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Home , Atys (Lully), Atys (Piccinni), Conservatoire de Paris, Ed Lyon, Les Paladins, Nicolas Rivenq

2011 Next Wave Festival SEP 2011

Donald Baechler, Red + Blue Rose (detail), 2011

BAM 2011 Next Wave Festival sponsor

Published by: BAM 2011

Brooklyn Academy of Music Ronald P. Stanton

Alan H. Fishman, presents Chairman of the Board

William I. Campbell, Vice Chairman of the Board

Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President BAM Howard Gilman House Sep 18 at 3pm; Sep 20, 21, 23 & 24 at 7:30pm Joseph V. Melillo, Executive Producer Approximate running time: four hours including two intermissions

By Jean-Baptiste Lully Les Arts Florissants Opéra Comique

Musical direction by William Christie Directed by Jean-Marie Villégier

Associate director Christophe Galland Scenic design by Carlo Tommasi Costume design by Patrice Cauchetier Choreography by Francine Lancelot† and Presenting sponsor for Atys Béatrice Massin Performed by Compagnie Fêtes galantes Lighting design by Patrick Méeüs Wigs by Daniel Blanc Makeup by Suzanne Pisteur Atys is made possible with the generous support of Ronald P. Stanton and Performed in French with English titles The Delancey Foundation.

Leadership support for Atys is provided Associate partner: Compagnie Fêtes galantes by The Devitre Fund; Geoffrey C. Hughes Foundation; The Florence Gould Foundation; The Andrew W. Mellon Coproduced by BAM, Opéra Comique, théâtre de Caen, Foundation; and The SHS Foundation. Opéra national de Bordeaux, and Les Arts Florissants

Additional support provided by Susan Baker & Michael Lynch; Anne Hendricks Foundation; Mr. & Mrs. Henry Christensen III; The Francena T. Harrison Foundation Trust; The Grand Marnier Foundation; Charles and Mildred Schnurmacher Foundation; The Fan Fox & Leslie R. Samuels Foundation, Inc.; and Joseph A. Stern. Atys

Paul Agnew Benjamin Alunni Cyril Auvity

Sophie Daneman Emmanuelle de Negri Bernard Deletré Jean-Charles di Zazzo

Liesbeth Devos Francisco Fernández-Rueda Élodie Fonnard Ed Lyon

Marc Mauillon Ingrid Perruche Rachel Redmond Anna Reinhold

Arnaud Richard Callum Thorpe Reinoud Van Mechelen Atys

Cast Atys Ed Lyon Cybèle Anna Reinhold* Sangaride Emmanuelle de Negri Célénus Nicolas Rivenq Idas Marc Mauillon Doris Mélisse Ingrid Perruche Dieu du Sommeil Paul Agnew Morphée Cyril Auvity Le Temps; le fleuve Sangar Bernard Deletré Maître de cérémonie / Alecton Jean-Charles di Zazzo The Impresario Olivier Collin Flore / Suite de Sangar Élodie Fonnard* Rachel Redmond* Melpomène Liesbeth Devos Zéphir / Suite de Sangar Francisco Fernández-Rueda* Zéphir Reinoud Van Mechelen* Phobétor Callum Thorpe* Phantase Benjamin Alunni Songe Funeste Arnaud Richard

*soloist from the 2011 edition of Le Jardin des Voix

Dancers Compagnie Fêtes Galantes: Bruno Benne, Sarah Berreby, David Berring, Laura Brembilla, Olivier Collin, Estelle Corbière, Laurent Crespon, Claire Laureau, Adeline Lerme, Akiko Veaux Gil Isoart courtesy of Opéra national de Paris

Priestesses Elizabeth Carey, Marie de Testa, Laura DiOrio, Stephanie Feiger, Marissa Maislen, Meredith Napolitano, Hannah Wilson, Rebecca Ellen Wolf

Choir and orchestra Les Arts Florissants

Musical consultant Paul Agnew Costume design assistant Anne Autran Dumour Choreography assistant Béatrice Aubert Music coach Benoît Hartoin Choir direction François Bazola French coach Anne Pichard Assistant stage manager Kris Longley-Postema Surtitle stage managers Isabel Martin, Wegner Interpreter Maory Gastelo

Recreation of the 1987 production at Opéra Comique, Paris, with the generous support of Ronald P. Stanton.

Special thanks to the Opéra national de Paris for the loan of the costumes of the 1987 production of Atys.

The publisher of the score and the music material is Éditions des Abbesses—collection “Les Arts Florissants,” directed by William Christie. Act III. Featured: Bernard Richter (foreground) and Gil Isoart Photo by Pierre Grosbois Atys Synopsis

Prologue

Time and the Hours are celebrating Louis XIV. Flore precedes spring so as to woo him before he goes to war. But Melpomène, the muse of tragedy, pushes them aside: she wants to take advantage of winter and the assembled court to recall the love of Cybèle and Atys. Then Iris reconciles them: may Nature and Art unite to celebrate Atys.

Act I Atys gathers the Phrygians to celebrate the goddess Cybèle. His friend Idas sets his religious zeal against his insensitivity. After having announced his resolution to never fall in love, Atys admits to have failed. They are interrupted by Sangaride and Doris, who are honoring Cybèle. Sangaride is to wed King Celenus soon, but she confides to Doris that she loves Atys. However, Atys opens his heart to her: since he is to die after the nuptials, she should know that he loves her. The reciprocity of their feelings drives them to despair. But the ceremony to the goddess interrupts them and Cybèle announces she will choose her sacrificer.

Act II King Celenus confides to Atys his fear of not being loved by Sangaride. Atys must reassure his rival! Cybèle wishes to honor Atys and choose him as her sacrificer. Celenus is delighted for his friend. Cybèle tells her secret motives to her confidante Mélisse: her love for mortal Atys is all too human. Then the Nations and Zephyrs gather to celebrate Cybèle’s choice.

Act III Doris and Idas come to tell Atys that Sangaride is intent on canceling the wedding and asking for Cybèle’s protection. Overcome by sleep ordered by Cybèle, Atys falls into slumber. The deities of sleep and the Dreams let Atys know that Cybèle loves him and advise him to be faithful. Atys awakens with Cybèle at his bedside. Sangaride comes to beseech the goddess. Atys prevents her from revealing their love but cannot silence Cybèle. Sangaride leaves in grief. Cybèle suffers from Atys’ indifference toward her.

Act IV Convinced that Atys is in love with Cybèle, Sangaride resigns herself to her marriage to Celenus, who tells Atys he is thrilled. After a moment of disappointment, the two lovers renew their vows and decide to employ Atys’ new power to their love’s advantage. The river Sangar invites his retinue to celebrate his son-in-law. Atys undertakes a daring enterprise: he announces that Cybèle forbade the wedding so that Sangaride may become a priestess of her rite. He abducts Sangaride.

Act V Cybèle reveals everything to Celenus and summons the young lovers. They appeal for clemency on each other’s behalf. But merciless Cybèle invokes the hellish deity Alecton to bewitch Atys. The latter mistakes Sangaride for a monster and kills her. Recovering his senses, Atys appeals for rebellion against the heartless gods. While Cybèle is smitten with remorse, the dying Atys is brought back after he stabs himself. Cybèle turns him into a pine tree so that nature will remember this love. Atys

Act III. Featured: Bernard Richter (foreground) Photo by Pierre Grosbois

background OF ATYS

Atys became known as the “king’s opera.” Louis XIV had chosen its subject matter from and supervised its mise-en-tragédie by . He carefully followed the rehearsals of the work at the court set up in Saint-Germain en-Laye in the winter of 1675 between two campaigns of the Dutch War. And even before its first performance on January 10, 1676, he sang whole passages of it. This greatly honored his “Surintendant de la musique” (overseer of music), Jean-Baptiste Lully, whose Atys was the fourth tragédie en musique.

The 37-year-old king had been ruling supreme for 15 years. He had taken advantage of that long period to carry on the centralization of the kingdom’s cultural life. In order to extol French singularity at a time when Italy was thought to be the cradle of the arts, he chiefly fostered dance and literature. In the 1650s Lully was asked to transform courtly ballet into polished entertainment. With Molière, he devised a more dramatic choreographic formula, comédie-ballet. Finally, when Louis XIV stopped dancing, some daring ideas and fortuitous meetings led him, Lully, and Quinault to dub that which was mainly a political scheme, tragédie en musique.

