A N N UA LR E P O R T
2017
Annu
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A WINNING BET FOR AN INTENSE AND DARING 69TH EDITIONThe 2017 edition of the Festival d’Aix was a very great success,
not only from the artistic point of view, but also for the attention
given to the Festival’s outreach programmes and the media
coverage from which it benefited. This edition drew almost
85,000 spectators. The five opera productions were all warmly
welcomed by the public and the national and international
press. They also seduced the many professionals who came
from around the world, some of whom expressed their desire to
present them in the near future on their home stages.
The 5th edition of AIX EN JUIN attracted a broad and enthusiastic
audience to about forty artistic events presented throughout the
city of Aix-en-Provence and the surrounding communities
by the amateurs involved in the outreach and socio-artistic
projects of the Festival’s Passerelles department and by the
young talents of the Académie. PARADE[S] once again lit up the
Cours Mirabeau, bringing together 5,000 people who came to
listen free of charge to extracts from Carmen performed by the
soloists, chorus and orchestra of the production presented at
the Théâtre de l’Archevêché.
The 2017 Festival d’Aix was also present on the airwaves and
the big screen, as the summer’s five operas were broadcast
on Arte, France Musique, France Télévisions, Mezzo, Arte
Concert and Culture Box. Two of them – Carmen and Pinocchio –
were screened free of charge on 99 big screens in France and
abroad. Finally, the closing concert of the Mediterranean Youth
Orchestra was broadcast live on the Festival’s YouTube channel.
I would like to congratulate Mr Bernard Foccroulle, Director
General of the Festival, his entire team, and to express my
gratitude to the Ministry of Culture, the municipal authorities
of Aix-en-Provence, Métropole Aix-Marseille Provence
and the Territoire du Pays d’Aix, the Departmental Council,
the Provence-Alpes-Côte d’Azur Regional Council and the
European Union for their loyal support, as well as our private
and corporate sponsors, whose generosity is essential for the
Festival.
Bruno Roger
President of the Festival d’Aix-en-Provence
Don Giovanni
THE FESTIVAL D’AIX IN THE WORLDIn many respects, 2017 has been an exceptional year for our Festival. Three criteria allow us to take the full measure of this success: the presence of the foreign audience in Aix, the echoes in the international press, and the circulation of our productions around the world.
The foreign audience, which is well-represented at the Festival, grew this year, and for the first time we welcomed the presence of important delegations from the boards of directors of the Chicago, San Francisco and Los Angeles operas, as well as the
Sydney Festival, and a very large number of professionals. The
identity of our own Festival seems to be better perceived and
more appreciated than ever.
This is also what the international press seems to suggest, as we
can see from the extracts that appear in this report.
Moreover, no less than thirteen opera productions have toured
this year in France and abroad, for a total of 77 performances
(see p. 35) in 16 cities: that is more than double the number of
those presented in Aix in July!
It is not only the most widely publicised productions that go
on tour: The Monster in the Maze, the participatory opera that
premiered in Aix in 2015, has been reprised by local amateur
choirs in Lille, Montpellier and Lisbon, with undeniable
success. Contemporary creations, such as Svadba by Ana
Sokolovic (presented in Aix in 2015) and Kalîla wa Dimna by
Moneim Adwan (which premiered in Aix in 2016) have been
seen and heard in Ljubljana and Casablanca, as well as Paris,
Luxembourg, Dijon and Le Mans.
Moscow is the city that has most honoured our Festival, with
two productions, Written on Skin and Trauernacht, presented on
tour at the Bolshoi last April, and the entry of Alcina into the
prestigious theatre’s repertoire starting in October. Similarly,
the Stanislavsky Theatre, which co-produced The Rake’s Progress,
presented a series of filmings of our productions during free
projections, a way of familiarising the Moscow audience with
the creations of Aix.
This phenomenon is not about to stop, because all our 2017
productions have aroused considerable interest, as exemplified
by The Rake’s Progress, which will travel in the next few years
to Amsterdam, Moscow, Rome, Chicago, San Francisco, Los
Angeles, and New York.
Does this mean that we are seeing a standardisation of the
opera on a global scale? I am convinced of the contrary: sharing
the best of lyric creation, promoting the circulation of artists
and productions, and participating in the emergence of new
repertoires and new interpretative practices is the best means
of fighting against the commercialisation and ‘star system’ that
produces a very real and regrettable standardisation.
Each performance of one of our productions in front of a
different audience, whether it be in New York, Beijing, Seoul or
Montpellier, creates a new encounter that enriches both artists
and spectators alike, without diminishing the identity of our
partner venues. The knowledge that all these productions have
been initiated, studied, prepared, rehearsed and staged in Aix is
a source of great pride for all our teams.
Bernard Foccroulle
Director General of the Festival d’Aix-en-Provence
Pinocchio3
“ The Festival d’Aix-en-Provence continues to pose the question of why other institutions
with equally generous resources so seldom come even close to this level. Opera can be this
good – and it should be.”
Financial Times
The Rake's Progress
DIAPASON
Pinocchio is to Boesmans what L’Enfant is to Ravel. A magnificent
production by Joël Pommerat, as powerful as it is minimalist,
plunged into an obscurity given life by Renaud Rubiano's video,
which is consubstantial with the stage design and Éric Soyer’s
dreamlike lighting. … One could not dream of a better cast, flattered,
it is true, by a music that never goes against the voices and assumes
the specificities of the opera. Chloé Briot portrays an ideal Pinocchio,
protected by Marie-Eve Munger's Fairy and her crystal-clear trebles.
The other singers take on several, often opposing, roles, beginning with
the superb Stéphane Degout who is omnipresent as the empathetic or
distant, now speaking, now singing, troupe manager. Yann Beuron
is a disturbing crook and despicable as the ridiculous judge. Vincent
Le Texier overflows with humanity as the father and is pitiful in the
role of the school master. Julie Boulianne plays the diva as a cabaret
artist and runs amuck as the bad pupil.
CLASSICAGENDA
Pinocchio in Aix: The birth of an opera
In a world of the opera that has been described (and criticised) as a
relic of the past, whose current news usually resides in the reprise of a
time-honoured repertoire, it is a rare opportunity to witness the birth
of a new work that has never been played, never seen, never heard
and never reviewed. A magnificent and magical curtain riser.
LE MONDE
A spirited, direct and refined Pinocchio … At 81 years-old, the
Belgian composer has never written such direct, simple and familiar
music, a refined and playful guest who invites the entire story of
music into his score.
LES ÉCHOS
Philippe Boesmans superimposes soaring and colourful music,
resistant to any explanatory overload on Joël Pommerat's play. …
There’s no doubt that we could not dream (the precise word) of a
better cast. … Nobody is about to forget Stéphane Degout, both an
admirable Nosferatu-like story-teller and a deeply moving singer.
LIBÉRATION
An intimate atmosphere, brilliant performers and stunning music
by Philippe Boesmans. The stage director has succeeded in his poetic
adaptation of the work by Carlo Collodi.
TÉLÉRAMA
Philippe Boesmans and Joël Pommerat's Pinocchio, whose world
premiere was presented in Aix, keeps its promises, including the
difficult task of truly being an opera for all.
FRANCE CULTURE
Is Joël Pommerat an alchemist? We would be tempted to say yes when
we see the extent to which everything he touches turns to gold. Returning
to the opera for only the second time in his long career, he has managed
to transform Pinocchio into a libretto of stunning modernity.
LA CROIX
Each scene is a model of elegance and aesthetic refinement, from the
dream-like smoke to the violent or subdued lighting, from the discreet
but meaningful props to the digital effects, in particular when
Pinocchio follows the bad pupil on the road to the Land of everlasting
fun or when he is tossed on a sea of laser beams that is more realistic
than the waves themselves; … Philippe Boesmans weaves a fluid
and brightly-coloured fabric that the virtuoso instruments of the
Klangforum Wien, conducted with verve and precision by Emilio
Pomarico, make squeak or sparkle, depending on whether Pinocchio
waivers on the dramatic or joyful side of his initiatory journey.
Contemporary creation lies at the heart of the mission givent to the Festival d’Aix. This year, it is the turn of the puppet Pinocchio to come to the
opera stage for the first time, thanks to a commission given to composer Philippe Boesmans and stage director and librettist Joël Pommerat.
The adaptation of this lyrical tale revives the dark interpretation of an unvarnished society that is to be found in Collodi’s work, and that is
given form by way of six singers who awaken under the impulsion of the narrator, here called the troupe manager. The world premiere of this
coming-of-age tale brings the question of freedom to the forefront.
PINOCCHIO
NEW YORK TIMES.COM
It’s undeniable: Philippe Boesmans’ Pinocchio … is a hit. Deftly
probing the nature of honesty, accountability and freedom with a
blend of magic, comedy and an ethical quest, it’s a Magic Flute for
our times.
FINANCIAL TIMES
These are people (Mr Pommerat, Mr Pomarico and Mr Boesmans)
who can turn any score into a masterpiece; the musicality, the polish,
the warmth and skill are breathtaking. … Long, philosophical and
just a little twisted, it is the Twin Peaks of children’s operas.
DAILY TELEGRAPH
Boesmans’s bittersweet score, a mix of styles that never sounds like
pure pastiche, is unfailingly lively and held together with brilliant
assurance by the conductor Emilio Pomarico. … The playing
of Klangforum Wien is vivid, and the onstage trio (saxophone,
accordion and gypsy violin) is effective.
OPER!
… The Klangforum Wien, conducted by Emilio Pomarico, delivers
exactly the right amount of precision and sensuality.
OPERNWELT
As for the narration, … [Pommerat] needs only a few tables and
chairs, a cage, some fog and the simplest technical means to create
images bathed in a touching and amusing poetry. … Boesmans finds
a unique musical language for each situation.
LE SOIR
Pinocchio triumphs in Aix. … Boesmans and Pommerat: the
meeting of two giants has created an opera that reconciles the spoken
word and song.
LA LIBRE BELGIQUE
Pommerat's writing is implacable: a succession of short and punchy
scenes that create a dialogue between a narrator (and also a singer,
the wonderful Stéphane Degout) and the development of the plot.
In a reduced but sumptuous cast, each character is profoundly
engaged before being presented by successive brush strokes within
a minimalist and meticulous stage setting, where everything that
can be seen ideally serves the action while connecting closely to the
spectator’s deepest emotions.
LUXEMBURGER WORT
Pommerat is a fantastic master of light, working (with his accomplice
Éric Soyer) in all possible nuances from black to white, and also
resorting to video images that contribute to the illusion.
OPERA MAGAZINE
Captivating and alternately poetic, initiatory and bitter, Pinocchio
by Philippe Boesmans (born in 1936) is an undeniable success. …
The strength of the performance intrinsically owes much to this
search for segmentation: each scene induces a feeling, a situation,
a place, a mood... Philippe Boesmans’s music thus appears like a
prodigious, shimmering and versatile illumination.
.
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carry off the proposal with dazzling intensity. … The elation of the
audience after the performance and the snatches of conversation
overheard when leaving the theatre confirm that this Carmen-
Therapy certainly caused one victim... but, above all, it made many
converts.
LE MONDE
Carmen shook and stunned Aix-en-Provence … With Dmitri
Tcherniakov’s iconoclastic staging, Bizet’s masterpiece overturned
the rules of the game … It took exceptional artists to carry off this
challenge. Such is the case of Stéphanie d’Oustrac.
