuor Giocoso / Lauréat HSBC de MOTETS DE BACH Alto Garth Knox Simiane Collongue, Parc de la Mairie – 19h Leah Hausman, chorégraphe et metteuse en l'Académie 17 juillet – 22h – Cathédrale Saint-Sauveur Piano wilhem Latchoumia* scène, fait travailler les jeunes chanteurs et Œuvres de Mozart et Bartók. Direction musicale Raphaël Pichon* Œuvres de Philippe Boesmans, Francois Meimoun et Luca Vago. Samedi 2 juillet pianistes de la résidence. Saint-Marc-Jaumegarde, Chœur Ensemble Pygmalion Hôtel Maynier d'Oppède – 12h Parvis de la Mairie – 19h Œuvres de Bach. ORCHESTRE DES JEUNES DE LA MÉDITERRANéE CONCERT DE CHANT 20 juillet – 20h – Grand Théâtre de Provence Résidence Mozart CONCERT 21 juillet – 20h – Marseille, Théâtre national de la Criée Les artistes de la résidence interprètent des Résidence de musique de chambre Direction musicale Marko Letonja œuvres du répertoire mozartien. Les ensembles de l’Académie interprètent Mezzo-soprano Aude Extrémo Conservatoire Darius Milhaud, Auditorium des œuvres classiques, romantiques et Orchestre Orchestre des jeunes de la Méditerranée Campra – 20h contemporaines. Œuvres de Vito Žuraj, Modeste Moussorgski, Dimitri Chostakovitch Hôtel Maynier d'Oppède – 21h30 et Richard Strauss. 56 57 Tête à tête avec Stéphane Degout Jeudi 7 juillet Lundi 11 juillet Lundi 18 juillet

MASTER CLASS MASTER CLASS DE COMPOSITEUR MASTER CLASS HORS-SÉRIE Résidence de musique de chambre Résidence de musique de chambre Raphaël Imbert, saxophoniste et jazzman, András Keller, violoniste et membre du Benjamin de la Fuente, compositeur, fait aborde le blues avec de jeunes improvisateurs er Quatuor Keller, fait travailler les ensembles de travailler les ensembles de l’Académie. de la session de création interculturelle de Vendredi 1 juillet Vendredi 8 juillet Jeudi 14 juillet l’Académie. Hôtel Maynier d'Oppède – 12h l’Orchestre des jeunes de la Méditerranée. Hôtel Maynier d'Oppède – 12h Hôtel Maynier d'Oppède – 12h RENCONTRES ÉCONOMIQUES D'AIX-EN-PROVENCE TÊTE-À-TÊTE TÊTE-À-TÊTE Mardi 12 juillet Dans un monde de turbulences, qu’attend- Rencontre avec François Duplat, directeur Rencontre avec Louis Langrée, directeur CONCERT DE CHANT EN TOURNÉE CONCERT on d’un pays ? et fondateur de Bel Air Media (société de musical de Così fan tutte. Résidence Mozart / Jeunes Voix Lyriques MASTER CLASS DE MUSIQUE DE CHAMBRE Orchestre des Jeunes de la Méditerranée production audiovisuelle spécialisée dans Cour du Presbytère – 18h Les artistes de la résidence interprètent des Résidence de musique de chambre Rencontre musicale entre le jazzman TÊTE-À-TÊTE la captation de spectacle vivant). œuvres du répertoire mozartien et des extraits Jean-Guihen Queyras, violoncelliste et Raphaël Imbert, le batteur Jean-Luc Di Fraya Rencontre avec Katie Mitchell, metteuse en Cour du Presbytère – 18h Vendredi 15 juillet de l’opéra de Stravinski The Rake’s Progress. membre du Quatuor Arcanto, fait travailler et une douzaine de jeunes improvisateurs scène de Pelléas et Mélisande. Saint-Chamas, Théâtre de Verdure – 19h les ensembles de l’Académie. en formation – avec la participation du Cour du Presbytère – 18h PROJECTIONS D'OPÉRA EN DIRECT