The term tragédie referred to the presence of noble protagonists who spoke in a specific language, the . As the most thorough musical expression and a binder of musical forms, the recitative devised by Lully had made French opera possible three years earlier with the premiere of . The recitative revealed the musicality of French language: from then on, opera was no longer the Italians’ privilege.

Louis XIV supplied Lully with regal means, and the evening of January 10, 1676, at the old castle’s ballet hall, was splendid. In Ovid’s and Metamorphoses, Atys is turned into a pine tree for having resisted goddess Cybèle’s love. Metamorphosed by Quinault and Lully, his fate shows the unavoidable submission of sentiment to politics, leading to a tragic conclusion—quite unusual in French opera. Atys

Lully’s success also rested on the finances of his theater in Paris. Named Académie royale de musique, it was set up in the hall of the Palais-Royal. From May 1676 the theater was thronged with audiences and nobility three times a week, according to Mme de Sévigné: “The decorations exceed all that you have seen; the costumes are magnificent and stylish. There are highly beautiful scenes; there is a sleep and dream segment whose device is amazing. The symphony is all basses and with such drowsymaking tones that one marvels at Baptiste making a fresh start.”

Until 1753, Atys was revived, thanks to adaptations in the style of the day. At Paris fairs, the successive Atys parodies contributed to a new genre called opéra-comique. By the end of the Age of Enlightenment, only Quinault survived the changes in musical taste. The to Atys was arranged by Marmontel and set anew to music by Piccinni in 1780 at the Académie.

Then Lully was ignored in the 19th century. In the 1970s, a new generation of performers revived the Baroque repertoire. Lully was then considered to be, like Monteverdi, the initiator of a genre, a school, and a great tradition. Jean-Claude Malgoire recorded in 1975 and in 1983.

In 1985, Massimo Bogianckino, the director of Paris Opéra, decided to celebrate the 300th anniversary of Lully’s death. The plan focused on the Salle Favart which had been under the Opéra’s supervision since 1939. Thierry Fouquet, programming advisor at Favart, organized a meeting between Jean-Marie Villégier, the director of the Illustre Théâtre, his own company devoted to neglected 17th-century composers, and William Christie, whose Les Arts Florissants, founded in 1979, had been presenting large-scale projects. He also reached out to Francine Lancelot, a dance historian and founder of the first Baroque company, Ris et Danceries, in 1980.

The production premiered in Prato on December 20, 1986 and first performed at the Salle Favart on January 16, 1987, resulting in a huge success and a triumphant tour with 26 dates at the Théâtre de Caen, the Opéra de Montpellier, and the Royal Opera of Versailles. It was remounted in 1989 with 19 dates at Favart, Montpellier, and BAM, followed in 1992 by 26 dates at Favart, in Montpellier, Caen, BAM, and the Teatro de la Zarzuela in Madrid.

Thanks to this legendary production of Atys, the Salle Favart has regained its original status in the Paris operatic landscape. It proved to be the most capable of showcasing the Baroque renewal owing to its Ancien Régime dimensions. Recovering its autonomy in 1989 and its status as a national theater in 2005, the Opéra Comique is proud to revive this historical spectacle which so perfectly reflects its current identity.

About the 2011 production

In 1987, New York businessman and philanthropist Ronald P. Stanton was visiting Paris. He attended a performance of Atys at Opéra Comique and immediately fell in love with it. Some years later, Stanton, a patron of BAM, was at a dinner with Karen Brooks Hopkins, BAM’s president, and confessed his regret that he would most likely never see Atys performed again. He then wondered how much it would cost to remount the opera and with the figure from Hopkins in hand, he decided to fund the restaging himself—a dream realized, and the project of a lifetime. The 2011 staging and international tour (including a stop at Versailles) co-produced by BAM, Opéra Comique, Théâtre de Caen, Opéra National de Bordeaux, and Les Arts Florissants, coincides with BAM’s 150th anniversary—a milestone engagement of Baroque opera kicking off a celebratory sesquicentennial. Atys

Restaging this production

The Mekane workshop in Rome (Italy) completely recreated the production’s scenery. It was thanks to the Opera de Paris and the Opéra Comique’s archives, the support of scenographer Carlo Tommasi, and the work of a French faux-marble specialist that the scenery could be reproduced exactly the way it was in the 1987 production. Sketches drawn by the “silver” furniture scenographer were also used to allow the most faithful remounting.

The success of the production at the time of its creation permitted for some of the costumes to be preserved at the Centre national du costume de scène in Moulins (Auvergne). Some that were still in very good condition could be restored and used for the restaging of the production. Others were completely redone in the Opéra Comique workshops, hiring 40 workers for over two months.

Finally, we owe the beauty of the wigs in the production (90 total) to the craft of a French workshop that spent long weeks assembling by hand each hair on every wig, a symbol of the magnficence of the XVIIth-century French court. —Mickaël Godard, Opéra Comique

ABOUT THE COMPOSER

Jean-Baptiste Lully (1632—1687), although from Italy was an icon of French Baroque music. Born into a working-class Florentine family, he received little education but developed skill on the guitar and violin and as a dancer. He became employed by Mademoiselle de Montpensier of as a scullery boy, taught Italian, and studied music under Nicolas Métru before being fired for writing a piquant song. He soon began working for King Louis XIV—first as a dancer, then as a composer, and he was appointed Surintendant de la musique de la chambre du roi. He composed a number of ballets for Louis XIV (both he and the king danced selected repertoire) and began to compose music for Corneille and Molière, creating comédie-ballets, now commonly performed without the once-integral music and dance. As the king’s abilities and interest in dancing waned, Lully turned to opera. He established a working partnership with librettist Philippe Quinault (who penned Atys’ libretto), eventually overseeing all music performed in France. He tightly controlled what opera could be presented, perhaps contrib- uting to a fairly refined form of the genre—an acquired taste that in subsequent centuries struggled to captivate audiences as it did in Lully’s time, and as it has again in recent decades, flourishing in the repertoire of William Christie and Les Arts Florissants.

Lully is recognized as the founder of French opera, creating tragédies en musique for the French language after deeming the prevailing Italian style inappropriate. His compositions for dance notably increased the standard tempo, surely abetted by Lully’s own crisp skills as a dancer. Despite some personal indulgences by the composer that would erupt in scandal, the king found Lully’s talent indispensable. Lully was prolific, producing, on average, an opera a year from 1673 until his passing, including Alceste, Thésée, and , pastorales such as Acis et Galatée, and numerous ballets and other works. Lully lived by his baton and he died by it as well, succumbing from gangrene incurred while with a long staff, which accidentally struck his toe. Act IV. Featured: Bernard Deletré (center) Photo by Pierre Grosbois Orchestra & Chorus

Les Arts Florissants Basses de violon (CELLO) ARCHILUTHS Musical director William Christie David Simpson (bc) Thomas Dunford (bc) Associate conductor Paul Agnew Elena Andreyev Marc Wolff (bc) Associate conductor Jonathan Ulrike Brütt Cohen Brigitte Crépin Guitar, luth sopranO Executive manager Luc Bouniol- Damien Launay Jonathan Rubin (bc) Laffont Thomas Luks HARPSICHORD Marion Middenway Benoît Hartoin (bc) OrchestrA Cécile Verolles Alix Verzier harpsichord, organ Dessus de violon (VIOLIN) Béatrice Martin (bc) Florence Malgoire, violin solo FLUTE (bc) Basso continuo Jean-Paul Burgos Serge Saitta Myriam Gevers Charles Zebley Valérie Mascia ARTISTIC TEAM Satomi Watanabe RECORDER Paul Agnew, musical consultant Sébastien Marq Benoît Hartoin, musical assistant Catherine Girard Evolène Kiener François Bazola, choral director Sophie Gevers-Demoures Michelle Tellier Anne Pichard, linguistic consultant Guya Martinini Elisabeth Geiger, rehearsal director Michèle Sauvé OBOE Pier Luigi Fabretti Scores and orchestra materials Hautes-contre de violon Vincent Blanchard © Editions des Abbesses - Les Arts (VIOLA I) Michel Henry Florissants (edition of Pascal Duc Galina Zinchenko Machiko Ueno with the collaboration of Sébas- Christophe Robert Yanina Yacubsohn tien Daucé, Benoît Hartoin, and Kayo Saito Fannie Vernaz) George Willms BASSOON Claude Wassmer Les Arts Florissants are supported Tailles de violon (VIOLA II) Philippe Miqueu by the Ministère de la Culture Deirdre Dowling Emmanuel Vigneron et de la Communication, the Lucia Peralta Ville de Caen and the Région Michel Renard PERCUSSION Basse-Normandie. They are Marie-Ange Petit in residence at the théâtre de Quintes de violon (VIOLA III) Caen. Their Principal Sponsor Simon Heyerick VIOLA DA GAMBA is Imerys. Samantha Montgomery Emmanuel Balssa (bc) Jean-Luc Thonnerieux Anne-Marie Lasla (bc)