LIBÉRATION
In Aix-en-Provence, Russian stage director Dmitri Tcherniakov
presented an offbeat version of Bizet’s opera before an audience
that was more seduced than shaken. In the 2nd movement of his
13th sonata, Beethoven suddenly marks the theme by inverting
his intentions: the left hand plays staccato and the right hand
plays legato, contrary to what it was doing previously. The music
remains the same. But the listener has a fabulous sense of relief:
this spatialisation makes them enter the work and discover its
structure, as if they were suddenly seeing the lining of a glove turned
inside out. That is what is happening on a larger scale in this new
production of Carmen by Russian stage director Dmitri Tcherniakov
and presented at the Festival d’Aix-en-Provence under the baton of
Spanish conductor Pablo Heras-Casado: it is Carmen and yet, it is
not her. Even though we know her by heart, we have never seen her
like this. … Tcherniakov’s tour de force at the head of his bunch
of super-motivated choristers and singers is to have known how to
communicate its emotional mechanics. The tour de force of conductor
Pablo Heras-Casado, here at the head of the Orchestre de Paris, is to
have found a solid interpretive path through this extravaganza where
the music is sometimes illustrative and sometimes drives the action.
LES ÉCHOS
Tcherniakov’s idea may surprise or irritate, but it is stunningly
effective. We surprise ourselves at not being able to take our eyes or
ears away from a performance that is so finely tuned and entirely
focused on the characters. Conductor Pablo Heras-Casado conducts
with the same clarity and intensity, the same care brought to the
nuances and balance of an Orchestre de Paris at its finest.
LE FIGARO
Carmen seduces but does not convince … It is diabolically clever,
played with as much truth as intensity, but … one wonders if
Tcherniakov has not found an easy way to avoid the need for a
concept … Stéphanie d'Oustrac's Carmen and Elsa Dreisig's Micaëla
are exceptional ….
L'HUMANITÉ
A breath-taking Carmen, two stories for the price of one.
LA CROIX
Musically incandescent, Carmen, according to Dmitri Tcherniakov
and presented at the Festival d’Aix, deeply reveals the power of a work
that retains all its freshness. Tackling a work of art from another angle
is always a feat of daring. … Such a wager can only be convincing if
the soloists, chorus and instrumentalists are the real mediums. Ardent,
sometimes wild, at the risk of a few rhythmic peccadillos, Pablo Heras-
Casado’s conducts a sovereign Orchestre de Paris.
LES INROCKS
By making both the singers and the audience accomplices in the dirty
trick they have decided to play on Don José, Dmitri Tcherniakov and
Pablo Heras-Casado turn this nightmare for Michael Fabiano (Don
José) into an adventure that we all take part in. Fifteen minutes
of standing ovation testified to the success of this unanimously
acclaimed production. Exceptional.
After an absence of 60 years, the Festival d’Aix welcomed this opera, which has become one of the world’s most popular, for the second
time. This universal masterpiece was revisited under the baton of conductor Pablo Heras-Casado at the head of the Orchestre de Paris and
thanks to the original vision of stage director Dmitri Tcherniakov. Here, the tragedy of Carmen is staged in a contemporary setting, where Don
José ‘replays’ the mythical story for therapeutic reasons. With a public swept away by the duo of Stéphanie d’Oustrac, in the role of Carmen,
and Michael Fabiano, in that of Don José, this opera – which has enabled Dmitri Tcherniakov to be elected “best director of the year” by the
Opernwelt German magazine – was undeniably one of the highlights of this 2017 edition.
FINANCIAL TIMES
Tcherniakov is a master of the funny-uncomfortable, moving us from
hysterical laughter in the early stages to a sense of genuine horror by
the end. … Pablo Heras-Casado whips the Orchestra de Paris into
a frenzy; his attention to detail, and the thrilling level of excellence,
mirror what we see on the stage.
OPERNWELT
… Unlike for Bizet, Tcherniakov’s Carmen does not live in a minor
world. She is a young woman who loves life, a spectacular actress
who marvellously manages to simulate unbridled passion ….
LE TEMPS
You thought you knew Carmen by heart? Then you haven’t seen Dmitri
Tcherniakov’s version. This new production of the Festival d’Aix-en-
Provence is a landmark. Revisited by the Russian stage director, Bizet’s
opera smashes the codes of lyric art. … It takes real character to survive
this nerve-wracking catharsis. Little by little, tenor Michael Fabiano
invests the vocal and scenic space with stunning conviction, power
and intensity. His virile and erratic Don José sweeps up everything
in its path, except for the warm and devastating voice of Stéphanie
d’Oustrac's fabulous Carmen. Here, the French mezzo has reached a sort
of summit, both in her acting as well as in her singing. … Elsa Dreisig's
brave Micaëla and the brilliant Mercedes portrayed by Virginie Verrez
dominate a fine cast that is firmly supported by the Orchestre de Paris.
That is hardly surprising under Pablo Heras-Casado's baton. The young
Spanish conductor brings the score to life with impressive clarity and
buoyant vitality. We will definitely not forget this Carmen.
OPÉRA MAGAZINE
Yes, Dmitri Tcherniakov strikes again. Strong. And true. Master of the
game, the Russian stage director sets his own rules. … By chipping
away at the yellowing varnish of tradition, Tcherniakov pursues a
single goal, to render not the literal spirit, but rather the emotional
truth of the works, most of which are far more subversive than the
image conveyed by their successive interpretations. … At the head of
the Orchestre de Paris, Pablo Heras-Casado conducts a full score that
is less in quest of transparencies or gaudy folklore than in a search
for the dark and dense roots of an authentic Spain, enlivened by
irresistible flurries of lyricism.
L'AVANT-SCÈNE OPÉRA
The latest opera-jacking by the Russian, whose interpretations we
have sometimes praised and have sometimes irritated us? No. ‘It’
works, as the great Sigmund might have said, for a bundle of reasons
that are miraculously combined, like a furtive alignment of planets.
On the one hand, Carmen resists everything … On the other hand,
the proposal aims true: what is a spectator at the opera (or theatre
or cinema) other than a captive in an enclosed space who projects
their imagination on the fiction that is unfolding before their eyes,
to the point of suspending disbelief? What is the opera (or the theatre
or cinema) other than those works of fiction that can give or revive the
taste for strong emotions and roll back our horizons? … There is no
irony against the work in this story within a story, quite the opposite,
just finely-tuned theatrics …, humour when needed and, at the end,
true, naked and poignant drama. … Finally, the last of the aligned
planets: the excellence of the musical forces that come together to
CARMEN
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OPÉRA MAGAZINE
… McBurney knows like no other how to ally the (fake?) naivety of
an assumed part of illusionism, with these scenes that follow each
other in the blink of an eye, leading the spectator from the top of a
skyscraper to the slums of London, and the striking lucidity of his
vision of a society whose frenzy, greed and inconsistency create a
machine that crushes man, like a derisory and interchangeable cog
precipitated towards loss or madness, or engenders monsters who
bow to the adulation of the masses.
DIAPASON
The English stage director has created a brilliant and rhythmic
production with gleaming colours, in the spirit of a musical or certain
American films where the characters run headlong towards disaster,
with videos that follow each other at a terrifying pace, and where
the slums are not far from the skyscrapers. It is the story of a golden
boy manipulated by an unscrupulous coach who has been ruined
in a stock market crash. … More than an avatar of Faust, he is a
contemporary (anti)hero.
LA REVUE DU SPECTACLE
With humour and ingenuity, this production by stage director Simon
McBurney refreshes this cruel moral fable of the unfortunate ‘desire
and conscience’ of the libertine.
LE MONDE
The British stage director, a multimedia magician, dazzles us with
his stage direction of Stravinsky’s work. Simon McBurney is indeed
a magician of multimedia, the man who whispers into the ear of
lighting, video and screens.
L'HUMANITÉ
The Rake’s Progress, by Stravinsky, has found top-class treatment
with a high-flying cast in a production by Simon McBurney, on a
background of painted canvas revisited by today’s technology.
FRANCE INFO
The plot is complex, but Simon McBurney knows how to make it
clear. … A dizzying work that the performers treat like a sensual
choreography.
The Stravinsky cycle continued this year with the new production of The Rake's Progress under the stage direction of Simon McBurney and
conducted by Eivind Gullberg Jensen. This adaptation of the ‘career of a libertine’ – which traces the descent into hell of a man with a thirst
for pleasure who gets trapped by the power of money – paints a bitter portrait of a volatile, greedy and loose society. Faced with this painful
reality, and despite the feeling of constant disillusionment that pervades the work, Simon McBurney’s production, staged in the Théâtre de
l’Archevêché, revealed the force of an unconditional love that escapes the clutches of time.
THE RAKE’S PROGRESS
EL PAÍS
Simon McBurney has perfectly understood the philosophy behind
this masterpiece, whose dramatic proposal, although undeniably
modern, also has something of the 18th century about it; but the
spectator immediately accepts this double game and the beauty is
sustained until the end (an end that even seems to come too soon).
This uninterrupted pleasure is felt for both what is seen and what is
heard. All the young singers are of a remarkable level.
NEW YORK TIMES
A satire of quests for fame and fortune, the piece seems in this staging
more modern than ever … This “Rake” is witty and visually striking
… The irony and sharp edges of Stravinsky’s score, as well as the
humor of the madcap staging, keep us at a distance from the action,
able to witness Tom’s downfall with a cool, critical eye.
FINANCIAL TIMES
This is a fine Rake’s Progress, full of superb stagecraft and excellent
singing, beautiful to behold.
RTBF.BE
A royal feast in which McBurney brings to life Stravinsky’s subtle
reflection on the deviances of sex, money and the illusion of power,
those devils hidden deep inside us all. With the musical elegance of a
resuscitated yet very contemporary 18th century.
LUXEMBURGER WORT
Discovering a Simon McBurney production means you are almost certain
to be brought as close as possible to the work and to its founding realities.
There are no concepts with McBurney, only sensorial equivalents. He
has not forgotten that a performance is first captured by the senses, what
we see and hear. McBurney has an approach that is both artisanal and
digital: a hand-crafted theatre and a technological theatre.
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LAREVUEDUSPECTACLE.FR
Jean-François Sivadier returns to the stage of the Palais de
l'Archevêché for this 69th edition of the Festival and offers us a superb
Don Giovanni that is full of light and finesse, revitalised with all
the energy of popular theatre. Conducted by an ardent Jérémie Rohrer
and featuring a cast of brilliant and charismatic young singers,
Mozart's masterpiece rediscovers its spontaneity and freshness.
LE FIGARO
… Once again … we are struck by the obviousness of Jérémie Rhorer’s
conducting and the natural character of his choice of tempos that always
create a perfect equilibrium between vitality and sensuality. The opulent
and robust voices of Eleonora Buratto and Isabel Leonard, the lighter but
agile voices of Philippe Sly and Nahuel di Pierro, the irresistible pair of
servants portrayed by Julie Fuchs and Krzysztof Baczyk.
LES ÉCHOS
Bulimic, paroxystic, narcissistic, heretical, political, Christic,
cosmic, mythical, Don Giovanni lends itself to an infinity of
interpretations that are validated by Mozart's dazzling score. Jean-
François Sivadier has understood this very well and refuses to take
sides, at the risk of abandoning the spectator in front of a blank page
that they themselves will have to fill in according to their sensitivity.
TÉLÉRAMA
The Canadian bass-baritone with a warmly seductive timbre
embodies an athletic and magnetic Don Giovanni to the end, who,
even dead, cannot keep still! Heard last year in Aix in Così fan
tutte, Nahuel di Pierro completes the master-servant tandem with
a delightfully cunning Leporello. Eleonora Buratto, as a nobly tragic
Donna Anna, defiantly eludes the traps of her vocal part, Pavol
Breslik portrays a radiant Don Ottavio despite the pitfalls of destiny,
and Isabel Leonard moves us to tears with her Donna Elvira, a falsely
comic character and true tragic lover. The best surprise of the vocal
cast is without doubt Julie Fuchs’s Zerlina: a fresh, bright timbre, and
unfettered and spirited singing, the soprano gives the little peasant
girl a maturity and independence that are both unexpected and very
welcome. With Krzysztof Baczyk’s Masetto, they create a duo that is
sometimes witty, but, above all, very human and extremely touching.
Finally, David Leigh’s Commendatore supplies the much expected
chills. … In the pit, starting right from the overture, Jérémie Rhorer
and his Cercle de l'Harmonie sweep us away in a tragi-comic and
ultra-Mozartian whirlwind.