DU TÊTE-À-TÊTE Hôtel Maynier d'Oppède – 12h violoncelliste Jean-Guihen Queyras. FESTIVAL D’AIX Rencontre avec Stéphane Degout, interprète CONCERT Hôtel Maynier d'Oppède – 21h30 Samedi 2 juillet Così fan tutte du rôle de Pelléas dans Pelléas et Mélisande. Résidence de musique de chambre Mercredi 13 juillet Dans les villes d’Aix-en-Provence (Instants Cour du Presbytère – 18h Les ensembles de l’Académie interprètent Mardi 19 juillet RENCONTRES ÉCONOMIQUES D'AIX-EN-PROVENCE d’été, Musée Granet), Coudoux, Cucuron, des œuvres classiques, romantiques et MASTER CLASS Dans un monde de turbulences, qu’attend- Digne-les-Bains, Éguilles, Embrun, Gemenos, Samedi 16 juillet contemporaines. Résidence de musique de chambre CONCERT DE MUSIQUE DE CHAMBRE on d’un pays ? Istres, La Ciotat, La Roque d’Antheron, Le Hôtel Maynier d'Oppède – 21h30 Tabea Zimmermann, altiste et membre Vanderbilt Academy Puy-Sainte-Réparade (Château La Coste), TÊTE-À-TÊTE du Quatuor Arcanto, fait travailler les Par les instrumentistes de la Vanderbilt TÊTE-À-TÊTE Le Tholonet, L’Isle-sur-la-Sorgue, Manosque, Rencontre avec Peter Sellars, metteur en Vendredi 8 juillet ensembles de l’Académie. Music Academy (Nashville, Etats-Unis) Rencontre avec Christophe Honoré, metteur Marseille, Martigues, Miramas, Mougins, scène d’Œdipus Rex / Symphonie de Psaumes. Hôtel Maynier d'Oppède – 12h – avec la participation du flûtiste Julien en scène de Così fan tutte. Ollioules, Pertuis, Puyloubier, Rousset, Cour du Presbytère – 18h MASTER CLASS DE COMPOSITEUR Beaudiment. Œuvres de Taffanel, de Barber, Théâtre de l'Archevêché, Galerie gothique – 18h Saint-Maximin-la-Sainte-Baume, Septemes- Résidence de musique de chambre CONCERT de Mozart et de Samazeuilh. les-Vallons, Valréas, Vauvenargues, Venelles, Lundi 18 juillet Gilbert Amy, compositeur, fait travailler un Résidence de musique de chambre Auditorium Campra, Conservatoire Darius Dimanche 3 juillet Veynes (Communauté de communes Buëch quatuor à cordes de l’Académie. Les ensembles de l’Académie interprètent Milhaud – 12h Dévoluy) et Vitrolles. TÊTE-À-TÊTE Hôtel Maynier d'Oppède – 12h des œuvres classiques, romantiques et RENCONTRES ÉCONOMIQUES D’AIX-EN-PROVENCE 21h30 Emilie Delorme, directrice de l’Académie, contemporaines. CONCERT DE MUSIQUE DE CHAMBRE EN Dans un monde de turbulences, qu’attend- évoque l’évolution des projets de l’Académie CONCERT DE CHANT EN TOURNÉE Hôtel Maynier d'Oppède – 21h30 TOURNÉE on d’un pays ? Samedi 9 juillet du Festival d’Aix. Les péchés de Rossini / Jeunes Voix Lyriques Quatuor Tana / Lauréat HSBC de l'Académie Cour du Presbytère – 18h Katharina Melnikova, Scott Conner & Hélio Vendredi 15 juillet Œuvres de Bedrossian et de Debussy. Lundi 4 juillet TÊTE-À-TÊTE Vida / Lauréats HSBC de l'Académie Pertuis, Chapelle de la Charité – 19h, sur Rencontre avec Laurent Naouri, interprète Mardi 19 juillet Œuvres de Rossini CONCERT réservation TÊTE-À-TÊTE du rôle de Golaud dans Pelléas et Mélisande. Tarascon, Place Frédéric Mistral – 19h Orchestre des jeunes de la Méditerranée Rencontre avec Nahuel di Pierro et Joel Cour du Presbytère – 18h TÊTE-À-TÊTE Rencontre musicale entre le jazzman CONCERT