THEORBO Brian Feehan (bc)

Chorus Virginie Thomas Christophe Gautier Sheena Wolstencroft Benjamin Alunni Julien Neyer Soprano (Phantase) Arnaud Richard (Songe Liesbeth Devos HIGH TENOR Edouard Hazebrouck funeste) (Melpomène) Camillo Angarita Thibaut Lenaerts Marduk Serrano Lopez Nicole Dubrovich Sean Clayton Nicolas Maire Callum Thorpe* Élodie Fonnard* (Flore) Francisco Fernández- Jean-Yves Ravoux (Phobétor) Amélie Gautier Rueda* (Zéphir) Michael-Loughlin Smith Maud Gnidzaz Bruno Renhold * soloists from the 2011 Violaine Lucas Marcio Soares Holanda BASS edition of Le Jardin Brigitte Pelote Renaud Tripathi Virgile Ancely des Voix Rachel Redmond* (Iris) Reinoud Van Mechelen* Pierre Bessière Isabelle Sauvageot (Zéphir) Fabrice Chomienne Ysaline Staniszewski Laurent Collobert Who’s Who

William Christie (music director) was born 2005 as well as the Prix de chant choral Liliane in Buffalo, NY, and studied at Harvard and Bettencourt awarded by the Académie des Yale before settling in France in 1971, where Beaux-Arts in 2004. he founded Les Arts Florissants in 1979. A harpsichordist, conductor, and musicologist, he Jean-Marie Villégier (director) studied at taught at the between the Ecole Normale Supérieure and earned 1982 and 1995 and pioneered the rediscovery an agrégation in philosophy in 1963. His of Baroque music in France. He has collaborated professional career began in 1982. Since then with renowned directors in theater and opera he has worked on exploring older repertoire. (J.-M. Villégier, R. Carsen, A. Arias, J. Lavelli, G. He directed two tragedies by Corneille at Vick, A. Noble, A. Serban, L. Bondy, and more): the Festival de la Rochelle, Nicomède and at the ( in 1996, Sophonisbe, and at the Comédie-Française, , in 1999, and Les Cinna and La Mort de Sénèque by Tristan Boréades in 2003); the theater of Caen (Médée L’Hermite. With his own company, L’Illustre- in 1993, Il Ritorno di Ulisse in patria in 2002, Théâtre, founded in 1986, then at the Théâtre Les Boréades in 2003, Serse and Les national de Strasbourg, which he managed from in 2004, Il Sant’Alessio by Stefano Landi in 1990 to 1993, he directed Corneille (Médée, 2007); the Opéra du Rhin (Die Entführung aus Héraclius), Molière (Dom Juan, Le Tartuffe), dem Serail in 1993); the Théâtre du Châtelet Racine (Phèdre), Marivaux (The Isle of Slaves (King Arthur in 1995, Les Paladins in 2004); and The New Colony), Garnier (La Troade, and the Aix-en-Provence Festival, where Les Antigone, , Les Juives), Larivey (Le Arts Florissants presented many shows such Fidelle), Hardy (Alphée), Mairet (Les Galanteries as (1991), The Fairy Queen du Duc d’Ossonne), Brosse (Les Innocents (1992), The Magic Flute (1994), and coupables), Quinault (Le Fantôme amoureux), (1997), as well as a triumphal Il Ritorno di Favart (La Répétition interrompue and La Fée Ulisse in patria in the US (and again in 2002) Urgèle, in co-production with Opéra Comique), and Hercules (2004). In 2007, Les Arts and Rétif de la Bretonne (Le Drame de la vie). Florissants started a new collaboration with At the National Theatre of Belgium, from 1995 the Teatro Real in Madrid, where the ensemble to 1998, he staged The Liar, Sophonisbe, and performed the complete Monteverdi . He L’Illusion comique, performances then hosted has made an impressive number of recordings by the Athénée—Théâtre Louis-Jouvet in Paris. with Harmonia Mundi and Warner Classics/ In the lyric field, he contributed with Christie to Erato. Since November 2002, Christie and Les the revival of tragedy in music and of comédie- Arts Florissants have recorded for Virgin Classics; ballet: Atys by Lully (Teatro Metastasio, Prato, the first title for this label was a disc of sonatas 1986; Opéra Comique, 1987); The Imaginary by Handel with H. Kurosaki, violin soloist with Invalid (in collaboration with Christophe Galland, Les Arts Florissants. Since 2002, Christie has Théâtre du Châtelet, 1990); Médée (Théâtre been a regular guest conductor at the Berlin de Caen, Michel Szabo Opéra du Rhin, Opéra Philharmonic Orchestra. Eager to improve his Comique, 1993—94); Hippolyte et Aricie work as a teacher, he founded an academy (Opéra de Paris, 1996); Atys (in 1989 and for young singers in Caen, Le Jardin des Voix, 1992), Médée (1994); and Hippolyte et Aricie whose first four seasons in 2002, 2005, 2007, (1997), later performed at BAM. Since 1998, and 2009 caused a great sensation in France, Villégier’s shows have been close collaborations Europe, and the US. He obtained French with Jonathan Duverger who co-signed the citizenship in 1995 and is Commander of the mise-en-scènes of Rodelinda (Glyndebourne National Order of the Legion of Honour and of Festival, 1998); Les Philosophes amoureux the Order of Arts and Letters. In 2008, Christie by Destouches (2001); Le Mariage de Le was elected to the Académie des Beaux-Arts and Trouhadec by Jules Romains (2001); Béatrice et was officially received by the Institute in 2010. Bénédict (Opéras de Lausanne et de Bordeaux, He also won the Prix Georges Pompidou in Opéra du Rhin, 2002—03); Les Deux Trouvailles Act II: Stéphanie d’Oustrac (earlier cast) Photo by Pierre Grosbois Who’s Who