L'HUMANITÉ
… Several roles played by former artists of the Académie, founded
nearly twenty years ago, attest to the relevance of this training
centre that is part of the Festival d'Aix. Jérémie Rhorer conducts the
Cercle de l'Harmonie with subtlety and a great understanding of the
relationship between the text and the music.
FRANCE 3 PROVENCE-ALPES-CÔTE d'AZUR
Sparkling and bold staging, with an exceptional vocal cast …. This
new production received a standing ovation from the audience.
DON GIOVANNILike every year, Mozart occupies a place of choice in the programme of the Festival d’Aix. This summer, the Festival paid tribute to Don Giovanni at
the Théâtre de l’Archevêché. The new production of this timeless masterpiece, staged by Jean-François Sivadier, gives a contemporary and vibrant
reading of the mythical opera. Jérémie Rhorer’s musical direction of this revisited classic renders all the musical genius of Mozart.
FATTITALIANI.IT
The voices are sublime, between colour and dynamism and the
eternal desire of infinity.
DIAPASON
… A classic but very lively production that sticks closely to the music
and the libretto, marrying the magic of the night with the beautiful
lights from the coloured Murano glass. Yet, nothing has been
smoothed over: the word Libertá seems written in letters of blood on a
wall destroyed under the blows of a hammer until reaching the niche
of the Commendatore’s statue.
FORUMOPÉRA.COM
Whether in the uniform of a majo or almost entirely naked, Philippe
Sly is a Don Giovanni in a permanent state of seduction, both
physically and musically, playing on nuances in a velvet voice
with ingratiating halftones. His serenade is suffocating with
sensuality, his final cry seems to have been yanked out of his body,
and, after his strangely Christic death – far from being engulfed by
the underworld, he remains standing, with arms outstretched – the
character is overcome by a frenetic dance that leads us to imagine
an eternal cycle of starting anew. Nahuel di Pierro literally explodes
as Leporello, drawing laughter through his mimicry and gestures, a
servant who is linked to his master with obvious complicity and gifted
with a perfectly differentiated timbre … We are really beginning to
understand what Jérémie Rhorer is capable of in this repertoire. His
Mozart is neither fat nor lean, neither unkempt nor too powdered; it
is flexible and loose, with silky strings and mocking bassoons, and
it avoids the excessive tempos that would over-stretch the point (his
‘Ah! Soccorso’ strikes just the right balance) or creates difficulties for
the singers.
RESMUSICA
[ …] Magnified by Jean-François Sivadier's clear vision for the stage
direction, and thanks to the baton of Mozart specialist Jérémie Rhorer
at the head of the Cercle de l'Harmonie, this particularly young
vocal cast reveals all its ardour and talent, offering spectators a first
brilliant performance of this pillar of the Aix programme.
CLASSICAGENDA
Jean-François Sivadier marks this opera with the seal of his talent.
He opens the stage to the celebration of the theatre, with the backstage
in full view. … As he often does, he shows the process of the theatre,
and it works perfectly. Stage play, disguises and theatricality nourish
this fable where everything is intertwined. It must be said that the
stage director is supported by a high-flying cast that is entirely
devoted to the work. His young and exciting cast is an extra asset for
his enterprise of operatic seduction.
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OPÉRA MAGAZINE
A tireless innovator, Leonardo García Alarcón yet again invites
us to explore the forgotten treasures of Francesco Cavalli's (1602-
1676) lyrical works. … Macha Makeïeff's costumes literally explode
through their varied textures, eye-catching patterns and garish
colours. The effect is all the more successful thanks to the insolent
youth of the cast, each giving all they have with rare generosity. …
An ardent and zealous guide, Leonardo García Alarcón leads his
Cappella Mediterranea ensemble towards enchanting harmonic
horizons, where each instrumentalist performs Cavalli's music with
a fullness that is simply disarming . A marvellous discovery!
RES MUSICA
In Aix, Alarcón's latest gem is called Erismena. Between the detailed
musical direction of one of the greatest specialists of the baroque
repertoire of our time in the person of Leonardo García Alarcón,
a fresh vocal cast that is just as sublime and composed to a large
extent of former artists of the Académie, and the intimacy and ideal
acoustics of the small Théâtre du Jeu de Paume, Erismena has found
an exceptional setting in Aix-en-Provence to reveal all the wonders of
17th century Venetian opera.
OPERA TODAY
Erismena in Aix was an incredible feat, captivating its audience
for nearly three hours, evoking a thunderous applause. … It was
the youth and the charm and the excellent artistry of these artists
that made the inanities of Venetian opera into high art and great
entertainment.
FORUMOPÉRA.COM
A new miracle by Alarcón … Leonardo García Alarcón knows
wonderfully how to bring to life a score for which he seems to possess
all the keys.
LE MONDE
In Aix, Erismena enchants the eye and the ear. At the head of his
Cappella Mediterranea, the Argentine conductor gives Cavalli’s opera
the recognition it deserves. … It must be said that the cast is young
and beautiful, vocally superb and credible on the stage. … Jean
Bellorini’s stage direction is no stranger to their success, far from it.
With a handful of chairs, two high towers and a heavy metal grille
that can confine or liberate the characters, he has done a meticulous,
highly precise work, balancing comedy and tragedy in palpable
reversibility.
ERISMENAErismena, Cavalli’s baroque gem, was a huge success starting with its premiere in Venice in 1655, has been brought back to life at the Festival
d’Aix as proposed by Leonardo García Alarcón, one of the greatest specialists of the baroque repertoire of our time. Reworked and staged by
this fervent admirer of Cavalli, the work benefits from a lean, new and poetical stage design conceived by Jean Bellorini. Intrigue, boldness
and free morals could be the keywords of this work which lies at the tenuous border between games of seduction and true love, and in which
disguise defies appearance. With a wealth of tragicomic situations, lovers’ desire remains the central theme of this opera.
EL PAÍS
The greatest praise that can be given is that Jean Bellorini’s stage direction
has rendered the work understandable, without inventing parallel
stories. … At the end of the performance, the audience was happy and
did not cease to praise what they had just seen and heard. Resuscitated
at last, Erismena and Francesco Cavalli have definitely come back to
stay. García Alarcón confides the roles of Erismena and Aldimira to two
magnificent singers, who also have indisputable stage presence.
OPER !
… In Jakub Józef Orlinski (Orimeno), Carlo Vistoli (Idraspe) and
Tai Oney (Clerio Moro), we have no less than three distinguished
counter-tenors in an ensemble in which all the other voices are
equally original.
OPERNWELT
… An incubator of first-class talent. … Francesca Aspromonte
absolutely masters her difficult and demanding role. Sovereign and
intelligent in the interpretation of the text: the two counter-tenors,
Carlo Vistoli (Idraspe) and Jakub Józef Orlinski (Orimeno), Stuart
Jackson as a cross-dressing, half-funny and half-grotesque Alcesta,
and Lea Desandre as Flerida.
LE TEMPS
The last of the five lyric productions at Aix-en-Provence pays homage
to the small format. Pure stage and musical joy with Leonardo García
Alarcón conducting and Jean Bellorini for the stage direction. … And
thanks to the sensuality, tenderness and alacrity of the orchestra,
this Erismena reaches a level of exemplarity that will be difficult to
surpass for quite some time.
OLYRIX.COM
A vocal and instrumental cosmos orbiting around Francesca
Aspromonte in the title role bathes the audience of the Théâtre du Jeu
de Paume in a refined and ultra-baroque multi-sensory parenthesis
staged by Jean Bellorini.
DESTIMED
Leonardo García Alarcón enchants the festival nights in Aix with his
Erismena.
14 15
Mediterranean Youth Orchestra
ORCHESTRE DE PARIS
DESTIMED
A great moment of conducting for Duncan Ward's debut at the
Festival d’Aix-en-Provence.
FROM THE EAST TO THE DEPTHS OF THE BALKANS – AKA MOON
LA MARSEILLAISE
… Fabrizio Cassol and his jazz group, Aka Moon, presented a concert
that gave the place of honour to the Mediterranean Basin. … The
programme’s original compositions are like a bridge between the
music of the Arab world and that of the Balkans and explore all the
ramifications of their fruitful encounter.
MATTHEW HERBERT
LA MARSEILLAISE
Through the prism of electronics, Requiem reveals all the modernity
of the string quartet of yesterday and today.
THE MEDITERRANEAN YOUTH ORCHESTRA
LE MONDE
The Mediterranean Youth Orchestra, which brings together musicians
from some twenty nations, is fully engaged in the Festival.
VAR MATIN
This symphony orchestra is a true school of musical excellence and
artistic conviviality.
Concerts are at the forefront of the Festival d’Aix programme. As part of its partnership with the Bolshoï Theatre, the Festival d’Aix was honoured
to host the soloists, chorus and orchestra of the Bolshoi Theatre and its conductor, Tugan Sokhiev, to conduct the concert version of Tchaikovsky’s
famous opera, Eugene Onegin.
The 2017 programme invited the public to explore a wide range of musical repertoires, oscillating between the great symphonic or chamber music
repertoires and performances or recitals by the Académie’s HSBC Laureates. Tribute was also paid to the Mediterranean : notably, by the way of two
symphonic and intercultural sessions by the Mediterranean Youth Orchestra (MYO).
Eugene Onegin concert - Bolshoï
CONCERTS
EUGENE ONEGIN
OPERA WIRE
It was an emotional Russian night, in which the talented
Bolshoï artists delivered in a spectacular manner and which was
acknowledged by a richly deserved lenghty standing ovation.
LA MARSEILLAISE
A dream evening and many thanks: ‘Spasiba Bolshoi’!
DESTIMED
Eugene Onegin at the Festival d’Aix-en-Provence: a triumph made
in Bolshoï. All the instrumentalists of the Bolshoï orchestra display
sensitivity and precision, in order to meet the demands of their
conductor, who has a very special fondness for this score, which was
the first opera he ever conducted. Tugan Sokhiev attentively listened
to his musicians, but also to the soloists and their phrasing in order to
enhance the osmosis between voices and instruments. An enormous
amount of work. And what can we say of the chorus, other than that
it is close to perfection with a power, clarity, colour and Slavic tone
like no other.
16 17
FESTIVAL D’AIX EN JUIN
Phone Call to Hades (a creation by enoa)
Trio So-ra
TRIO SO–RA
In the context of the Creation and Innovation Workshop of the
Académie du Festival d’Aix, the Trio Sora, which was among the
trios hosted during AIX EN JUIN, offered an encounter between
chamber music and dance around a repertoire of traditional and
contemporary tango. Bringing together a piano, a violin, a cello and
two dancers, this concert-show was presented to the public as a
performance to question the influence of choreography on musical
interpretation.
ZIBELINE
The magic unfolded … among the hammered or bowed strings of
the Trio So−ra, the piano of Pauline Chenais, the violin of Magdalena
Geka and the cello of Angèle Legasa, somewhere between contained
violence and interiority, rooting the melodic/rhythmic figures of
tango into the dancers’ steps.
LES VOIX DE SILVACANE
A highlight of AIX EN JUIN, in 2017 Les Voix de Silvacane offered a programme of three concerts celebrating vocal art under the vaults of the Abbey:
Faces of the Virgin in Western Sacred Music, with the young choir of the Maîtrise des Bouches-du-Rhône, conducted by Samuel Coquard, Mozart
and ‘papa’ Haydn, by the singers and pianists of the Académie participating in the Mozart residency, and Dufay in Italy, by the Graindelavoix vocal
ensemble.
Les Voix de Silvacane
For its fifth edition, AIX EN JUIN – the prelude to the Festival – proposed
around 60 cultural and musical events in the city of Aix-en-Provence and in
the different municipalities of the region. Spectators were able to discover not
only the artists, productions and young talents of the Académie, but also the
amateurs involved in the creations of Passerelles – the Festival’s educational
and socio-artistic departments. Concerts, recitals and public rehearsals
of operas marked this varied programme, which, coupled with an assertive
ticketing policy, attracted over 17,000 spectators in 2017.