Prieto, interprètes de Così fan tutte. Rencontre avec Bernard Foccroulle, directeur Samedi 9 juillet Raphael Imbert, le batteur Jean-Luc Di Fraya Orchestres des jeunes de la Méditerranée Cour du Presbytère – 18h Mardi 12 juillet général du Festival d’Aix-en-Provence. et une douzaine de jeunes improvisateurs Rencontre musicale entre le jazzman Raphaël Cour du Presbytère – 18h PERFORMANCE INTERACTIVE en formation – avec un chœur amateur du Imbert, le batteur Jean-Luc Di Fraya et une Mardi 5 juillet RENCONTRES NATIONALES ACCORD MAJEUR Voilà, That's My Life quartier de la Savine. douzaine de jeunes improvisateurs en formation. La scène musicale à l'épreuve du Mercredi 20 juillet Restitution de l’Atelier de Création et Marseille, Cité de la Savine – 19h Marseille, Villa Méditerranée – 20h30 TÊTE-À-TÊTE changement d’Innovation de l’Académie avec Jagoda Rencontre avec Moneim Adwan, COLLOQUE Szmytka et Stephen Upshaw. Samedi 16 juillet CONCERT compositeur de l’opéra Kalîla wa Dimna. TÊTE-À-TÊTE Philippe Boesmans, post-moderne ou singulier ? Galerie de la Prévôté – 15h Cairo Jazz Station / Ziryâb et nous Cour du Presbytère – 18h Rencontre avec le violoncelliste Jean- Hommage au compositeur qui présente son MASTER CLASS Deux créations interculturelles proposées Guihen Queyras. nouvel opéra Pinocchio au Festival d’Aix en 2017. CONCERT DE MUSIQUE DE CHAMBRE EN Résidence de musique de chambre par des jeunes artistes méditerranéens en Mercredi 6 juillet Cour du Presbytère – 18h Cité du Livre – 10h30-17h TOURNÉE Daniel Sepec, violoniste et membre formation avec une vingtaine de choristes Quatuor Giocoso / Lauréat HSBC de l'Académie du Quatuor Arcanto, fait travailler les amateurs d’horizons et de cultures multiples. TÊTE-À-TÊTE Mercredi 13 juillet LES RENCONTRES MEDINEA Œuvres de Mozart et Bartók. ensembles de l’Académie. Hôtel Maynier d'Oppède – 21h30 Rencontre avec Olivier Letellier, metteur en Art et lien social en Méditerranée Venelles-le-Haut, Place Jean-Pierre Saez – 19h Hôtel Maynier d'Oppède – 12h scène de Kalîla wa Dimna. CULTURE NUM Marseille, Villa Méditerranée – 14h-17h30 Cour du Presbytère – 18h Révolution numérique, culture et création CONCERT DE CHANT CONCERT Conservatoire Darius Milhaud, Auditorium Campra TÊTE-À-TÊTE Résidence Mozart Résidence de musique de chambre Jeudi 7 juillet 10h30 - 17h30 Alain Perroux, conseiller artistique du Les artistes de la résidence interprètent des Les ensembles de l’Académie interprètent Festival d’Aix-en-Provence, présente la œuvres du répertoire mozartien et des extraits des œuvres classiques, romantiques et TÊTE-À-TÊTE TÊTE-À-TÊTE programmation de l’édition 2017. de l’opéra de Stravinski The Rake’s Progress. contemporaines. Rencontre avec Sabine Devieilhe, interprète Rencontre avec Franco Fagioli, interprète du Cour du Presbytère – 18h Hôtel Maynier d'Oppède – 21h30 Hôtel Maynier d'Oppède – 21h30 du rôle de Bellezza dans Il Trionfo del Tempo rôle de Piacere dans Il Trionfo del Tempo e e del Disinganno. del Disinganno. Cour du Presbytère – 18h Cour du Presbytère – 18h 58 59 Solomax, Raphaël Imbert Vendredi 17 juin RÉPÉTITION PUBLIQUE D'OPÉRA CONCERT Kalîla wa Dimna