de Gallus by Victor Hugo (2003); The Merry W. Decker, J. Jouaneau, J. Kylian, and R. Petit Wives of Windsor (2004); L’Amour médecin (Paris Opera), and has taken part in haute and Le Sicilien by Molière and Lully (Comédie- couture collections (Lacroix, Mugler, Chanel) and Française, 2005); La Révolte by Villiers de film (The Lover, J.J. Annaud; Jean de Florette by l’Isle-Adam (2006); and Jephtha (Opéra du C. Berri). Rhin, Opéra national de Bordeaux, 2009—10). After giving numerous readings from Saint-Amant Patrice Cauchetier (costumes) was first J. to Claude Simon, Villégier played Orgon and Schmidt’s assistant on P. Chéreau’s productions Falstaff, then took part as an actor in the creation before joining J.P. Vincent at Théâtre de of Les Parenthèses orphelines, a play by Danièle l’Espérance, TNS, and Comédie-Française. Sallenave directed by Jonathan Duverger. He He worked with P. Strosser, A. Françon, and was Dom Louis in a new presentation of Dom J.-M. Villégier, as well as with J.M. Simon, J.L. Juan, the final performance of his company. Thamin, N. Joël, J. Dautrenay, Mi. Deutsch, J. Lassalle, B. Bayen, A. Engel, and D. Marleau. François Bazola (chorus master), studied at After receiving the Prix de la Critique (French François-Rabelais University, the CRR in Tours, Syndicate of Cinema Critics, Atys, 1987) and and entered the CNSMDP (National Conservatory the Best Costumes Molière Award (La Mère of Music, Paris). He then worked with Les Arts coupable, 1990), he has been nominated Florissants (Médée, The Fairy Queen, King regularly for the Molière Award for his creations, Arthur) and became Christie’s assistant. From including Three Sisters (A. Françon), Jephtha 2007 to 2009, he was the art director of the (J. Duverger et J.-M. Villégier), Così fan tutte Ensemble Philidor, creating L’Atelier Philidor, (Y. Beaunesne), and Les Acteurs de bonne foi and conducting Così fan tutte on a tour (Y. (J.-P. Vincent). Beaunesne). In 2010, he created the Ensemble Consonance and became an artistic adviser for Christophe Galland (co-director) attended the the Florilège Vocal de Tours. Among his projects TNS school and won the Villa Médicis Hors with this new ensemble is Terre, mer, escoutez… les murs. In his career in theater and opera in conjunction with the Richelieu exhibition he has become known for his interdisciplinary in Richelieu and Estro poetico (with pieces by approach. He collaborated for 10 years with Marcello and Vivaldi). He has taken part in the J.-M. Villégier, notably on Atys, Médée, and The Ambronay European baroque Academy and Imaginary Invalid. Since 1989, he has directed now works regularly with the Cepravoi (vocal many shows by his company and in partnership organization in the center of France). He was with ensembles such as Les Arts Florissants, appointed Chevalier de l’ordre des Arts et des Le Concert Spirituel, La Cappella della pieta de’ Lettres in 2006. Turchini, and Diabolus in Musica. He was invited to the opera houses in Nancy (Le Triomphe Daniel Blanc (wigs), started his career in d’Iris), Besançon, Clermont-Ferrand, Bari, Ferrara television (France 3), then collaborated with (La Finta Cameriera, Li Zite’n Galera), Rennes, Monsieur Alexandre and created a wig and and Reims (Giovanna d’Arco). He has taught false hairpiece workshop. He worked with for 20 years, and has been invited by institutions M. Maréchal (Théâtre national de la Criée, such as CMBV, CNSM, CNSAD, and Royaumont. Marseille), then, at B. Lefort’s invitation, joined He also wrote JE s’adresse, published by the Festival of Aix-en-Provence where he was Cheyne Éditeur. chief wigmaker for more than 10 years. He collaborated with J.P. Vincent (The Misanthrope, Francine Lancelot (choreography) (1929— Strasbourg; Three Sisters, Festival d’Avignon; 2003) was introduced to dance notation by P. Médée, Opéra Nouvel, Lyon) and J.-M. Villégier Conté and to folk and historical dance by J.M. and P. Cauchetier (Dom Juan, Lisbon; The Guilcher. She was a doctor in ethnology and Imaginary Invalid, Théâtre du Châtelet; Hippolyte worked for the CNRS. She devoted herself to et Aricie, Palais Garnier). He has worked with the rediscovery of the choreographic repertoire Who’s Who of the 17th and 18th centuries. In 1980, she Patrick Méeüs (lighting) has collaborated with created the Ris et Danceries company and D. Mesguich (Bérénice, Hamlet, La Vie worked on Des plaisirs champêtres aux menus parisienne, Le Dibbouk, Du cristal à la fumée) plaisirs, Bal et Ballets à la Cour de Louis XIV, and Comédie-Française (Agatha; Le Glossaire; and Rameau l’Enchanteur. R. Nureyev invited Oh, les beaux jours). He has lit dance including her to choreograph Bach Suite and Quelques Des saisons à Buenos Aires, Saison russe pas graves by Baptiste at the Paris Opera. With (Toulouse); Gisèle (Nice, Avignon); and Soirée F. Raffinot, she created Caprices and Tempore de Falla (Nice). At the opera, he collaborated e mesura. She then collaborated with J.-M. on Pelléas and Mélisande, Gogol, Così fan Villégier on Atys at the Opéra Comique, The tutte, and Carmen. Among his recent work: Imaginary Invalid at Théâtre du Châtelet, and Soirée Ballet Chimère (Toulouse), Jephtha The Bourgeois Gentleman at Comédie-Française. (Bordeaux), La Vie parisienne (Montpellier), In 1996, she published her main work, La Belle and Francesca da Rimini and Faust (Teatro de Dance, a catalogue raisonné of Baroque dance la Plata, Argentina). Among his projects: La from 1700 to 1790. Fille de Madame Angot (Lausanne), Un bal masqué (Monte-Carlo), Rigoletto (Montpellier, Béatrice Massin (choreographer) is a revered Chorégies d’Orange), Les Trois Mousquetaires specialist of Baroque dance. A dancer in several (Toulouse), Romeo and Juliet (Lausanne), Soirée contemporary dance companies such as the Chorégraphes américains at the Opéra of Nice, Susan Buirge company, Massin met Francine and Tannhäuser (Montpellier Opera). Lancelot in 1983 and became a member of her dance company, Ris & Danceries. She was Suzanne Pisteur (makeup) studied at the Ecole in succession a dancer, Lancelot’s assistant des arts appliqués Duperré, and after working (Atys, 1986), an artistic collaborator (The Fairy in fashion, television, and cinema, turned to live Queen, 1989 on), and a choreographer (Water performance, collaborating with famous directors Music, 1990), before creating her own dance (J.-M. Simon, A. Françon, D. Mesguich) and company, Fêtes galantes, in 1993. When she costume designers (P. Cauchetier, F. Tournafond, began working with Lancelot, she immediately C. Obolensky). She did the makeup for Les adopted the Baroque language. She believes Contes d’Hoffmann (L. Pelly) and La capricciosa choreography and the stage’s codes define a correta (R. de Letteriis). She also took part in framework that she continually tests in such Villégier’s productions (Atys, Médée, La Fée works as Let my joy remain (to J.S. Bach, 2002, Urgèle at Opéra Comique) and more recently, and the Bard SummerScape Festival, in July Hippolyte et Aricie (Palais Garnier). She worked 2011); Un air de Folies, dance and music mix at the Opéra Bastille (Don Giovanni), Théâtre du in airs de cour to the Folies d’Espagne of Marin Châtelet, and Théâtre de la Monnaie (The Ring), Marais (2007); and Songes—a baroque dream and Opéra Comique (Don Quixote, Les Indes for the 21st century (2009) are some of her galantes), and recently The Threepenny Opera, repertory performed around the world. Massin The Birds, Winter Funeral, and Mille francs has regularly been commissioned: Le roi danse, de récompense. a film directed by Gérard Corbiau, 1999; La Parade baroque, official opening of the Centre Carlo Tommasi (set designer) has worked National de la Danse, Paris, 2004; Le loup et on productions with such stage directors as l’agneau, as part of Les Fables à La Fontaine J.-P. Vincent (La Tragédie de Macbeth by project, La Petite Fabrique, 2004; European duet Shakespeare, 1985); J.-M. Villégier (Atys, for the KoresponDance Europe project dedicated 1986; Les Galanteries du Duc d’Ossonne by to the support of young choreographers in Czech de Mairet, 1987; Le Fidèle by Pierre de Larivey, Republic, France, Germany, and Slovakia, 2010. 1989; Phèdre by Racine, 1992); and A. In 2003, at Paris L’Atelier baroque, Massin Françon (La Vie parisienne, 1991). He worked created a tool for research and transmitting with G. Vergez on Le Visiteur by É.-E. Schmitt knowledge with which she trains a new (1994) and on the same title with D. Roussel generation of dancers and choreographers. (1998). For television, he created sets for the Who’s Who drama Verdi (1982), and as artistic assistant European Academy in Ambronay. He has sung he worked on Les séquestrés d’Altona (1962). madrigals by Monteverdi in Tuscany (dir. C. Other productions includes Le Malade imaginaire Rousset) as well as at Opéra of Compiègne (1990), Alcina (1990), La Vie parisienne (Actéon and Les Arts Florissants, Charpentier). (1991), Così fan tutte (1992), Roméo et Juliette He sings the parts of Oronte (Médée, (1994), and Falstaff (1995). Charpentier), Lubin (Les Troqueurs, Dauvergne), Father Trulove (The Rake’s Progress, Stravinsky), Paul Agnew (tenor, Dieu du Sommeil; musical and Azor (Cendrillon, Laruette). He recently assistant), following a successful conducting recorded pieces by O. Mellano and will be debut with Les Arts Florissants in 2007, was performing a new opera piece created by the appointed associate conductor and has led the Italian composer F. Gardella next season. orchestra on tour in London, Vienna, Salzburg, and throughout France. He became music Cyril Auvity (tenor, Morphée) graduated from director of the Orchestre Français des Jeunes Lille University and won the 1999 international Baroque in 2009. Agnew is co-director of the singing competition in Clermont Ferrand. academy for young singers, Le Jardin des Voix, Chosen by William Christie, he started his career and made his début singing the title role in performing in Il Ritorno di Ulisse in Patria (Aix- Hippolyte et Aricie (Palais Garnier). He returned en-Provence Festival, Europe and US tours). to Opéra National de Paris for productions of He has sung at festivals and opera houses in Platée, Les Boréades, and Les Indes galantes. Persée, Gli Strali d’Amore, Te Deum, The Fairy Agnew performs haute-contre roles worldwide Queen, Médée, Persée, Dido and Aeneas, and (including the Festival d’Aix-en-Provence and the title role in Actéon. His long collaboration Opernhaus Zürich) in ; The Turn with Christie continued with new productions of the Screw (Opéra National de Bordeaux); by Charpentier. He debuted the title role in L’anima del filosofo (Kammerorchesterbasel, Pygmalion in a co-production between Nancy Vienna and Eisenstadt); and Jephtha (Det Opera House and Théâtre du Châtelet and in a Kongelige Theater, Copenhagen). Agnew made new production of Callirhoé (Montpellier). He his debut with the Royal Opera, Covent Garden toured Le Médecin malgré lui, debuted as Don in a new production of Acis and Galatea, Giovanni, and performed the role in Montpellier, marking the 250th anniversary of Handel’s where the following year he sang Tamino in The death. Guest engagements include the Berliner Magic Flute. At Lille Opera he sang Basilio in Philharmoniker, City of Birmingham Symphony Le Nozze di Figaro with Le Concert d’Astrée. He Orchestra, and the Gabrieli Consort & Players, also performed in Partenope (Italy); Telemaco in among others, with appearances at the BBC Il Ritorno d’Ulisse (Madrid Teatro Real); Thésée Proms, Edinburgh Festival, Music of the Baroque (Paris, Lille); (title role; Avignon, Massy); (Chicago), and St. John Passion (Rotterdams King Arthur, Mercure in Platée (Opera National Philharmonisch Orkest). In addition to Atys’ du Rhin, Bruxelles’ Bozar); and Pan in La Calisto tour, season highlights include his debut with (Théâtre des Champs-Élysées). After a successful Opéra de Nice in Dialogues des Carmélites. premiere in Beaune’s International Festival, He conducts Les Arts Florissants in settings he sang the title role in Bellérophon with Les of Stabat Mater, Lotti, and Scarlatti, and Talens Lyriques. Next season, he appears at makes his operatic conducting debut with Der Teater an der Wien in Orfeo, Egisto (Paris’ Opéra Schauspieldirektor (Opéra de Rennes). Agnew Comique), Les Indes galantes (Bordeaux Opera), has a discography of over 100 recordings. and a new production of Platée (Stuttgart Opera House). Auvity has recorded for several major Benjamin Alunni (, Phantase) won labels including Erato, Naïve, and EMI/Virgin. the Prix d’Honneur of the Oeuvre des Saints- Anges, and received his higher education at Sophie Daneman (soprano, Doris) studied at the the CNSMDP and the Norges Musikkhøgskole Guildhall School of Music and has appeared in in Oslo. He helped create the Ensemble Vocal major recital venues including Wigmore Hall and du Maine – A Sei Voci, and took part in the Queen Elizabeth Hall (London), Concertgebouw Prologue. Élodie Fonnard and Bernard Deletré Photo by Pierre Grosbois Who’s Who