PARADE[S] on the cours Mirabeau
AIX EN JUIN
LA PROVENCE
… Much more than a simple prelude, AIX EN JUIN has become an
integral part of the Festival d’Aix. … It opens the doors of lyric art to
a very broad public, via the Académie du Festival, which hosts a large
proportion of the singers, musicians, stage directors and composers
that we later find on the bill of the world’s greatest stages, including
Aix.
COTE MAGAZINE
Live the month to the sound of music thanks to the AIX EN JUIN
Festival. … The antechamber of the Festival d’Aix, this event provides
an opportunity to discover not only renowned musicians and artists
but also young talents before the grand Festival in July.
ZIBELINE
AIX EN JUIN, the prelude to the Festival d’Aix, has taken on all the
trappings of a festival with its own characteristics and eclectic events
that enable us to discover some true pearls.
56 EVENTS
17,660 SPECTATORS 4,622 PASSES DISTRIBUTED, INCLUDING 949 FOR YOUNG PEOPLE UNDER THE AGE OF 30
PARADE[S]
Once again this year, PARADE[S], the traditional free concert that brings AIX EN JUIN to a close and announces the festivities of July, attracted
around 4,000 people to Cours Mirabeau to listen to extracts from the masterpiece, Carmen, performed by soloists and the Chœur Aedes
accompanied by the Orchestre de Paris under the baton of Pablo Heras-Casado.
VAR MATIN
PARADE[S] at Cours Mirabeau. More than a tradition, it has become
an institution!
LA MARSEILLAISE
Popular, friendly and unifying, the large PARADE[S] stage of AIX EN
JUIN, which is set up next to the statue du Roi René at the top of Cours
Mirabeau, is a real invitation for a musical journey.
20 21
ACADÉMIE DU FESTIVAL
Fabienne Verdier residency – string quartet
II. CHAMBER MUSIC
The Académie hosts established chamber music ensembles, which benefit in Aix from the experience and guidance of internationally
renowned artists through various workshops and master classes. The chamber music residency brought together four string quartets
and a trio with piano for an advanced programme and an exceptional multidisciplinary approach:
• Advanced development of the classical, romantic, modern and contemporary repertoires alongside violinists András Keller and David
Alberman, altist Tabea Zimmermann and clarinettist Mark Withers. This residency was also the opportunity for these ensembles
to open themselves to contemporary creation and to familiarise themselves with new musical languages by working with young
composers.
• Creative and experimental workshop with painter Fabienne Verdier, who created the graphics for the 2017 season of the Festival d’Aix.
Invited to set up her artistic workshop in the Chapel de la Visitation, the artist worked with the ensembles during sessions that
mixed painting and music in order to study the interweaving of pictorial lines with music. Following each session, which were all
recorded on video, the forms captured were superimposed and digitally modelled to recreate a weave of lines, volumes and sounds.
Akilone Quartet concert with Tabea Zimmermann
Since 1998, the Académie du Festival d’Aix has been a reference for advanced vocal and instrumental training, a workshop for
reflection, experimentation about the creation of opera, and a place for the professional development of young artists. It offers young
professionals the opportunity to participate in residencies and to perform in concert at the Festival d’Aix, to tour throughout the year in
France and abroad, and to be cast in the Festival’s operatic productions.
The Académie offered the following programme in 2017:
I. VOICE
The Académie enables lyric artists and pianist vocal coaches to study a repertoire through its style, technique and interpretation
during master classes and meetings with renowned specialists. In 2017, three advanced repertoires led to a series of master classes
and concerts, both in Aix and in the department of Bouches-du-Rhône in partnership with the Departmental Council:
• Mozart: an essential element of the Académie, the Mozart residency was led by an equally essential team: Susanna Eken, Ouri
Bronchti and Bertrand Halary, joined this year by Roberta Salsi. It was also the first experience with the Académie for British stage
director Joseph Alford, in a Mozart programme that reflected current events.
• Pinocchio: conducted by pianist and vocal coach Jeff Cohen and composer Ondrej Adámek, this residency brought together six
stand-ins from the Philippe Boesmans production to work alongside three young composers, a percussionist, a harpist and an
author in a programme centred around three world premieres and extracts from musicals.
• Erismena: In a reprise of Francesco Cavalli’s opera Erismena, four young singers who are also stand-ins for the production, and
a harpsichordist, explored the baroque repertoire through the prism of the Venetian school under the supervision of Leonardo
García Alarcón, Jacopo Raffaele and Fabián Schofrin.
Au plus fort de l’orage – musical performance
(Stravinsky / Ansermet correspondence)
24 25
Life Story – Beate Mordal (Soprano), Nicolas Royez (piano) – 2015 HSBC Laureates
THE HSBC LAUREATES OF THE ACADÉMIE
Every year since 2006, the Académie has enjoyed the support of HSBC France, which supports the HSBC Laureates, young artists
from the Académie. After 10 years of existence of the HSBC Laureates of the Académie du Festival d’Aix label, this partnership today
enables young artists (singers, pianists / vocal coaches and chamber music ensembles) to benefit from media visibility as well as
opportunities to perform in major concerts, thanks to loyal partnerships with top-level cultural institutions, such as the Opéra
de Lille, the musical season of les Grands Interprètes de Toulouse, French May in Hong Kong, etc. The names of the 2016 HSBC
Laureates Académie were revealed at the Philharmonie de Paris on 16 November 2016, in the context of the partnership between
that institution and the Festival d’Aix.
During the 2016-2017 season, the HSBC Laureates performed on tour in many institutions (see p.63).
In partnership with
Since 2014, certain businesses have chosen to contribute all or part of their apprenticeship tax to the Académie du Festival d’Aix. The
Festival d’Aix thanks them for their commitment.
AGENCE DÉCOUVERTES – ACCÈS SCÈNE – ADELPHOS – ALLOPNEUS – ALLOPNEUS POINT SERVICE – AMBULANCES CRISTAL – AMG-FÉCHOZ – AMICALE ZIBELINE – ARCHIPEL 21 – ASSOCIATION ENTRACTE – AUDIENS – AXON INTERNATIONAL – BALADE EN FRANCE – BANQUE LAZARD FRÈRES – BEL AIR MEDIA – BUCÉPHALE FINANCE – BUTARD ENESCOT – CARDALIS – CG IMMOBILIER – CULTURE ESPACES SA – DISTRI SCENES – DIVERSITÉ TV FRANCE – DR JEAN-PIERRE DENJEAN – DR RECIPON ET ASSOCIÉS – EDENRED FRANCE – ENSEMBLE PYGMALION – EURIDICE OPÉRA – FINOPSYS – FONDATION ROYAUMONT – FRANCOIS ROUSSILLON ET ASSOCIÉS – FRAPROD – FS LOISIRS SARL – GETIC / GESTION ET TRANSACTIONS IMMOBILIERES ET COMMERCIALES – GROUPE CARGO – GROUPE CARGO/CENTRAKOR STORES – GROUPE CARGO / COGEX – GROUPE VÉOLIA – H3G – HEVEA – HÔTEL LA CARAVELLE – HÔTEL LES LODGES SAINTE-VICTOIRE – IMG ARTISTS – JR CONSULTANT – LA COMPAGNIE HUMAINE / ERIC OBERDORFF – POISSONNERIE L’ARGONAUTE – LES COQUILLAGES DU ROY RENÉ – LOG FOR YOU – LPC / O’ BAGELS – MAGAU – MAISON DU NOUGAT – MEDIA MESURES CENTRE EST – MG INTERNATIONAL – MUSIQUES ÉCHANGES – OPCALIA/OCTALIA – OPÉRA DE DIJON – OPÉRA DE LILLE – OPÉRA DE LYON – OPÉRA ORCHESTRE NATIONAL DE MONTPELLIER – ORCHESTRE DE PARIS – PETIT FUTÉ – PINK TV – PREMIÈRES LOGES / L’AVANT-SCÈNE OPÉRA – PRIMOSUD SAS – RPB CONCEPT – SEMEPA/EPAGE – TEXEN – UGIP ASSURANCES/SOLOGNE FINANCES – VAL PRODUCTIONS CONSEIL
THE ACADÉMIE DU FESTIVAL D’AIX, a member of the Campus Éco label.
Concert de chant en tournée à Eyguières
III. CREATION
Creation and the contemporary repertoire are at the heart of the Académie, which works to strengthen the links between today’s
artists and creators. The wealth and diversity of the artists present during the festival period provide the occasion for the Académie
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
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
stage director Katie Mitchell, fed the debate with proposals for specific action. Composer Charlotte Bray, stage director Lyndsey
Turner and consultant Lucy Curbel all contributed to this reflection.
• Opera in Creation Workshop: dedicated to sharing experiences and reflection on the opera, this year’s workshop was led by stage
director Katie Mitchell. Various personalities participated in the workshop, including stage directors Simon McBurney, Jean
Bellorini, Jean-Francois Sivadier, Joël Pommerat, composer Philippe Boesmans, and conductors Emilio Pomarico, Jérémie
Rhorer and Leonardo García Alarcón.
• Creation and Innovation Workshop: the Compagnie Kahraba, directed by Aurélien Zouki, benefited from an environment for study
and experimentation to create its next musical show for young audiences, which combines dance and puppetry on the theme of
exile and migration.
In addition, six young stage directors and conductors attended rehearsals for Festival productions in the context of job-shadowing
programmes. In all, 22 composers were present in Aix and 14 of them presented several of their works, played by artists of the
Académie during public master classes: Ondrej Adámek, Fabrizio Cassol, Moneim Adwan, Benjamin Dupé, Cathy Van Eck, Matthew
Herbert, Raphaël Imbert, Robert Pascal, Zied Zouari, Christina Athinodorou, Sivan Eldar, Raphaël Languillat, Oliver Leith and
Camille Pepin.
IV. RELAY ARTISTS
The Académie du Festival d’Aix offers an outreach training programme for relay artists (instrumentalists and singers) related
to questions of transmission, initiation and the discovery of music for young and ‘remote’ audiences through creativity and
participation. The programme is organised in one-off themed training sessions held in Aix-en-Provence over the course of the
year. They are led by renowned artist-educators who develop innovative projects, including clarinettist and artistic director of
outreach and participatory projects, Mark Withers from LSO Discovery.
26 27
ENOAACCOMPANYING YOUNG TALENT AND ENCOURAGING THE CREATION OF OPERA
The European network of opera academies, enoa, of which the Festival d'Aix and its Académie are founding members, was born from
the desire of several institutions of the lyric world to collaborate more closely to support the most talented young artists with their
professional careers and the development of their artistic ambitions.
With the support of the European Union’s Creative Europe programme, enoa launched its Young Opera Makers programme for
performers and creators in May 2016. This programme aims to provide young artists with excellent career training paths, integrating
a multidisciplinary and contemporary approach to the opera, bringing them experience of the stage and the production process and
supporting the development and distribution of new opera projects that help to attract new audiences.
Phone Call to Hades: the first show produced and developed in the context of the Young Opera Makers programme
Cathy van Eck’s Phone Call to Hades, given four times during AIX EN JUIN, is part of the cycle of activities based on the myth of Orpheus
proposed by enoa. This production is the first of a series of creations by teams of young artists and supported by the enoa network.
Young artists who have come to complete their training and exchange views on the theme of creation
Every year, the Académie du Festival d'Aix hosts several artists recommended by the network's member institutions. In 2017, enoa
enabled 15 artists - performers and creators - to take part in the Académie's training programme and reflection workshop. In
addition, 7 artists have been able this year to participate in the network's training workshops thanks to the Académie.