Prix Gabriel Dussurget CONCERT DE CHANT EN TOURNÉE Théâtre du Jeu de Paume – 14h À l’occasion des 10 ans du Prix Gabriel Résidence Mélodie & Création Dussurget, le prix 2016 est remis à la Artistes de la résidence Mélodie & Création Mercredi 22 juin soprano Sabine Devieilhe par Andréa Ferréol. de l’Académie. Conservatoire Darius Milhaud, Auditorium La Ciotat, Place Pierre Gautier – 19h CONCERT Campra – 20h Résidence de musique de chambre CONCERT • LES VOIX DE SILVACANE Les ensembles de l’Académie interprètent Dimanche 26 juin Solistes du chœur de l’Opéra de Cape Town des œuvres composées entre Paris et La Roque d'Anthéron, Abbaye de Silvacane Vienne au tournant du XIXe et du XXe siècle. SOIRÉE MUSICALE • PARADE[S] (abbatiale) – 19h Hôtel Maynier d'Oppède – 21h30 Danse et musique, gospel américain, chants traditionnels africains et airs d’opéra RÉPÉTITION PUBLIQUE D'OPÉRA Jeudi 23 juin interprétés par le Chœur de l’Opéra de Cape Pelléas et Mélisande Town. Grand Théâtre de Provence – 19h RÉPÉTITION PUBLIQUE D'OPÉRA Cours Mirabeau – 21h45 Il Trionfo del Tempo e del Disinganno Samedi 18 juin Théâtre de l'Archevêché – 18h Lundi 27 juin

CONCERT • LES VOIX DE SILVACANE CONCERT SÉANCE INTERACTIVE Ensemble Solistes XXI SolOmax – Carte blanche à Raphaël Imbert Making Op’ La Roque d'Anthéron, Abbaye de Silvacane En binôme avec Benjamin Levy, Raphaël Restitution de l’Atelier de Création et (abbatiale) – 16h Imbert propose une performance novatrice d’innovation de l’Académie avec Nicolas entre improvisations contemporaines Royez et Guillaume Paire. CONCERT • LES VOIX DE SILVACANE et références aux racines de la musique Hôtel Maynier d'Oppède – 11h Résidence Mélodie & Création américaine. Artistes de la résidence Mélodie & Création Hôtel Maynier d'Oppède – 21h30 Mercredi 29 juin de l’Académie. aix en juin Abbaye de Silvacane (cloître) – 19h Vendredi 24 juin MASTER CLASS DE CHANT Résidence Mozart CONCERT RÉCITAL Susanna Eken, professeure de chant à Samedi 4 juin Samedi 11 juin CONCERT DE CHANT EN TOURNÉE Résidence de musique de chambre Mélodies nordiques l’Académie royale de musique du Danemark, Résidence Mélodie & Création Les ensembles de l’Académie interprètent Mari Eriksmoen & Alphonse Cemin travaille le répertoire mozartien avec OUVERTURE[S] • ITINÉRAIRE MUSICAL RÉCITAL Artistes de la résidence Mélodie & Création des œuvres composées entre Paris et Lauréats HSBC de l'Académie les jeunes chanteurs et pianistes de la Déambulation festive et en musique dans le D’amour et de mort de l’Académie. Vienne au tournant du XIXe et du XXe siècle. Romances d’Edvard Grieg, Hugo Wolf, résidence. quartier du Jas de Bouffan. Andri Björn Róbertsson & Edwige Aubagne, Espace des libertés – 19h Hôtel Maynier d'Oppède – 21h30 Richard Strauss et Agathe Backer Grøndahl. Hôtel Maynier d'Oppède – 12h Quartier du Jas de Bouffan – 17h30 Herchenroder / Lauréats HSBC de l'Académie Dédicace à l’issue du concert. Lieder de Schubert et de ses successeurs. CONCERT Lundi 20 juin Hôtel Maynier d'Oppède – 21h30 THÉÂTRE MUSICAL Mercredi 8 juin Fondation Vasarely – 20h Zied Zouari (violon) Et tâchons d'épuiser la mort dans un baiser Hôtel Maynier