(Amsterdam), Musikverein (Vienna), and completed the postgraduate program. She has Carnegie Hall. Opera engagements include sung Barbarina (Le Nozze di Figaro); Tonina Rodelinda (Netherlands); Arianna, Cleopatra (Prima la musica poi le parole); Elena (Cavalli’s (Giulio Cesare); Dalila (, Göttingen Ercole amante); Yniold (Pelléas et Mélisande— Handel Festival); and Mélisande (Opéra Royal Scottish National Orchestra and Opéra de Comique). She has sung Servilia (La Clemenza Tours); Serpetta (La Finta Giardiniera); Oberto di Tito, Barcelona Symphony Orchestra); Euridice (Alcina); Miles (Turn of the Screw); First Grace (L’Anima del Filosofo, Opéra de Lausanne); (Orfeo dolente); Clorinda (La Cenerentola); Euridice (L’Orfeo); in Dido & Aeneas (Bavarian Jeunesse (Destouches’ Le Carnaval et la Folie); State Opera); the title role in (New Despina (Così fan tutte); Il Pastore (Tosca); and York, Paris, Salzburg); in Wonderful Town; Léoena (La Belle Hélène). With R. Jacobs she and her first Susanna in Le nozze di Figaro sang Sant’Agnese in Martirio de Sant’Agnese (Grange Park Opera). She appeared in staged (Innsbruck). She has worked with conductors productions of Skellig (The Sage, Gateshead) and including S. Denève, P. Hui, and E. Olivier, and sang Phèdre in Hippolyte et Aricie (Nationale with stage directors including V. Boussard, J. Reisopera). She has toured extensively with Les Osinsky, and P. Kuentz. De Negri sang with Arts Florissants, and has performed with N. Le Jardin des Voix, with whom she toured Marriner, G. Lesne, J.E. Gardiner, and others. internationally (London, Madrid, New York, She has sung Apollo e Dafne (Maggio Musicale), Oslo, among others). In 2009—10 she toured and L’Allegro (Scottish Chamber Orchestra), and with Les Arts Florissants in Susanna (Europe), a appeared with the Halle Handel Festival, Beaune program of Grands Motets Français (France), and Festival, and Berlin Philharmonic Orchestra, in London, The Fairy Queen (France and New among others. She performed Schoenberg’s York/BAM). Quartet Op. 10 with the Tokyo (Valencia, Madrid), in recital with Christianne Bernard Deletré (bass-baritone, Le Temps; le Stotijn, Ian Bostridge, and in concerts with fleuve Sangar), was born in Valenciennes and Apollo’s Fire (US, Europe). Daneman has attended the Conservatoire National Supérieur recorded with Virgin Classics, Chandos, EMI, and de Musique (Paris). He has sung under such Hyperion (three volumes of Mendelssohn Lieder); conductors as J.E. Gardiner, P. Herreweghe, several have won awards. M. Minkowski, and others; in opera with such producers as Villégier, Garichot, and Arias; and Emmanuelle de Negri (soprano, Sangaride) in contemporary projects with Atelier Lyrique sings with Les Arts Florissants in Dido du Rhin and Péniche-Opéra. After singing & Aeneas (Belinda), Actéon (Aréthuze), traditional repertoire (La Traviata, Thaïs, Un Pygmalion (Statue), and Indian Queen (Cité ballo in maschera), Deletré sang in Atys with de la Musique, Paris; Caen; Pontoise). She Christie; other early-music collaborations include performed with l’Ochestre Français des Jeunes Giasone, Orfeo, The Fairy Queen, Castor et (Opéra Comique, Paris and Grand Théâtre de Pollux (Aix-en-Provence), Les Indes galantes, Le Provence, Aix-en-Provence). She sang Agilea Malade Imaginaire, Orontea, Hippolyte et Aricie in Teseo (Les Folies Françoise, Caen; Orléans; (Stuttgart), Médée, and La Clemenza di Tito. Théâtre des Champs-Elysées, Paris). She has Deletré sang Idoménée under Christie; it received sung Mélisande in Ariane et Barbe-Bleue enthusiastic reviews and was recorded. In the US (Salle Pleyel, Paris), Cupid (Aix-en-Provence he sang Giove in La Calisto (Glimmerglass and Festival), and Orphée aux Enfers (France tour). Sidney Opera). He was Egee in Thésée (Boston In 2011—12, she sings Papagena in The Magic Early Music Festival) and Momus in Platée (both Flute (Nice and Théâtre des Champs-Elysées, for NYCO and Berkeley Festival). In recital he Paris) and in The Fairy Queen (Glyndebourne). sang French cantatas (Florence Gould Hall), with De Negri studied cello before entering the L’ensemble Baroque de Limoges (French tour, Nîmes Conservatoire. She studied drama and Jerusalem, and Tel Aviv), and Winterreise (Paris obtained a postgraduate degree from Montpellier and Festival des Arcs), and as a narrator (Les University; she won CNSM’s first prize and Enfants à Bethléem, King David). Last seasons’ Who’s Who engagements include Les Contes d’Hoffmann, Royal de Wallonie, Liège), and at venues in Katia Kabanova, and The Cunning Little Vixen Bruxelles, Antwerp, and Beveren, among others. (Geneva Opera); Orfeo and Alceste (Théâtre She sings regularly in concert with pianist Lucas des Champs-Elysées, Paris); and as scenarist, Blondeel at Bruxelles’ Bozar and Flagey concert stage director, and actor for Aboulker’s opera halls and with the Flemish Opera. In 2005 La Fontaine incognito (Limoges Opera House). the duo won the Kurt-Leimer competition in He has worked with Nationale Reiseopera Zürich. A winner of various scholarships, she (Netherlands) as Arkel in Pelléas, Des Grieux in was selected to attend the Académie de chant Manon, and Creon in Medea, and in concert, of Aix-en-Provence, taking part in a tour of Mozart’s (Monte Carlo Orchestra), performances of Le nozze di Figaro (Barbarina). Acis and Galatea (Washington), Seven Deadly Sins (Radio-France), and Petrouchka (Orchestre Jean Charles di Zazzo (dancer; Master of National de Lille). Recent engagements include Ceremonies, Alecton) took his first steps at the Les Contes d’Hoffmann and a recital at the dance school of the Paris Opera, and was hired Geneva Opera House, an Italian tour with by the baroque dance company Ris et Danceries La Simphonie du Marais, Le Nozze di Figaro (F. Lancelot). He worked with Les Arts Florissants (Théâtre des Champs-Elysées), recitals at La (dir. W. Christie) in Anacréon/Actéon and Bal Péniche Opéra (Paris), and the revival of La à la cours de Louis XIV. In between he worked Veuve et le Grillon for the same venue. Deletré with A. Degroat and M. Monnier, then joined D. has recorded for Erato, EMI France, Adda, Opus Bagouet at the Centre chorégraphique national 111, and Harmonia Mundi. (Montpellier). He became J.M. Villégier’s assistant at Paris Opera, and P. Montarsolo and Liesbeth Devos (soprano, Melpomène), hails V. Vitoz’s assistant at the Opéra du Rhin. He from Belgium, graduated from Beveren-Waas, also made his own mise-en-scènes (Champs, and studied at the Royal Flemish Conservatory Une volonté farouche d’éviter l’essentiel). At the (Antwerp). She sang Miss Wordsworth in Albert same time, he worked with Villégier (Don Juan), Herring (Operastudio Flanders) and Meleagro in P. Pineau (Sale août), and D. Galas (Le petit La Corona (Antwerp Conservatory). In 2006 she Harlequin, Quichotte). A contemporary dance performed in Dido & Aeneas (Flanders Festival, teacher and a theater graduate, he organized Bruxelles) and Despina in Così fan tutte (La theater workshops, notably at the Académie Monnaie, Bruxelles, with Chapelle Musicale nationale des arts du cirque Fratellini. He writes Reine Elisabeth). In 2007 she sang Ilse in the and performs his songs with Matu. premiere of Frühlings Erwachen by Mernier and Papagena in Die Zauberflöte (La Monnaie). Francisco Fernández-Rueda (tenor) began as Devos performed in Pergolesi’s Stabat Mater, a clarinettist and discovered singing with Coro Le nozze di Figaro (Aix-en-Provence), La strada Barroco de Andalucía and the Juan Navarro (Royal Flemish Opera, Antwerp), Le nozze di Hispalensis chamber choir. He was admitted Figaro (Gand), Death in Venice (Teatro la Fenice, to the Catalonia College of Music, then studied Venice), Fruehlingserwachen (Opéra du Rhin, with R. Sikorski et D. Jones in Paris. Winner Strasbourg), The Rape of Lucretia, Don Carlo, of the second singing contest of the Fondation Peter Grimes, and the world premiere of The Valvi and of the prize of the Fundación Victoria Rage of Life (Royal Flemish Opera, Antwerp), of Los Angeles for young singers, he is also a Carmina Burana (Teatro Verdi, Trieste), member of the ensemble vocal Qvinta Essençia. Nelsonmesse (Academy of Ancient Music, He regularly performs at festivals such as Beijing; Royal Flemish Opera, Antwerp) and Händel-Festpiel de Halle and Festpielhaus in L’inimico delle donne (Opéra Royal de Wallonie, Baden-Baden and Lucerne Festival zu Ostern. Liège). Current and future engagements His repertoire includes the (J.S. include Stabat Mater (Händel & Haydn Society Bach), Membra Jesu Nostri (D. Buxtehude), Orchestra, Boston), St. Matthew Passion Leonato (Alessandro, Handel) and the Shepherd (Bruxelles and Antwerp), Atys (Melpomène) by (Orfeo, Monteverdi) as well as the Vespro della Lully in Versailles, and Guillaume Tell (Opéra Beata Vergine. Who’s Who