Three of the Académie's residencies received financial support from enoa:
• Training session for relay-singers on the questions of transmission, initiation and musical discovery,
from 25 February to 1 March 2017
• Mozart residency, from 12 to 24 June 2017
• ‘Reflection’ Opera in Creation Workshop, from 26 June to 5 July 2017
MEMBER INSTITUTIONS OF THE NETWORK
The Festival d’Aix-en-Provence & its Academie, France / Calouste Gulbenkian Foundation, Portugal / Chapelle Musicale Reine
Elisabeth, Belgium / Dutch National Opera & Ballet, The Netherlands / Fundacion Albeniz – Escuela Superior de Musica Reina Sofia,
Spain / Helsinki Festival, Finland / La Monnaie | De Munt, Belgium / LOD muziektheater, Belgium / Operosa, Serbia, Montenegro,
Bulgaria / Snape Maltings, U.K. / Teatr Wielki – Polish National Opera, Poland / Theaterakademie August Everding, Germany /
Theatres de la Ville de Luxembourg, Luxembourg.
receives the support of the European Union’s Creative Europe programme.
MEDINEACoordinated by the Académie du Festival d'Aix, the Medinea (MEDiterranean INcubator of Emerging Artists) network consists of cultural
organisations from the Euro-Mediterranean region that provide support to artists, and produce and disseminate artistic projects.
The main objective of the network is to provide support to emerging artists from the Mediterranean area for the conception,
production and dissemination of innovative artistic projects. The network also provides a platform for the exchange of ideas between
cultural stakeholders, to promote their circulation in both the Mediterranean basin and Europe while stimulating reflection on
artistic creation in the Provence-Alpes-Côte d’Azur region.
THE NETWORKS
This project has been funded with the support of the European Commission.This publication is the sole responsibility of its author and the Commission is not responsible for any use made of the information contained therein.
As this Dark Hours Endwith artists from
the Mozart residency
This year, the musicians of the Mediterranean Youth Orchestra have benefited from various training programmes:
• The Symphonic Session brought together 80 young classical musicians
under the baton of Pablo Heras-Casado and with the educational supervision
of the London Symphony Orchestra. The musical program was structured
around the Mediterranean character of Sheherazade, with Ravel’s
Shéhérazade sung by mezzo-soprano Virginie Verrez, followed by Sheherazade
by Rimsky-Korsakov. These works were preceded in this programme by
the French premiere of Votrys, a work by young Cypriot composer Christina
Athinodorou. Three public presentations were given in the Provence-Alpes-Côte d’Azur (PACA) region: on closing night of the
Festival d'Aix, in Puget-Théniers (Alpes-Maritimes) and in Gemenos (Bouches-du-Rhône).
• The Intercultural Creation Session brought together 14 improvising musicians from the world of jazz and traditional Mediterranean
music, guided by saxophonist and composer Fabrizio Cassol. A training session that placed exchange and cultural singularities
at the heart of the musical creation process. The fruits of this experience were presented during a public concert at the Festival
d’Aix, revealing the unique and bold collective compositions of this ensemble. Christiane Louis, trainer at the Philharmonie de
Paris, gave several talks to the musicians of the intercultural creation session, which aim to transmit the specific keys of artistic
entrepreneurship (promotion of an artistic project through media tools, understanding the logic of cultural financing, working
in networks, etc.).
• The Relay Artists Sessions, during which 46 Mediterranean musicians participated in creative workshops for experimentation and
improvisation, thus benefiting from unique and lively outreach training provided by Mark Withers.
136 MUSICIANS (WHOSE 40 RELAY-ARTISTS) 22 MEDITERRANEAN NATIONALITIES 16 TRAINERS
We have the chance to be trained by the best teachers,
play in a very important Festival with great conductors
and also having a tour. The staff is doing an excellent
job and is taking care of us. So we have everything we
need to work and create something interesting and
unique, like professional orchestras do.
Konstantinos Sifakis, 23, Symphonic Session,
Double bass, Greece.
I met excellent musicians with a lot of interesting
experiences, the opportunity to play with them gave
me more passion to continue and learn from everyone
and to play as best as I can. Great experience was also
getting in touch with the group of Intercultural Session
- I got to know different cultures, their music and
instruments.
Samantha Skorja, 20, Symphonic Session,
Clarinet, Slovenia.
MEDITERRANEAN YOUTH ORCHESTRA
Mediterranean Youth Orchestra – Intercultural creation session
28 29
THE AUDIENCES
Théâtre de l'Archevêché
In 2017, the Festival d’Aix successfully continued its policy of developing new audiences. The spectators who attended its programme
– with an opera attendance rate of 95.2% in 2017 – form a composite spectrum that is widening from year to year. Activities designed
for a young audience are a priority for the development for the Festival.
Since 2016, the price of tickets for young people and those reserved for
audiences concerned by the Passerelles outreach programmes (originally €15
for operas and €10 for concerts) have now been brought down to a single rate
of only €9. In 2017, nearly 1,000 tickets for young spectators were sold to
persons under 30 (including 500 in the context of the Opéra ON programme
– see page 37). Moreover, the number of places available for the ‘children’s
discovery’ offer, giving one free children’s ticket for the purchase of an adult
ticket, increased considerably. This offer, available for all the operas, has
met a great success with the world premiere of Pinocchio. Thus, the number
of people who were able to benefit from this offer more than doubled, going
from 534 in 2016 to 1,276 in 2017.
Providing access to performances by an audience that is as diverse as possible lies at the heart of the Festival’s mission. This
ambition is materialised by the many free tickets offered to the public, but also by keeping a fair proportion of seats sold at less
than €55 for its operas and concerts. Thus, in 2017, over 35% of all the seats sold for the operas and concerts were purchased below
the threshold of €55. Finally, the establishment of audio-descriptive opera sessions for blind or visually impaired spectators – four
sessions for Don Giovanni and Carmen this year – with the support of the Association Accès Culture and the Fondation MMA, once
again demonstrates the willingness of the Festival to offer and adapt its performances to the largest possible public.
The 5th edition of AIX EN JUIN enjoyed an attendance rate of nearly 80%, confirming that this formula and its many free performances
are now very well identified by the public, in particular the public from Aix-en-Provence and its region. The success of PARADE[S]
on the Cours Mirabeau and its 4,000 spectators is emblematic of this.
The Académie enables the Festival to offer a wide range of events in June and July – nearly sixty in 2017 – thanks to which 8,364
spectators were able to discover the talent of our youngest artists and the lyric repertoire.
2017 FESTIVAL84,526 SPECTATORS
48,8% OF REGIONAL SPECTATORS
16,8% OF FOREIGN SPECTATORS
1,276 ‘CHILDREN’S DISCOVERY’ OFFERS SOLD
A BROAD AUDIENCEFREE SCREENINGS
Launched in Aix-en-Provence in 2003 with the Instants d’été, the free screenings of the Festival d'Aix on large screens have widely
extended their regional and international influence thanks to the support of Fondation Orange, CIC Lyonnaise de Banque and
the partnership of Arte. Two operas, Carmen by Georges Bizet and the world premiere of Pinocchio by Philippe Boesmans, were
broadcast live or pre-recorded on large screens free of charge in over 29 towns of the Provence-Alpes-Côte d’Azur region and
around thirty cities in over fifteen countries around the world.
TV AND RADIO BROADCASTS
Going beyond the theatre, the Festival is extending its policy of accessibility and of live and recorded broadcasting to a wider
audience through the implementation of partnerships with television, radio and internet media. All the operas of the 2017 edition
have been broadcast live on Arte, Mezzo, France Musique, Arte Concert, CultureBox. The concerts of the Orchestre de Paris and the
Mediterranean Youth Orchestra have also been broadcast on Mezzo, M-Media and YouTube.
CULTURE NUM: DIGITAL REVOLUTION, CULTURE AND CREATION
This year, in partnership with Audiens, the Festival d’Aix organised a time for reflection on the new challenges and opportunities
introduced by digital technology for cultural industries and, more specifically, for the world of live performance. Held on 10 July
and moderated by Arnaud Laporte, this 4th edition of Culture Num brought together professionals from the cultural and digital
sectors, as well as students and festival goers, in three round-tables to discuss the reality of the financial resources offered by digital
broadcasting, the digital tools of communication and marketing, and the sources of inspiration that cultural enterprises can offer
innovative businesses, start-ups and major groups, in terms of fields of activity and organisation.
PROFESSIONAL MEETINGS: ACCORD MAJEUR, MEDINEA, CERCLE DES ÉCONOMISTES
Accord Majeur, a coordination platform for musical heritage and creation, held its 6th edition at the Festival d’Aix on 11 July 2017.
This high point of the French musical scene brought together 300 participants (artists, professionals of music and the performing
arts, and political personalities).
The Rencontres Économiques d’Aix-en-Provence took place at the Festival d’Aix on 7 and 8 July 2017 and brought together 230
speakers as well as 4,000 participants from around the world (academics, business leaders, politicians and around one hundred
students) for 39 sessions and debates.
The Rencontres Medinea, held from 17 to 19 July, brought together around twenty stakeholders in the cultural and musical sector
of the Mediterranean and members of the Medinea network, which is coordinated by the Festival d’Aix. This professional meeting
provided an opportunity to exchange views on the network’s projects for artistic creation and development.
FABIENNE VERDIER
Digital technology and creation
In 2017, artist Fabienne Verdier, who created the graphics for the Festival d'Aix season, continued her artistic research between
painting and music as part of the chamber music residency of the Académie du Festival d’Aix (see page 25). During the summer of
2018, the public will be able to immerse itself in this sonic and pictorial world, opening up new fields of perception.32 33
INTERNATIONAL RENOWNIn 2017, thirteen of its productions toured in France and around the world.
The collaboration with the Bolshoi has been reinforced and has given large
place to the productions of Katie Mitchell, with the entry into the repertoire
of her Alcina (Haendel), first performed in Aix in 2015, and, for the first
time, the programming of two operas not in the repertoire: Written on Skin by
George Benjamin (first performed in 2012 in Aix) and Trauernacht based on
Bach’s cantatas (first performed in 2014 in Aix).
A new partnership has been created with the New National Theater of Tokyo, which, as of 2018, will welcome into its
repertoire William Kentridge’s production of Mozart’s The Magic Flute, performed at the Festival d’Aix in 2009, as well
as Katie Mitchell’s production of Pelléas et Mélisande, presented in Aix in 2016.
The 2017-2018 season has begun in Brussels, Dijon, Nancy, Luxembourg, Moscow, Lille and Lisbon, with five of the
Festival’s productions on tour: Pinocchio by Philippe Boesmans, Mozart’s Don Giovanni and Così fan tutte, Alcina, and
The Monster in the Maze by Jonathan Dove.
The performances in Bologna and Reggio Emilia of Martin Kušej’s production of Mozart’s The Abduction from the Seraglio
(produced in Aix in 2015) enlivened the Italian media and provoked many debates and talks on the theme of terrorism
and the place of the opera in the current events.
Co-commissioned by the Festival d’Aix-en-Provence, the London Symphony Orchestra and the Berliner
Philharmoniker, The Monster in the Maze continued its tour in Montpellier and Lisbon. Performed each time with
local players, this participatory opera has created some extraordinary experiences for hundreds of locally mobilised
amateurs.
Svadba by Ana Sokolovic´ (produced in Aix in 2015) and Kalîla wa Dimna by Moneim Adwan (first performed in Aix in
2016) were successfully hosted in Ljubljana, Casablanca, Luxembourg, Paris, Le Mans and Dijon.
13 OPERA PRODUCTIONS
77 PERFORMANCES IN 16 CITIES
39 SCREENINGS ABROAD
WITH 6,000 SPECTATORS (JULY)
2017-2018 TOURS
2018-2020 ORFEO & MAJNUN
2017-2018 SCREENINGS
2017 ACADÉMIE'S CONCERTS IN TOUR(HSBC Laureates and Medinea )LOCAL ATTACHMENT
An international event whose productions and reputation are known over the world, the Festival d’Aix draws the sources of its continuous
development from a solid regional attachment that it nurtures from year to year.