d'Oppède – 21h30 MASTER CLASS DE MUSIQUE DE CHAMBRE Samedi 25 juin Spectacle musical autour de la PANORAMA • SOIRÉE MUSICALE Lundi 13 juin Résidence de musique de chambre correspondance de Claude Debussy, mêlant Avec les artistes de la programmation de juillet. Mercredi 15 juin Johannes Meissl, second violon du Quatuor DÉAMBULATION SONORE des mélodies aux fragments de son opéra Hôtel Maynier d'Oppède – 19h MASTER CLASS DE CHANT ET DE COMPOSITION Artis, professeur et directeur adjoint de Hidden in Plain Sight inachevé La Chute de la maison Usher, Résidence Mélodie & Création CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉE l’Institut Joseph Haydn pour la musique Restitution sous forme de parcours de inspiré de la nouvelle fantastique d’Edgar Jeudi 9 juin Le pianiste et chef de chant Jeff Cohen et le Quatuor Berlin-Tokyo / Lauréat HSBC de l'Académie de chambre de l’Université de Vienne, fait l’Atelier de Création et d’Innovation avec Allan Poe. Conception et mise en scène : compositeur Jug Markovic´font travailler les Œuvres de Ravel et de Beethoven. travailler les ensembles de l’Académie. Aaron Einbond et Jude Christian. Une Marc Lainé. MASTER CLASS DE CHANT ET DE PIANO chanteurs et pianistes de l’Académie. Martigues, Chapelle de l’Annonciade – 19h Hôtel Maynier d'Oppède – 12h collaboration de l’Académie du Festival d’Aix Hôtel Maynier d'Oppède – 21h30 Résidence Mélodie & Création Hôtel Maynier d’Oppède – 12h et d’Opera Lab Berlin. Le baryton François Le Roux fait travailler les CONCERT DE CHANT RÉPÉTITION PUBLIQUE D'OPÉRA Hôtel Maynier d'Oppède – 17h chanteurs et pianistes de l'Académie Mardi 14 juin Résidence Mélodie & Création Così fan tutte Hôtel Maynier d'Oppède – 12h Artistes de la résidence Mélodie & Création Théâtre de l'Archevêché – 18h, sur réservation SOIRÉE MUSICALE MASTER CLASS DE COMPOSITION de l’Académie Bœuf sur le toit-terrasse Vendredi 10 juin Le pianiste et chef de chant Jeff Cohen et les Hôtel Maynier d'Oppède – 21h30 Mardi 21 juin Concerts aux sonorités méditerranéennes compositeurs Rene Orth et Nuno da Rocha font dans le cadre des soirées On Air organisées CONCERT DE CHANT EN TOURNÉE travailler les chanteurs et pianistes de l'Académie. Jeudi 16 juin MASTER CLASS DE DRAMATURGIE par la Friche La Belle de Mai : chanteurs D’amour et de mort Hôtel Maynier d'Oppède – 12h Atelier Opéra en Création et artistes de Kalîla wa Dimna, chœur Andri Björn Róbertsson & Edwige CONCERT DE MUSIQUE DE CHAMBRE Willem Bruls, dramaturge, partage son multiculturel Ibn Zaydoun, Moneim Adwan Herchenroder / Lauréats HSBC de l'Académie CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉE Les ensembles de l’Académie interprètent expérience pour nourrir la réflexion sur (’ûd) et Zied Zouari (violon). Lieder de Schubert et de ses successeurs. Quatuor Berlin-Tokyo / Lauréat HSBC de l'Académie des œuvres composées entre Paris et l’interdisciplinarité dans l’art lyrique et pour Marseille, La Friche La Belle de Mai (Toit- Ensuès-la-Redonne, Parvis du Cadran – 19h Œuvres de Ravel et de Beethoven. Vienne au tournant du XIXe et du XXe siècle. échanger autour de la création d’opéras. terrasse) – 19h Beaurecueil, Cour