Élodie Fonnard (soprano, Flore / Suite de and The Fairy Queen (2009 Glyndebourne Sangar) was born in Caen, studied piano Festival); plus roles in The Turn of the Screw, and voice at the Conservatoire de Caen, and The Rape of Lucretia, Don Giovanni, , graduated from the Conservatoire Régional and Acis and Galatea (New London Consort). de Paris. Fonnard made her first professional Recent and future operatic engagements include appearance at théâtre de Caen as Mastrilla (La three projects with Les Arts Florissants and Périchole) and Cio-Cio San in Madame Butterfly. William Christie: the title role of Pygmalion She sang the title role in Dido & Aeneas, Juno (Aix, Holland, and Athens Festivals), The in The Fairy Queen with Concert d’Astrée (Opéra Fairy Queen (Paris and BAM), and the title de Lille, Europe tour), and Hymen in Cadmus et role of Actéon (Paris); Freddy in My Fair Lady Hermione at the Opéra Comique (Paris, Caen, (Théâtre du Châtelet and the Mariinsky Theatre Rouen, Aix-en-Provence, and Luxembourg). in St. Petersburg), (English Fonnard was accepted into Le Jardin des Voix, National Opera), Hylas in (Royal where she works under Christie and P. Agnew on Opera House), and The Fairy Queen (New concert and operatic répertoire including Atys. As London Consort, European tour). Future concert an soloist Fonnard has performed in Dixit engagements include performances with City Dominus, Mozart’s Requiem, Paukenmesse and of Birmingham Symphony Orchestra, Orquesta Nelson Mass, Oratorio de Noël, and Beethoven’s Sinfonica de Euskadi and Ludus Baroque, Mass in C Major. She has performed under Giustino (Theater an der Wien and Theatre des conductors such as E. Haïm, H. Niquet, and M. Champs Elysées), and a recital at Paxton House. Gester, among others. Fonnard has an affinity for lieder/song composers Eisler, Szymanowski, Marc Mauillon (baritone, Idas), of France, was and Lutoslawski, and contemporary artists nominated for the Révélations des Victoires de Mittendorf, Penderecki, and Moulin. Her piano la Musique 2010. Performances this season recitals include Debussy (Paris), Schumann include Poème Harmonique (with whom he (Musée Carnavalet), and orchestra (Ravel’s recorded and performed Combatimento last Histoires Naturelles). season) and Cadmus et Hermione, staged by Benjamin Lazar, who also directed him in the Ed Lyon (tenor, Atys) studied at St. John’s opera Cachafaz (Opéra Comique). He stars in College, Cambridge; the Royal Academy; and King Arthur (Le Concert Spirituel) and Grands the . Recent engagements Motets (Le Concert d’Astrée), and performs his include Nelson Mass (RTE National Symphony second Machaut recital Le Remède de Fortune Orchestra); Mozart’s Requiem (BBC Symphony (Avignon and Utrecht Festivals). In 2011—12, Orchestra); Summer of Solstice (BBC Proms); he debuts at BAM in Atys and at the Opéra de L’Enfance du Christ (Mozarteum Orchester Paris in Hippolyte et Aricie. He joined Le Jardin Salzburg and Musikkollegium Winterthur); des Voix in 2002, often performing with Les Tom Rakewell/The Rake’s Progress (City of Arts Florissants—Le Jugement de Salomon and Birmingham Symphony Orchestra); and concerts Le Grand Office des Morts/Te Deum (Virgin at the Aldeburgh and Edinburgh Festivals. Classics); Armide (Théâtre des Champs-Elysées); Operatic roles include Hyllus in Hercules (Les and Dido & Aeneas (Wiener Festwochen, Opéra Arts Florissants, London and New York); the title Comique, DNO in Amsterdam, Barbican Center, role in Orfeo (2007 Aix Festival); Pane in La London). He has sung Papageno in Zauberflöte Calisto (Covent Garden, Bayerische Staatsoper); with Orchestre National d’Ile-de-France (Massy, Telemaco in Il ritorno d’Ulisse in patria (Welsh Besançon, and Saint-Etienne), in 2008—10, National Opera); Tamino in The Magic Flute he was Guglielmo in Così fan tutte on tour in (Opera North); Lucano in L’incoronazione di France. He sang Roger (Le Balcon), Roméo 2 Poppea (Opera Theatre Company, Dublin); (Roméo et Juliette, Opéra Comique), Le Mari Orfeo (Le Concert d’Astrée); Poppea and Ulisse (Les Mamelles de Tirésias), and Pelléas (Pelléas (Netherlands Opera); Lysander in A Midsummer et Mélisande) and appeared in Trouble in Tahiti Night’s Dream (Covent Garden and Opéra and L’Enfant et les Sortilèges (Opéra National de National de Lyon); Eurimaco in Ulisse (Madrid); Lorraine). In medieval and Renaissance music, Who’s Who he works with J. Savall and the ensembles Alla Rachel Redmond (soprano, Iris) was born in Francesca and Doulce Mémoire, and on Machaut Glasgow. She sang with the Royal Scottish projects with P. Hamon, V. Bif, and A. Mauillon. National Orchestra at the age of seven, and for Their first release was L’Amoureus Tourment 10 years sang with the National Youth Choir of (Machaut), which won several awards. The Scotland, often as a soloist. She studied at the second Machaut recording, the narrative poem Music School of Douglas Academy and received Le Remède de Fortune, with its remarkable her BA Hons from the Royal Scottish Academy 44-minute long plaint, was as successful of Music & Drama, where she won the Florence critically and with audiences. Veitch Ibler prize for oratorio performance. She earned a master of music at the Guildhall Ingrid Perruche (soprano, Mélisse) graduated School of Music & Drama. Redmond made her from Conservatoire National Supérieur de Glyndebourne debut in 2009 as a solo fairy in Musique de Lyon magna cum laude, before The Fairy Queen. Other recent solo performances attending the Conservatoire National Supérieur include Apparition in Macbeth (Glyndebourne de Musique de Paris. She won “lyric revelation Festival Opera); Brahms’ Requiem (Glasgow City of the year” (Victoires de la Musique Classique, Hall, with the Glasgow Chamber Orchestra); 2005). She has performed throughout France in Chichester Psalms (Royal Albert Hall, with BBC La Donna mobile (Ama), Le Téléphone (Lucy), Scottish Symphony Orchestra); , as part Cadmus et Hermione (Hermione), Agrippina of the Britten-Pears Young Artist Programme, (Poppée), Don Giovanni (Zerlina), Pelléas et St. Matthew Passion in Dunblane Cathedral, Mélisande (Mélisande), Zauberflöte (Pamina), Jenkins’ new Gloria, and Beethoven’s Mass in C and Callirhoé (The Queen), and with La Voix (The Se, Lisbon). She has recorded as a soloist humaine. Recent parts include Susanna (Nozze with NYCOS and RSAMD Chamber Choir, and di Figaro, Caen), Agathe (Véronique, Châtelet), last year she was a semi-finalist in the Kathleen Eurydice (Orphée), Pamina (Zauberflöte, Ferrier Awards and a finalist in the London Bach Avignon and Tours), Cleopatra in (Giulio Prize. Redmond is a member of Le Jardin des Cesare, Nancy), and more. In concert, she has Voix and her future engagements include the sung Gossec’s Requiem and Dixit-Dominus, Angel in a European tour of Jephtha with Les Mendelssohn’s Elias and Schumann’s Manfred Arts Florissants, Messiah, Faure’s Requiem at (Orchestre National de France), Schmitt’s the Burford Easter Festival, Caecilia in Caecilia, Psaume XLVII, and Mahler’s Fourth Symphony and Virgo and Martyr in Aix-en-Provence. (Salle Pleyel). In recital, she performs with such artists as , Christophe Anna Reinhold (mezzo-soprano, Cybèle) Coin, and . Perruche studied with J.-L. Dumoulin before entering the has recorded Le Premier Cercle (Harmonia Conservatoire National Supérieur de Musique in Mundi), Missa pro Defunctis, Agrippina, and Paris, where she studied under I. Guillaud and Third Symphony. She sang Don Giovanni and received her diploma in 2010. There she met K. Le Nozze di Figaro (Tourcoing and Théâtre des Weiss, who introduced her to Baroque music. In Champs Elysées, Paris); Pamina (The Magic 2007, she studied under C. Visca and W. Moore Flute, Tours); Servilia (La Clemenza di Tito, at the University of Vienna. She has soloed in Rouen); Véronique (title role, Rouen and Saint- Bach’s cantatas (under S. Kuijken) as well as Etienne); Mélisande (Pelléas et Mélisande, Magnificat, Charpentier’s Te Deum, Mozart’s Sadler’s Wells London, Nancy, Rouen); Requiem and Great Mass in C, and Maurice L’incoronazione di Poppea (Bordeaux); Iphise Ohana’s Office des Oracles with R. Hayrabédian. (, Lille, Caen, Dijon); and Sténobée She was invited by the orchestra Les Archets (Bellérophon, Beaune, Versailles, Vienna). Baroques to give several recitals of opera arias Upcoming performances include Dédé (Tours), as well as Handel and Vivaldi at the Orphée et Eurydice (Saint-Etienne, Versailles), Sainte-Chapelle in Paris. On stage, she has Les Aventures du Roi Pausole (Geneva), and Il sung Dido in Dido & Aeneas (Montpellier), the Ritorno d’Ulisse in Patria (Paris Opera). gamekeeper’s wife in Janacek’s The Cunning Little Vixen (Liège and Reims), Cherubino in Who’s Who