This attachment is evident in the strong ties between the Festival and the local
public (the public of the Provence-Alpes-Côte d’Azur [PACA] region account for
nearly half of attendance), but also in a close link with local communities, the city
of Aix-en-Provence, the Pays d'Aix and Métropole Aix-Marseille-Provence, the
department of Bouches-du-Rhône and the PACA region, whose support is essential
for the financial equilibrium of the Festival. The support of Club Campra, which
brings together committed businesses of the region, also helps to promote the Festival as a highly federative artistic and cultural
event on the regional scale.
This attachment is largely supported by the activities of the Passerelles department, which was founded in 2007 to create and
sustain the conditions necessary to welcome a very diverse public. Passerelles is divided into two bodies that act jointly: an outreach
programme linked to the school and university environment and a socio-artistic programme for adults and young people via
networks of non-profit organisations. Thus, 2,275 people participated in the actions of the socio-artistic programme in 2017,
coming from 110 partner associations and structures for events developed in 25 municipalities of the region. In addition, 3,552
pupils from over 100 establishments in the Aix-Marseille educational region participed in the outreach programme.
Passerelles projects include outreach activities based on the season’s works, but also participatory artistic projects that are an
important vector for the Festival’s local attachment.
Thus, in 2017, the Festival participated in the Dimanches de la Canebière, with the work song choir project (also present in the form
of cine-concerts at the Alhambra in Marseille), which was carried out in association with the Company Woulib Rara and involving
participants from the integration classes for newly arrived refugees, as well as with the Jam Sessions led by jazz musician Raphaël
Imbert with schools, secondary schools and conservatories of the department.
Also to be noted is cellist Sonia Wieder-Atherton’s ambitious Odyssées project with six classes from Manosque and Aix-en-
Provence, and the Musiques en Cité programme, festive events held in the public areas of urban neighbourhoods and villages and
developed with the inhabitants and local associations of Marseille (13th and 15th arrondissements), Aix-en-Provence and La Roque
d'Anthéron.
Finally, the Festival is continuing its programme of live broadcasts of its performances in the towns and villages of the PACA region.
In July 2017, 37 projections took place in 29 different towns, where the public was able to applaud Carmen or Pinocchio in unison with
the public in the theatres of Aix.
Carmen free screening at the Tholonet
37 SCREENINGS IN FRANCE
IN 29 TOWNS OF THE PACA REGION
WITH 6,426 SPECTATORS
34 35
A day dedicated to the discovery of the opera
Opéra ON is specifically designed for students of Aix-Marseille University and
young professionals under the age of 30; it takes the form of an outreach
programme built around four of the season’s productions, the highlight
being a night at the opera under exceptional conditions.
Participants receive superior category reserved seats sold at the young
persons’ rate of €9 (and only €4 for students holding the AMU cultural pass).
As part of the partnership agreement signed with Aix-Marseille University,
Opéra ON has been enriched by new offerings intended for students: in
particular 16 voice workshops offered on the Marseille and Aix campuses.
OPERA ON 2017
577 YOUNG PEOPLE
500 OPERA TICKETS SOLD
27 ENCOUNTERS
16 VOICE WORKSHOPS
55% OF NEW PARTICIPANTS
This series of events held throughout the year with the classes and associations creates a close attachment with the Festival, enabling
a better understanding and assimilation of the season’s works, and concludes with an invitation to all participants to attend a dress
rehearsal of one of the productions for free. In 2017, over 4,100 school children, students and young people under the age of 30, as
well as 2,200 people from community groups participated in these opera discovery programmes.
… Thank you for this fine year.
Once again you have offered a
wonderful programme and truly
interesting workshops that the
students appreciate as much as we
do!
Collège Louis Philibert Le Puy-
Sainte-Réparade
Thank you very much for this
wonderful evening. … The students
went home delighted. … I hope
that the outreach programme will
continue to offer similar projects to
our students in the years to come –
they really need it.
Collège Louis Aragon – Roquevaire
A thank you to Opéra ON for
enabling young people like me to
attend such high-quality operas.
François Laroche,
member of Opéra ON
As an innovative promoter of the democratisation of art and culture, the Festival of Aix-en-Provence has been developing outreach
and socio-artistic projects (named Passerelles) in the Provence-Alpes-Côte d’Azur region for many years. These actions are a true
laboratory for introducing opera to young people, families and new or disadvantaged audiences. They create a dynamic within the
Festival thanks to the dedication of a wide network of teachers, outreach and social organisations and teaching artists. In 2017, the
Passerelles outreach and socio-artistic programmes involved 5,800 participants in their projects, working with the teams of over 100
schools and universities and 100 non-profit organisations and social institutions in the region.
DISCOVERY OF THE OPERA
Awareness programmes invite school children and associations to enter the world of the opera; they offer a series of workshops
with instructors, visits to the set construction workshops in Venelles and production sites, and meetings with artists and members
of the Festival’s technical team. The teaching methods used are creative and involve participation: an approach by way of artistic
experimentation, discussion of the works, encounters with the professionals involved in the Festival, articles published on the blog,
etc. The programmes adapt to a wide range of audiences: children and teens,
students, young people in professional integration programmes, music
schools pupils, families, adults receiving social support, intergenerational
groups, residents of healthcare structures, etc.
This year, several groups have enjoyed exceptional moments with the relay
artists of the Académie du Festival, trained for artistic outreach by clarinettist
and educator Mark Withers and stage director Sybille Wilson: improvising
a piece of music without being a musician, exploring the lyrical voice or
experiencing stage direction in a rehearsal studio all provide remarkable
experiences for young people and adults who are discovering the opera for
the first time.
PASSERELLES
3,552 PUPILS AND STUDENTS
103 ESTABLISHMENTS
180 DISCOVERY SESSIONS
73 VISITS TO THE VENELLES WORKSHOPS
100 PRACTICAL ARTISTIC WORKSHOPS
10 ENCOUNTERS WITH OPERA SINGERS
3 TRAINING DAYS HOSTING 120 TEACHERS
Passerelles - Dimanche de la canebière
36 37
her world and share with them this musical journey
along a path that is well-travelled, but which always
offers a unique experience: ‘Each venue that welcomes the
show creates a variation of the Odyssées. It thus becomes
the Odyssée of that place.’ This project gave birth this
summer to two concerts programmed as part of AIX EN
JUIN at the Théâtre Jean Le Bleu in Manosque on 17 June
and at the Théâtre du Bois de l'Aune on 24 June.
WORK SONGS AND JAM SESSION
In 2017, a choral project was launched with the Compagnie Rara Woulib, under the musical direction of Alexandra Satger, with 90
amateurs performers exploring a repertoire of work songs. During 16 workshops, the group launched itself into the adventure of
singing and moving together with a common energy and beat to songs with Afro-American musical roots, between the African
tradition, gospel and jazz. Responding to a desire expressed by several partners, this artistic project brought together a large number
of young adults from integration training programmes or having recently arrived in France, amateur choristers and a Comorian
choir of women and children. It was presented to the public during two cine-concert evenings in partnership with the Alhambra
cinema, on 5 May in their projection room and outdoors on 11 June at Cité de la Savine, with the Sound Music School.
À nous de jouer !, orchestrated by the Compagnie Rara Woulib for the CD13 during the Dimanche de la Canebière last 25 June, hosted
a festive promenade of this multicultural choir and their work songs. For this event, nearly 150 amateur musicians of all levels and
from all backgrounds participated in a Jam Session led by saxophonist and jazz musician Raphaël Imbert. The Orchestra of the
primary and secondary schools of Aix-en-Provence, Marseille and Saint Maximin, the students of the conservatories of Aix-en-
Provence, Marseille, Marignane, the Cité de la Musique and those in professional training at the Institut Musical de Formation
Professionnelle (IMFP) in Salon de Provence, as well as the professional musicians of the Compagnie Nine Spirit and the Banda des
Docks, all came together around the music of New Orleans and shared moments of improvisation.
IBN ZAYDOUN MULTICULTURAL CHOIR
This year, the Ibn Zaydoun multicultural choir, directed by Moneim Adwan and composed of around 50 amateur choristers, enriched
its repertoire of songs based on texts by the Egypto-Tunisian poet Bayram Al-Tounsi, set to music by their choir leader. It performed
8 concerts in various cultural venues and community organisation festivals in the Aix-Marseille area.
Séance interactive - Making Op' - A cdémie / Atelier de Création et Innovation
2,275 PARTICIPANTS IN THE EVENTS OF THE SOCIO-ARTISTIC PROGRAMME
110 COMMUNITY ORGANISATIONS AND SOCIAL STRUCTURES
160 OPERA OUTREACH SESSIONS
56 ARTISTIC PRACTICE WORKSHOPS
7 PUBLIC PERFORMANCES
45 MUNICIPALITIES
62 INSTRUCTORS
78 ARTISTS OF THE ACADÉMIE AND THE FESTIVAL
MEETING THE PUBLIC
The scholastic and community group publics can also
attend artistic discoveries in the heart of their urban
neighbourhood, village or school. Festival artists, young
singers and musicians of the Académie offer concerts and
meetings that are open to all and provide an easily accessible
musical experience. In 2017, 15 Musical Discoveries were
proposed, moving lyric art outside of its usual haunts.
Making Op’, the educational production created by baritone
Guillaume Paire and vocal coach Nicolas Royez, and the
commented concert on the 2017 programme, conceived by
soprano Blerta Zhegu and pianist Frederic Isoletta, were
presented to 810 spectators in 9 educational institutions,
social centres and cultural venues. Three Musiques en cité
events were organised in social housing districts, offering
festive and musical experiences in Roque d'Anthéron and
in north Marseille. Two Opera Days for young audiences
and families were programmed with the Maison de
Quartier of La Mareschale and the social and cultural
centre of Château de l'Horloge, in the Encagnane and Jas
de Bouffan neighbourhoods of Aix-en-Provence.
AMATEUR ARTISTIC PRACTICES
Artistic and outreach projects provide a sensory way of approaching the works and the music: choral singing, orchestral practice,
staging, sound and visual arts.
FESTIVAL CHORAL ACADÉMIQUE
As an artistic partner of this cultural outreach programme of the Aix-Marseille educational authority since 2015, the Festival d’Aix has
joined forces with cellist Sonia Wieder-Atherton and her artist project, Les Odyssées.
For the Aix 2017 version of this musical voyage, the cellist worked in partnership with a choir of nearly 200 young people accompanied
by Philippe Franceschi, who is in charge of vocal direction and creative and improvisational workshops offered to teachers and
students of the primary and secondary schools of the department. Sonia Wieder-Atherton wanted to invite this large choir into
We are just finishing the visit of the Théâtre de l’Archevêché. We discovered the
reality and the achievement of an opera’s work in progress. … At the moment
we will see Don Giovanni on stage, we will forget the technicians who will have
succeeded in giving life to Mozart’s masterpiece.
A participant of the opera project – Social Center of Martigues
The work songs adventure has really marked the young people throughout this
year. Doing something together, preparing a performance, going on stage or
producing yourself in the street … people are considering them, they are important.
Such a great pride for them.
Coach for the welcome of young recent immigrants – Aix-en-Provence
The musical meeting with Blerta Zhegu lyric singer is imprinted in our minds.
Being so close to the artist and sharing experiences together made this meeting a
magical time!
Insertion workshop Manager – Aix-en-Provence
Passerelles – work songs at the Alhambra cinema in Marseille
38 39
THE TEAMS
Installation of the set for Don Giovanni on the Théâtre de l’Archevêché
Since 2010, the Festival d’Aix-en-Provence has placed sustainable development at the heart of its concerns by way of a series of actions
that enable it to reduce its environmental impact. Responsible travel and procurement, as well as the management of natural resources
and waste, form part of this comprehensive approach that involves all the Festival’s stakeholders.
CARMEN, A 100% ECO-FRIENDLY STAGE SET
Since 2014, the Festival has focused its action on the eco-design of its stage sets, with the support of the ADEME, and the PACA
Region and in collaboration with the Pôle Eco Design.