de la Ferme – 19h Hôtel Maynier d'Oppède – 21h30 Hôtel Maynier d'Oppède – 12h 60 61 Svadba Agadir – Institut français 22 octobre 2016 KALÎLA WA DIMNA Kiev – Institut français 26 novembre 2016 Naples – Institut français 13 juillet 2016 Ramallah – Institut français 23 septembre 2016 RIGOLETTO Hébron – Institut français 24 septembre 2016 Barcelone – Institut français 19 avril 2016 Naplouse – Institut français 27 septembre 2016 Safi – Alliance française 22 octobre 2016 LA FLÛTE ENCHANTÉE Bucarest – Institut français 16 décembre 2016 Bilbao – Institut français 21 juin 2016 Gaza – Institut français 2016 BROADCASTS AND TOURS Mexico – Festival de Morelia 2016 Jérusalem – Institut français 2016 Meknès – Institut français 6 décembre 2016 IL TURCO IN ITALIA Oujda – Institut français 18 novembre 2016 LA TRAVIATA SVADBA Meknès – Institut français 2 février 2016 Concerts des Lauréats HSBC de l'Académie Nouvelle production du Festival d’Aix-en-Provence 2011 Nouvelle production du Festival d’Aix-en-Provence 2015 Barcelone – Institut français 17 mai 2016 Lille – Opéra de Lille 27 janvier 2016 Vienne – Wiener Staatsoper 17, 20 et 23 mai 2016 Nantes – Nantes Angers Opéra 20, 21, 24 et 25 mai 2016 Prague – Institut français 17 août 2016 Quatuor Van Kuijk (Lauréats HSBC 2014) Angers – Nantes Angers Opéra 29 et 31 mai 2016 Kiev – Institut français 8 octobre 2016 ELEKTRA Paris – Philharmonie de Paris 31 mars 2016 Correspondance presque complète d'Erik Satie Nouvelle production du Festival d’Aix-en-Provence 2013 COSÌ FAN TUTTE ARIODANTE Jean Bellorini (conception et mise en scène), Clémence Pernoud New York – Metropolitan Opera 14, 18, 23, 26, 30 avril, 4 et 7 mai 2016 Nouvelle production du Festival d’Aix-en-Provence 2016 Barcelone – Institut français 11 avril 2016 (costumes), Léa Trommenschlager (soprano – Lauréate HSBC Helsinki – Opéra national de Finlande du 2 au 30 septembre 2016 Édimbourg – Edinburgh international Festival 25, 27 et 28 août 2016 Meknès – Institut français 3 mai 2016 2011), Michalis Boliakis (piano – Lauréat HSBC 2011), Jacques Berlin – Deutsche Staatsoper 23, 26 et 29 octobre, 1er et 4 novembre 2016 New York – Mostly Mozart Festival 15 août 2016 (version concert) Madrid – Institut français 7 juin 2016 Hadjaje (comédien) Barcelone – Gran Teatre del Liceu 7, 11, 15, 19 et 23 décembre 2016 Mexico – Festival de Morelia 2016 Lille – Opéra de Lille 4 mai 2016 KALÎLA WA DIMNA Nocturnes : Rupert Charlesworth (ténor – Lauréat HSBC 2011), RIGOLETTO Création du Festival d’Aix-en-Provence 2016 LE SONGE D’UNE NUIT D’ÉTÉ Edwige Herchenroder (piano – Lauréate HSBC 2013) Nouvelle production du Festival d’Aix-en-Provence 2013 Lille – Opéra de Lille 11, 12, 13 et 14 décembre 2016 Ouagadougou – Institut français 9 janvier 2016 Toulouse – Grands Interprètes 23 mai 2016 Moscou – Théâtre du Bolchoï 13, 14, 15, 16 et 17 janvier 2016 Barcelone – Institut français 9 mars 2016 Nocturnes : Rupert Charlesworth (ténor – Lauréat HSBC 2011), Projections sur grand écran Madrid – Institut français 3 mai 2016 Edwige Herchenroder (piano – Lauréate HSBC 2013) ARIODANTE LE ROSSIGNOL ET AUTRES FABLES Montpellier – Opéra Comédie 30 