The Marriage of Figaro (Conservatoire National collaborated with Christie on Les Indes galantes Supérieur), and the Prince in Massenet’s (Aix-en-Provence) and Les Boréades (Paris Cinderella (Nice). In 2011, she was chosen to National Opera, and world tour). He sang in participate in the fifth session of Le Jardin des more than 20 of their productions including Voix in an international concert tour under the Rinaldo, Hippolyte et Aricie, Les Danaides, direction of W. Christie and P. Agnew (Caen, Mozart-Da Ponte Trilogie, Platée, and three Paris, Madrid, BAM). With Le Jardin des Voix, Monteverdi operas). Rivenq sang in Strehler’s she has sung in LAF’s remounting of Lully’s Atys final opera production (Così fan tutte) for the on tour, alternating between the roles of Cybèle opening of the Teatro d’Europa in Milano. He and Melpomène. performed for La Fenice’s reopening under Muti and the Cité de la Musique in Paris under Arnaud Richard (bass-baritone, Songe Funeste) P. Boulez and Christie. With a repertoire from was awarded the highest distinction upon Baroque to modern music, Rivenq performs graduating from the CRR of Caen. In 2006 he internationally with conductors like Z. Mehta, won second prize in the international competition S. Ozawa, R. Jacobs, M. Benini, J. Marin, C. of Marmande for the French song category. On Scimone, and more. Rivenq received first prize of the opera stage he has appeared in the roles of the Viotti Competition (Vercelli, 1990) and has Sarastro in The Magic Flute (Festival lyrique de sung on more than 50 CDs/DVDs. Nice-Gattières); a Swiss, Spaniard, and Italian in by Molière and Callum Thorpe (bass-baritone, Phobétor) sang Lully, and Géant Draco and Mars in Cadmus with Coventry Cathedral Choir before pursuing et Hermione by Lully (Opéra Comique, Paris a PhD in Immunology from Imperial College, with le Poème Harmonique and V. Dumestre). London. Supported by the Sir Thomas White He also sang Guglielmo in Così fan tutte with Educational Foundation and the Josephine the orchestra Amadeus, Alquif/Ardan-Canile Baker Trust, he returned to music and studied in Amadis by Lully (opéra d’Avignon), Uberto opera at Royal Academy of Music, London in La Serva Padrona by Pergolesi (Toulouse), with M. Wildman, where he was awarded Aeneas in Dido and Aeneas (Novosibirsk with the Harry Fischer Memorial Prize, where T. Currentzis), Brander in La damnation de he currently studies with J. Evans. Operatic Faust by Berlioz (Théâtre du Chatelet, Paris), engagements at the Royal Academy include and Pietro in Simon Boccanegra (opera du Rhin Giove (La Calisto), Figaro (Le Nozze di Figaro), Strasbourg). Forthcoming projects include Pollux Mylkin (Cheryomushki), Pinellino (Gianni (Castor and Pollux by Rameau), Agamemnon Schicchi), and Father/Prince in the première of (Iphigenie en Aulide), Marquis d’Aubigny (La J. Barber’s Rapunzel. Other opera includes Peter Traviata), and Beethoven’s Missa Solemnis. Maxwell Davies’ The Lighthouse (Dartington For CD he has recorded most recently airs for International Festival); Figaro in Le Nozze di bass and/or soprano from and Zaïs by Figaro (Winterbourne Opera); the première Rameau with the ensemble Ausonia with F. Haas of Errolyn Wallen’s My Feet May Take a Little and M. Glodeanu, and The Requiem by Mozart While (Grimeborn Festival); Somnus in Cadmus with T. Currrentzis. Semele (Amersham Opera Festival); Pistol (Falstaff); and Masetto (Don Giovanni), both for Nicolas Rivenq (bass-baritone, Célénus) Glyndebourne on tour. With Les Arts Florissants: graduated from the École Normale Supérieure The Fairy Queen on tour in Paris, Caen, and des Arts Décoratifs, and started vocal studies New York (BAM), The Indian Queen, Phobétor at the Conservatoire National de Musique in in Atys, and Le Jardin de M. Lully in France, Orléans. A choir member of Les Arts Florissants Spain, and the US including BAM (Le Jardin and La Chapelle Royale, he joined the École des Voix, 2011). In concert, he has performed d’Art Lyrique (Paris National Opera) for two internationally; highlights include debuts at Tel years before studying at Indiana University. Aviv Opera House, performing Handel’s Israel Rivenq debuted at the Edinburgh and Gstaad in Egypt (Jerusalem Symphony Orchestra under Festivals under Yehudi Menuhin. In France, he L. Cummings), and Handel’s Esther and Acis Who’s Who