The test of new materials and the creation of innovative tools (like the ‘materials library’ and a financial, environmental and end-
of-life impact calculator), now allow each phase of the life cycle of a stage set to be analysed. Thus, all material is carefully selected
on the basis of several parameters related to its construction, its transport, its mode of use and, finally, its capacity for recycling.
Following a thorough study of the impacts related to the construction of its sets, the Festival Workshops had already reached a stage
recycling rate of 98.2% in 2016. The ecological target was reached in 2017 after three years of research, analyses and tests: the set of
Carmen was entirely eco-designed by the Festival Workshops. They can boast of the total absence of polystyrene : a material that is,
nonetheless vitually omniprestent in stage set design and, unfortunately, still remains irreplaceable for the creation of monumental
structures.
100% recyclable and reusable, the eco-designed set offers financial savings of 8% and a savings of 15 tonnes of CO2, emissions in
comparison with a traditional design.
Following the success of the first phase of this eco-design project, the Festival has once again responded to a new call for a three-year
project by the ADEME and the Provence-Alpes-Côte d'Azur Region. The new objectives comprise various themes: the logistics of
touring, federating cultural stakeholders, the provision of collaborative tools, and the search for alternative materials to polystyrene.
COFEES, AN ASSOCIATION OF COMMITTED FESTIVALS
As a founding member of COFEES (the association for eco-responsible festivals in the PACA region) which was created in 2014, the
Festival d’Aix promotes global thinking on sustainable development in the performing arts.
Supported by ADEME and the PACA region, the association has adopted the goals of acting together for greater responsibility and
sharing best practices, while, at the same time, encouraging and supporting festivals and cultural venues in their effort to have a
better approach to, and management of, sustainable development.
.
SUSTAINABLE DEVELOPMENT
Installation of the set for Carmen
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
and security;
- Production department, in charge of the contractual, budgetary and organisational implementation of the programme;
- Department of patronage and development, responsible for making a significant contribution to the financing of the Festival by
collecting private contributions from businesses and individuals;
- Administrative and financial department, in charge of the administrative and financial management of the institution and human
resources;
- The general secretariat, which federates services in relation with the public: the department of communication, Passerelles
(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.
The graph below illustrates one of the specificities of the Festival, i.e. the great variability of its staff, which continues to grow from
September to July to reach over 800 people in July 2017, comprising the permanent administrative staff, temporary reinforcements,
technicians and individually hired artists.
Added to this figure are the artists of the guest ensembles (choirs and orchestras, approximately 270 people) and the 300 young
artists in residency with the Académie and the Mediterranean Youth Orchestra. The major commitment of the technicians and
artists throughout the year is also reflected in the many tours undertaken and the work of the workshops.
THE TEAMS
0
200
400
600
800
1,000
September - Décember 2016
January - March 2017
April - May 2017
June - August 2017
Artists
Technical Intermittents
Temporary contracts
Permanent contracts
Installation of the set for Pinocchio
42 43
THE FESTIVAL BUDGETBUDGET €23,130,000
STRUCTURAL REVENUE
36,4 %
OPERATING REVENUE 29 %
ARTISTIC REVENUE AND TOURS 33,7%
FIXED COSTS 25,1%
ARTISTIC EXPENSES
48,9%
enoa NETWORK REVENUE 0,9% enoa NETWORK EXPENDITURE 0,9%
ARTISTIC AND TOURING REVENUE (co-productions, ticketing, audiovisual, sale of productions, etc.) €7,800,000
OPERATING REVENUE (patronage, media partnerships, etc.)€6,700,000
Subsidies from the State and public authorities €7,950,000
Reversals on equipment grants, investment financing and provisions €480,000
Co-production revenue €1,600,000
Ticket revenue € 4,110,000
Audiovisual revenue €1,100,000
Touring income and associated activities €990,000
Patronage and sponsorship revenue €4,570,000
Participation of the Casino d’Aix-en-Provence, a historical patron of the Festival €1,600,000
Media partnerships €300,000
Other operating revenue €230,000
ARTISTIC EXPENDITURES (operas, concerts, outreach and socio-artistic programmes, audiovisual, tours, etc.) €10,995,000
OPERATING EXPENSES (presentations to patrons, site operation, reception of the public, communication, etc.) €6,130,000
FIXED COSTS (total payroll, overheads, investment expenditure, etc.) €5,805,000
Académie – MYO – enoa €800,000
Concerts €75,000
Lyric productions €7,800,000
Passerelles service €400,000
AIX EN JUIN €240,000
Conferences, symposia, exhibitions €20,000
Audiovisual €1,000,000
Tours €660,000
Presentations to businesses €620,000
Technical expenses €3,450,000
Communication, publication, press €670,000
Media partnership expenditure €200,000
Other operating expenditure €1,190,000
P Staff structure €3,900,000
Overheads €1,355,000
Endowments and exceptional expenses €550,000
enoa NETWORK REVENUE (European Network of Opera Academies) €200,000
enoa NETWORK EXPENSES (European Network of Opera Academies) €200,000
STRUCTURAL REVENUES (investment and operating subsidies, etc.) €8,430,000
OPERATING EXPENSES 26,5 %
THE AUDIENCE
DISTRIBUTION ACCORDING TO GEOGRAPHICAL ORIGIN DISTRIBUTION OF PAID SEATS EXCLUDING INVITATIONS
EVENTS
THE FESTIVAL AUDIENCES
ATTENDANCE
OVERALL ATTENDANCE: 84,526 (VS 75,526 SPECTATORS IN 2016)OPERA ATTENDANCE: 95,2%GLOBAL ATTENDANCE RATE: 92,4%44,212 SPECTATORS FOR THE FESTIVAL’S PAID EVENTS32,538 SPECTATORS FOR REHEARSALS AND FREE EVENTS (INCLUDING 4,000 FOR PARADE[S])
AIX EN JUIN FESTIVAL: 17,660 SPECTATORS(VS 17,004 SPECTATORS IN 2016)ACADÉMIE EVENTS: 8,364 SPECTATORSFESTIVAL SCREENINGS IN FRANCE AND ABROAD: 12,426 SPECTATORS (IN JULY)TICKET REVENUE: €4,13 M EXCL. VAT TAX
PRESS
193 JOURNALISTS FROM 19 COUNTRIES(TELEVISION, RADIO, WRITTEN PRESS)31 NEWS STORIES AND RADIO PROGRAMMES18 TV REPORTS AND INTERNET
BROADCASTS
5 OPERAS AND 2 CONCERTS ON TELEVISION AND ON THE WEB5 RADIO BROADCASTS OF OPERAS AND CONCERTS ON FRANCE MUSIQUE
OTHER FRENCH
REGIONS 26,5%
FOREIGNERS 16,8%
(INCLUDING 8,9% EUROPEANS)
UNDEFINED ORIGIN 7,9%
PACA 48,8%
€31 TO €55 12,5%
<OR = TO €30 22,9%
€56 TO €110 3,6%
> TO €190 32,7%
OPERA PERFORMANCES
36 14 4 56 57CONCERTS (EXCLUDING THE ACADÉMIE)
PROFESSIONNIAL MEETINGS
EVENTS DURING AIX EN JUIN
ACADÉMIE EVENTS(JUNE AND JULY)
SCREENINGS(37 IN FRANCE, 39 ABROAD)
76OPERAS AND MUSICAL PERFORMANCES
6
€111 TO €190 28,3%
<OR = TO €55 35,4%
44 45
THE LOYAL SUPPORT OF THE FESTIVAL’S SUPPORTERS AND PARTNERSFor its 2017 edition, the Festival d’Aix-en-Provence was once again able to rely on the loyalty of its supporters and partners. Through
their valuable commitment, corporate and individual supporters play an essential role in the development of Festival d’Aix. In 2017, their
contribution representes almost 20% of total resources or more than €4.6m: an increase over the 2016 edition.
This support has been the Festival’s primary source of revenue for the past three years.
PRIVATE SUPPORTERS
The Festival has been able to rely on the continued support of over 200 private donors through the Club des Mécènes and our
organisations of British and American Friends, who have been renewing their support to the Festival’s projects over the years.
For the past few years, some patrons have committed themselves to the Festival in a very ambitious manner. In 2017, several
individual donors and family foundations have made major donations to the Festival, inclunding the Fondation Meyer pour le
Développement Culturel et Artistique at the forefront. For many years, they have supported the artistic project of Festival d’Aix and
its support has been especially crucial to the presentation of three major productions in the scope of the Stravinsky Cycle in 2015,
2016 and 2017.
The Fondation Meyer pour le Développement Culturel et Artistique was joined in 2017 by the Karolina Blaberg Stiftung, the Howard and
Sarah D. Solomon Foundation, Mr and Mrs Laurence Blackall, as well as many international donors part of in the IFILAF US and IFILAF
UK associations, around one of the 2017 edition’s flagship projects: The Rake’s Progress by Stravinsky, staged by Simon McBurney.
The support of these foreign partners confirms the attractiveness of Festival d’Aix and its recognition on the international opera
stage.
Beyond a significant financial commitment, our supporters are fully aware that long-term investment is crucial to design future
programming and to make ambitious artistic decisions. Created in 2016 as a tool enabling the collection of donations from major
private supporters, the Festival d’Aix-en-Provence’s Endowment Fund aims at ensuring the sustainability of the Festival, thanks to an
anticipation and increase of its self-financing, and to enable it to make mid-term artistic and strategic commitments. The Festival’s
endowment Fund is also open to corporate partners willing to concentrate the amount of their multi-year commitment into a single
gift. For instance, Château du Seuil, which shares the values of creativity and excellence with Festival d’Aix, has committed to support
the Festival for its 2017, 2018 and 2019 editions.
LOYAL CORPORATE PARTNERS
Representing nearly 75% of total support received in 2017, corporate partners of Festival d’Aix have played a major role in the
development of the Festival’s revenue.
Altarea Cogedim, the Festival’s official partner for the third year, and its president, Alain Taravella, provide Festival d’Aix with
essential support.
Once again, the Académie has been able to rely on the loyal support of HSBC (whose HSBC Laureates label has been present
throughout the year in many cultural institutions in France), Fondation La Poste, the SACEM and the SACD. The Mediterranean Youth
Orchestra and Medinea, the incubator network for young Mediterranean artists, have been supported this year again by the Musical
Sponsorship of Société Générale. Art Mentor Foundation Lucerne has also renewed its support for these two projects. Opera broadcasts
have enjoyed growing success in the PACA region and important development abroad thanks to the support of CIC Lyonnaise de
Banque and Fondation Orange.
The renewed trust and loyalty of KPMG, EDF, LVMH, Groupe Ponticelli Frères, Saint-Gobain, Audiens and Air France and the corporate
foundations of Orange, Roederer, Total and CMA-CGM, have enabled the creation of ambitious artistic projects. In 2017, these
corporations have been joined by ADAMI, Fondation MMA, Château La Coste, Fonds de Création Lyrique and Procédés Chenel
International, which made possible the creation of an innovative stage set for the production of The Rake’s Progress.
As a loyal partner of the Festival since 2001, the Cercle des Économistes joined the participants of the Rencontres Économiques
d'Aix-en-Provence for the 17th consecutive year, thus providing a core support to the Festival.
Joined in 2017 by Banque Martin Maurel, Digital Virgo, Eiffage Immobilier, Adamantis, Agnès Pellegrin, les Coquillages du Roy René, the
members of Club Campra have accompanied this 69th edition of the Festival and 10th anniversary of Club Campra, with a great deal of
commitment. Thanks to their support, which has reached over 10% of the funds raised by sponsorship for the first time, these local
businesses actively take part to the cultural influence and attractiveness of their region.
SPONSORS AND PARTNERS
Carmen
47
THE FESTIVAL D’AIX-EN-PROVENCE AND ITS ACADÉMIE ARE SUPPORTED BY:
Les Rencontres Économiques d'Aix-en-Provence were held on 7, 8 and 9 July 2017.