mai 2016 Nouvelle production du Festival d’Aix-en-Provence 2014 Meknès – Institut français 8 mars 2016 SVADBA Julie Fuchs (soprano piano – Lauréate HSBC 2013), Alphonse Amsterdam – De Nederlandse Opera 17, 20, 23, 25, 28 et 31 janvier, Madrid – Institut français 5 avril 2016 Madrid – Institut français 12 janvier 2016 Cemin (piano – Lauréat HSBC 2010) 3 février 2016 Barcelone – Institut français 7 juin 2016 Vincennes –Classique au Vert 17 septembre 2016 Toronto – Canadian Opera Company 16, 19, 22, 25, 27 et 29 Bilbao – Institut français 5 juillet 2016 ALCINA Quatuor Van Kuijk (Lauréats HSBC 2014) octobre, 4 novembre 2016 Tres Arroyos – Sociedad Francesa août 2016 Madrid – Institut français 2 février 2016 Nantes – Festival les Art'Scènes 13 octobre 2016 Bucarest – Institut français 30 décembre 2016 Ouagadougou – Institut français 4 juin 2016 Chloé Briot (soprano – Lauréate HSBC 2014), Michalis Boliakis IL TURCO IN ITALIA Prague – Institut français 27 juillet 2016 (piano – Lauréat HSBC 2011) Nouvelle production du Festival d’Aix-en-Provence 2014 LA TRAVIATA Kiev – Institut français 18 décembre 2016 Lille – Opéra de Lille 9 novembre 2016 Dijon – Opéra de Dijon 8, 10, 12 et 14 janvier 2016 Barcelone – Institut français 26 janvier 2016 Quatuor Berlin-Tokyo (Lauréats HSBC 2015) Abu Dhabi – Université Paris-Sorbonne 9 février 2016 PELLÉAS ET MÉLISANDE Paris – Philharmonie de Paris 16 novembre 2016 Andri Björn Róbertsson (baryton-basse – Lauréat HSBC 2014), WINTERREISE Oujda – Institut français 8 avril 2016 Kiev – Institut français 9 juillet 2016 Edwige Herchenroder (piano – Lauréate HSBC 2013) Nouvelle production du Festival d’Aix-en-Provence 2014 Safi – Alliance française 18 juin 2016 Odessa – Institut français 14 juillet 2016 Sydney – Sydney Festival 7 et 8 janvier 2016 Bilbao – Institut français 28 juin 2016 Huesca – Institut français 14 juillet 2016 Concerts de l'Orchestre des Jeunes de la Lisbonne – Fondation Calouste Gulbenkian 19 février 2016 Tres Arroyos – Sociedad Francesa août 2016 Bilbao – Institut français 19 juillet 2016 San Francisco – San Francisco Opera 11, 12 et 13 mars 2016 Yaoundé – Institut français 8 juillet 2016 Prague – Institut français 20 juillet 2016 Méditerranée Paris – Philharmonie de Paris 30 mars 2016 Agadir – Institut français 2 décembre 2016 Naxos – Festival de Naxos 4 septembre 2016 SESSION SYMPHONIQUE Lille – Opéra de Lille 3, 5 et 6 avril 2016 Meudon – La Boutique du Val 11 décembre 2016 Meudon – La Boutique du Val 13 novembre 2016 Marseille – Théâtre de la Criée 21 juillet 2016 Barcelone – Palau de la Música 14 avril 2016 Zaporijia – Alliance française 2016 Bucarest – Institut français 23 décembre 2016 Zadar – Zadar Festival 25 juillet 2016 Séoul – Lotte Concert Hall 22 novembre 2016 Athènes – Institut français 2016 Ljubljana – Ljubljana Festival 26 juillet 2016 Daejeon – Daejeon Arts Center 24 novembre 2016 LES NOCES DE FIGARO er SESSION INTERCULTURELLE Madrid – Institut français 1 mars 2016 COSÌ FAN TUTTE Marseille – Cité de la Savine 15 juillet 2016 BE WITH ME NOW Safi – Alliance française 19 mars 2016 Kiev – Institut français 10 juillet 2016 Milan – Pavillon Unicredit 