& Galatea (London Handel Festival). Concert of interest in France in 17th-century French rep- repertoire includes Bach’s St. John Passion, ertoire as well as in European music of the 17th Verdi’s Requiem, Mozart’s Requiem, Handel’s and 18th centuries. This was repertoire that had, Messiah, Haydn’s Creation, and Rossini’s for the most part, been neglected (much of it Petite Messe Solennelle. Engagements in unearthed from collections in the Bibliothèque 2011—12 include Pluto in Charpentier’s Nationale de France) but which is now widely La Descente d’Orphée aux Enfers and performed and admired. For 20 years, Les Arts Shepherd/Grace in Blow’s Venus & Adonis for Florissants has been in residence at the théâtre Les Arts Florissants (Cohen), and Masetto for de Caen, and each year they present a concert Garsington Opera. season in the Basse-Normandie region. The ensemble also tours widely within France, and is Reinoud Van Mechelen (tenor, Zéphir) was born a frequent ambassador for French culture abroad in 1987 and started singing at an early age in (it is regularly invited to BAM, Lincoln Center, the the children’s choir, Clari Cantuli. At 18 he took Barbican Centre in London, the Vienna Festival, his first singing lessons with A. Mertens and N. Madrid’s Teatro Real, and others). Since the Art Achten in Louvain, Belgium, his hometown. A Florissants’ 30th anniversary in 2009—10, Wil- year later he started vocal studies at the Royal liam Christie has decided to expand the artistic Conservatory of Brussels with L. Lootens and management of the ensemble by appointing two then D. Grossberger. He took master classes young associate conductors who enjoy his total with G. de Reyghere, I. Desrochers, F. Haas, confidence, Paul Agnew and Jonathan Cohen. C. Lefilliâtre, A. Buet, J.-P. Fouchécourt, F.-N. Both now conduct Les Arts Florissants each sea- Geslot, and H. Crook. He was a member of the son in both small and large-scale programs. Académie Baroque Européenne d’Ambronnay in arts-florissants.com | artsflomedia.com 2007 where he sang Plutus in Le Carnaval et la Folie by Destouches conducted by H. Niquet. He Opéra Comique soon began performing as a soloist and singer Opéra Comique was founded in 1714 under with ensembles such as: l’Arpeggiata, Capilla Louis XIV and is among the oldest dramatic Flamenca, Ex Tempore, Ludus Modalis, Ricercar and musical institutions in France. Its history Consort, Il Gardellino, and the European Union was alternately turbulent and prestigious until it Baroque Orchestra. He regularly collaborates was listed on the register of national theaters in with Scherzi Musicali, conducted by N. Achten, 2005. Since then, a new period has begun for contributing to a few of its recordings, which the theater: it aims to introduce its remarkable have generated critical enthusiasm. In 2011 repertoire, and ensure the production and he joined the fifth edition of Le Jardin des Voix touring of dramatic works to the general public. and has sung the role of Zéphir in Atys with Under the direction of Jérôme Deschamps, a Les Arts Florissants. He also will sing Ixion in wide range of internationally renowned artists La Descente d’Orphée aux Enfers with Les Arts have rediscovered the treasures of the Opéra Florissants and J. Cohen in November 2011. Comique repertoire: from Carmen and Pelléas et Mélisande, to less-known masterworks as Les Arts Florissants Mignon, Fortunio, or Zampa (conducted by The vocal and instrumental ensemble Les Arts William Christie in 2007 and 2008). The Opéra Florissants is one of the most renowned and Comique promotes the dissemination of its respected early-music groups in Europe and historical heritage with a number of national and around the world. Dedicated to the performance international coproductions and world premières, of Baroque music on original instruments, the as well as a collection of DVD and media ensemble was founded in 1979 by the Franco- partnerships. American harpsichordist and conductor William Christie, and takes its name from a short opera Fêtes galantes, founded in 1993 by Béatrice by Marc-Antoine Charpentier. Les Arts Florissants Massin, focuses on the many aspects of Baroque has been largely responsible for the resurgence dance. The confrontation between Baroque style Who’s Who and contemporary dance gives birth to a specific David Berring interpretation. By steering clear of any attempt at Suite de Melpomène, Un Phrygien, Suite de Sangar, reconstruction, the company presents a kind of Un Corybante Baroque to interest the contemporary viewer. Laura Brembilla 2011: revival of Francine Lancelot’s Une Nymphe de Flore, Une Phrygienne, Un Songe choreography for Lully’s opera Atys; premiere of Agréable, Suite de Sangar, Un Corybante La Belle Dame (Lully, Rameau, Rebel) 2009: Songes (Lully, Charpentier, Vivaldi, Olivier Collin Purcell) Un Phrygien, Un Songe Funeste, Suite de Sangar, Un 2007: Un air de Folies (Marais, Lambert, Corybante Guédron, Bataille, Boesset) 2006: Un Voyage d’hiver (Schubert) Estelle Corbiere 2002: Que ma joie demeure (Bach) Une Phrygienne, Un Zephyr, Un Songe Agréable, 1999: choreography for Gérard Corbiau’s film Le Suite de Sangar roi danse 1993: choreography for the opera Médée Laurent Crespon (Charpentier). Stage direction: J.-M. Villégier, Suite de Melpomène, Un Phrygien, Un Songe Funeste, musical direction: W. Christie. Suite de Sangar, Un Corybante

Founded in 2003, L’Atelier baroque was born out Gil Isoart of Fêtes galantes’ special interest in education. De l’opéra de Paris, Le Sommeil, Suite de Sangar A tool for research and transmitting knowledge, its main goal is to organize education programs Claire Laureau as well as train dance professionals. It acts as a Arlequin, Un Zephyr, Un Songe Agréable, bridge between past and future. Suite de Sangar, Un Corybante

Fêtes galantes is supported by the French Adeline Lerme Ministry of Culture (from DRAC Ile-de-France, Une Nymphe de Flore, Une Phrygienne, as per the status of the three-year-contracted- Un Songe Agreable, Suite de Sangar, company); the Conseil régional d’Ile-de-France; Un Corybante the Conseil général du Val-de-Marne, with the support of the city of Alfortville. Fêtes galantes Akiko Veaux is also supported by Fondation BNP Paribas for Une Nymphe de Flore, Une Phrygienne, the development of its projects. Fêtes galantes Un Songe Agréable, Suite de Sangar is a member of the International Dance Council CID - UNESCO. The French Institute regularly contributes to international touring of Fêtes galantes company. fetes-galantes.com

Dancers’ Roles:

Bruno Benne Suite de Melpomène, Un Phrygien, Un Songe Funeste, Suite de Sangar, Un Corybante

Sarah Berreby Un Songe Agréable, Le Solo du Songe Agréable, Suite de Sangar