21 juillet 2016 Création du Festival d’Aix-en-Provence 2015 Abu Dhabi – Université Paris-Sorbonne 31 mai 2016 Alger – Institut français 12 juillet 2016 Paris – Philharmonie de Paris 29 mars 2016 Oujda – Institut français 21 octobre 2016 Bilbao – Institut français 12 juillet 2016 MEDINEA – Cairo Jazz Station Bruxelles – Théâtre royal de la Monnaie 22 avril 2016 Zaporijia – Alliance française 016 Naples – Institut français 12 juillet 2016 Le Caire – Makan Egyptian Center for Culture and Arts 5 avril 2016 Aldeburgh – Aldeburgh Music 15 juin 2016 Prague – Institut français 13 juillet 2016 Nuoro – Festival Internazionale Nuoro Jazz 25 août 2016 DAVID ET JONATHAS Odessa – Institut français 17 juillet 2016 LE SONGE D’UNE NUIT D’ÉTÉ Prague – Institut français 24 août 2016 Clermont – Château de Clermont 20 août 2016 MEDINEA – Zyriâb et nous Nouvelle production du Festival d’Aix-en-Provence 1991, reprise en 2015 Naplouse – Institut français 6 décembre 2016 Naxos – Festival de Naxos 2 septembre 2016 Madrid – Casa Arabe 9 mai 2016 Pékin – Beijing Music Festival 15 et 16 octobre 2016 Meudon – La Boutique du Val 9 octobre 2016 ELEKTRA Marne-la-Vallée – La Ferme du Buisson 15 novembre 2016 LE MONSTRE DU LABYRINTHE Barcelone – Institut français 24 février 2016 Bucarest – Institut français 9 décembre 2016 Création du Festival d’Aix-en-Provence 2015 Beyrouth – Institut français 30 mars 2016 Athènes – Institut français 2016 62 Lille – Opéra de Lille 4 et 5 mai 2016 Abu Dhabi – Université Paris-Sorbonne 19 avril 2016 Antananarivo – Institut français novembre 2016 63 BOARD OF DIRECTORS

Mr Bruno Roger President Mr Jean-François Dubos Secretary General Mrs Catherine Démier Treasurer

Mr Stéphane Bouillon Mrs Martine Vassal Prefect of the P.A.C.A. and Bouches du Rhone Region Chairperson of the Departmental Council of Bouches-du-Rhone Mrs Régine Hatchondo represented by Mrs Sabine Bernasconi General Director of Artistic Creation, Ministry of Culture and Vice-president of the Departmental Council of Bouches-du-Rhone Communication Cultural Delegate Mr Marc Ceccaldi Mr Christian Estrosi Regional Director of Cultural Affairs, Ministry of Culture and President of the PACA Regional Council Communication represented by Mrs Chantal Eymeoud Mrs Maryse Joissains-Masini Vice-president of the PACA Regional Council, delegate for Culture Mayor of Aix-en-Provence, President of the Conseil de Territoire du and Heritage Pays D’Aix, Vice-president of Metropole Aix-Marseille-Provence Mr Jean-Marc Forneri Mr Gérard Bramoullé Qualified person, named by the Pasino of Aix-en-Provence Deputy Mayor of Aix-en-Provence, delegate for the Festival of Aix- Mr Alain Taravella en-Provence Qualified person, named by the State 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: ©Artcomart / Patrick Berger: cover, pages 4, 8, 12, 18, 30, 32, 35, 40, 46, 52, 53, 62 ©Artcomart / Pascal Victor: inside cover and inside back cover pages 6, 10, 20, 50, 52, 53 © Vincent Beaume: pages 2, 14, 16, 17, 20, 21, 22, 24, 25, 26, 27, 28, 34, 36, 37, 38, 39, 54, 55, 56, 57, 59, 60 ©Jean-Claude Carbonne: pages 15, 42, 43

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