GROUPE PONTICELLI FRÈRES, LVMH, MÉCÉNAT MUSICAL SOCIÉTÉ GÉNÉRALE, SAINT-GOBAIN
ALSO SUPPORTING THE FESTIVAL D'AIXAir France, Audiens, British Council, Butard Enescot, Château La Coste, Coffim, diptyque, Fondation CMA CGM, Fondation Crédit Coopératif, Fondation MMA, Les Vins de Provence, Procédés Chénel International
Club Campra brings together regional companies, businesses people and professional organisations from different sectors of various sizes who wish to support the Festival. Thanks to their civic-mindedness, they contribute to increasing the region’s cultural influence and promoting access to culture for all.
Supporting Members GPI & associés, Société Ricard Benefactor Members Banque Martin Maurel, Digital Virgo, Durance Granulats, Eiffage Immobilier, Groupe SNEF, NGEDonor Members Adamantis, Bouygues Bâtiment Sud-Est, CEA Cadarache, Colas Midi-Méditerranée, Crédit Agricole Corporate And Investment Bank, GrDF, Original System, Orkis, Roland Paix TraiteurAssociate Members Affiche+, Agnès Pellegrin, Alpinea Shipping, Bellini Joaillier-Horloger, Boutiques Gago, Calissons du Roy René, Château Calissanne, CG Immobilier, Coquillages du Roy René, Finopsys, JohnTaylor, Mas de Cadenet – Grand vIn de Provence, Ortec, S.E.M.E.P.A., Société de Courtage des Barreaux
PROFESSIONAL PARTNERS
MEDIA PARTNERS
THE FESTIVAL D’AIX-EN-PROVENCE THANKS ITS CORPORATE PARTNERS FOR THEIR SUPPORT::
Partenaire du Festival d’Aix-en-Provence depuis 1948
OFFICIAL PARTNER
FESTIVAL D'AIX-EN-PROVENCE'SSUPPORTERS
MÉCÈNES FONDATEURSM. et Mme Christopher Carter
M. Nicolas D. Chauvet
M. et Mme André Hoffmann
M. Bruno Roger
M. et Mme Christian Schlumberger
M. et Mme Karel Vinck
GRANDS MÉCÈNESM et Mme Charles Adriaenssen
M. Jean-Louis Beffa
Mme Diane Britz Lotti
M. et Mme Didier de Callataÿ
M. François Casier
M. Nabil Chartouni
Mme Ariane Dandois
M. et Mme Bechara El Khoury
M. Peter Espenhahn
M. et Mme Nicholas L.D. Firth
M. Michael J. Foley
M. et Mme Burkhard Gantenbein
Mlle Nomi Ghez et Dr. Michael
S. Siegal
M. et Mme Jean-Claude Gruffat
M. Frédéric Habets
M. et Mme Alain Honnart
M. et Mme Philippe Jabre
Baron et Baronne Daniel Janssen
M. et Mme Richard J. Miller
Mme Marie Nugent-Head et M.
James C. Marlas
M. Xavier Moreno
M. Pascal Tallon
M. et Mme Henri-Michel
Tranchimand
M. et Mme Anton van Rossum
M. Jérôme Wigny
MEMBRES BIENFAITEURSBaron et Baronne Jean-Pierre
Berghmans
M. et Mme Walter Butler
M. et Mme François Debiesse
M. Michel Frasca
M. Alain Guy
Mme Sophie Kessler-Matière
M. Michael Lunt
M. Alessandro Riva et M. Nicolas
Bonnal
M. et Mme Demesthene Severis
MEMBRES DONATEURSM. Jad Ariss
M. et Mme Mark Armour
M. et Mme Thierry Aulagnon
M. et Mme Thierry d’Argent
M. et Mme Erik Belfrage
Baron et Baronne Philippe Bodson
M. et Mme Jacques Bouhet
M. et Mme François Bournerias
M. Eric E. Bowles and Mme Kuri
Torigoe
M. et Mme Jordi et Patricia Caballé
Mme Christelle Colin et M. Gen Oba
Mme Nathalie Coll
M. et Mme Virgile Delâtre
M. Roland Descouens
M. et Mme Charles-Henri Filippi
M. Pierre-Yves Gautier
M. et Mme Pierre Guenant
Dr. John A. Haines et Dr. Anand
Kumar Tiwari
Mme Yanne Hermelin
M. William Kadouch-Chassaing
M. et Mme Raphaël Kanza
M. et Mme Samy Kinge
M. Jean-Paul Labourdette
Mme Danielle Lipman W.
Boccara
M. et Mme Michel Longchampt
Mme Anne Maus
M. et Mme Ton Meijer-Bergmans
Mme Sylvie Ouziel
M. Henri Paret
M. Thomas Rottner
M. Etienne Sallé
M. et Mme Leonard Schrank
Mme Catherine Stephanoff
Mr Benoît van Langenhove de
Bouvekercke
M. Michel Vovelle
M. et Mme Philip Wilkinson
M. et Mme Robert Zolade
MEMBRES ACTIFSMelle Pascale Alfonsi
Mme Laure Ayache Sartore
M. et Mme Jean-Paul Bailly
M. Constant Barbas
Mme Patricia Barbizet
M. Bernard Barone
M. et Mme Christian Bauzerand
Mme Marie-Claude Billard
M. et Mme Olivier Binder
M. et Mme Daniel Caclin
Mme Christine Cayol-
Machenaud
Mme Marie-Claude Char
Mme Paz Corona et M. Stéphane
Magnan
M. Alan R. Cravitz
M. Pierre-Louis Dauzier
M. Etienne Davignon
M. Laurent Diot
M. et Mme Alain Douteaud
M. et Mme Olivier Dubois
M. et Mme Philippe-Henri Dutheil
M. Jean-Marie Gurné
M. Pascal Houzelot
Mme Gabriele Kippert
M. Didier Kling
M. Jean-Marc La Piana
M. Antoine Labbé
M. Jean-Pol Lallement
M. et Mme Jacques Latil
Mme Marie-Thérèse Le Liboux
M. Jacques Le Pape
M. Cédric Leoty
Mme Janine Levy
Mme Francine Loreau
M. Thierry Martinache
M. et Mme Jean-Pierre Megnin
M. Bernard Miyet
M. et Mme Guillaume de
Montrichard
Mme Maryse Most
Baronne Sheila et Sir Barry Noakes
Mme Maryvonne Pinault
M. Olivier Renaud-Clément
Mme Jacqueline Roland-Gosselin
M. et Mme Jimmy Roze
M. Jon Rupp
M. et Mme Jacques-Olivier
Simonneau
M. et Mme David Syed
M. et Mme Sebastien Veil
M. et Mme Jean-Renaud Vidal
M. Philippe Villin
BOARD OF TRUSTEESIFILAF USAM. Jean-Claude Gruffat
Président
M. Richard J. Miller Trésorier
M. Jérôme Brunetière
Secrétaire
Mme Diane Britz Lotti
M. Nabil Chartouni
Mme Edmée de M. Firth
Mme Marie Nugent-Head Marlas
Dr. Michael S. Siegal
The Honorable Anne Cox
Chambers
Membre Honoraire
M. Jacques Bouhet
Membre Honoraire
IFILAF UKMme Jane Carter Présidente
M. Peter Espenhahn Trésorier
M. Laurence Blackall
M. Jérôme Brunetière
Mme Béatrice Schlumberger
M. David Syed
Many French and international individuals support the development of Festival d’Aix-en-Provence, including through the Club des Mécènes
and the IFILAF UK and USA International Friends associations.
We thank them all for their crucial commitment, and especially our major donors:
Fondation Meyer pour le développement culturel et artistique, Karolina Blaberg Stiftung, Mr and Mrs Laurence Blackall, and the Howard &
Sarah D. Solomon Foundation.
Some of our donors wish to remain anonymous.
If you would like to join us and become a supporter of the Festival, you can contact us at +33 (0)4 42 17 43 56 - [email protected] 49
APPENDIX
Carmen
THE RAKE’S PROGRESSLA CARRIÈRE DU LIBERTINIGOR STRAVINSKI (1882-1971)Opéra en trois actesLivret de Wystan Hugh Auden et Chester Simon Kallman d’après William HogarthCréé le 11 septembre 1951 à La Fenice, Venise
Direction musicale Eivind Gullberg JensenMise en scène Simon McBurney Dramaturgie Gerard McBurneyDécors Michael Levine Costumes Christina Cunningham Lumière Paul Anderson Vidéo Will Duke Chorégraphe, collaboratrice à la mise en scène Leah Hausman
Assistante à la mise en scène Josie Daxter Assistant musical Case ScaglioneChefs de chant Alphonse Cemin* / Nino Pavlenichvili
Seconde assistante à la mise en scène Luna Muratti* Assistante aux costumes Nathalie Pallandre Assistante aux décors Alejandra Gonzales Assistante à la vidéo Philippine Laureau
Anne Trulove Julia Bullock Tom Rakewell Paul Appleby Nick Shadow Kyle Ketelsen Nick Shadow 2, Le Gardien de l’asile Evan Hughes* Trulove David Pittsinger Mother Goose Hilary Summers Baba la Turque Andrew Watts Sellem Alan Oke
Acteurs.rice.s Antony Antunes, Kirsty Arnold, Nichole Bird, Karl Fagerlund Brekke, Andrew Gardiner, Chihiro Kawasaki, Maxime Nourissat, Jami Reid-Quarrell,
Gabriella Schmidt, Clemmie Sveaas
Chœur English Voices Chef de chœur Tim Brown
Orchestre Orchestre de Paris
Nouvelle production du Festival d’Aix-en-ProvenceEn coproduction avec Dutch National Opera, Amsterdam et avec le Théâtre Stanislavski, MoscouEn collaboration avec Complicite, Londres
Avec le soutien de : IFILAF (International Friends of the International Lyric Art Festival), Howard and Sarah D. Solomon Foundation, Mr and Mrs Laurence and Oonagh Blackall, Karolina Blaberg Stiftung, Fondation Meyer pour le Développement Culturel et Artistique
DON GIOVANNIWOLFGANG AMADEUS MOZART (1756-1791)Dramma giocoso en deux actesLivret de Lorenzo Da PonteCréé le 29 octobre 1787 au Théâtre des États de Prague
Direction musicale Jérémie Rhorer Mise en scène Jean-François Sivadier Décors Alexandre de DardelCostumes Virginie Gervaise Lumière Philippe Berthomé Maquillage / coiffure Cécile Kretschmar
Collaboratrice à la mise en scène Véronique Timsit Collaboratrice aux mouvements Johanne Saunier Assistant musical Nicholas Bootiman
Pianistes répétiteurs Jorge Gimenez / Benjamin Laurent*Répétitrice de langue Roberta Salsi Assistant à la mise en scène Rachid Zanouda Assistante aux costumes Morganne Legg Assistant à la lumière Jean-Jacques Beaudouin
Don Giovanni Philippe Sly Leporello Nahuel di Pierro Donna Anna Eleonora Buratto Don Ottavio Pavol Breslik Donna Elvira Isabel Leonard Zerlina Julie Fuchs* Masetto Krzysztof Baczyk* Il Commendatore David Leigh
Figurant.e.s Juliette Allain, Cyprien Colombo, Rachid Zanouda
Chœur English Voices Chef de Chœur Tim Brown
Orchestre Le Cercle de l’Harmonie
Nouvelle production du Festival d’Aix-en-ProvenceEn coproduction avec : Opéra national de Lorraine, Les Théâtres de la Ville de Luxembourg, Teatro Comunale di Bologna
Reproduction de l’œuvre Cloak of Conscience avec l’aimable autorisation de l’artiste Anna Chromy
*Ancien.ne.s artistes de l’Académie
PINOCCHIOPHILIPPE BOESMANS (1936)Opéra sur un livret de Joël Pommerat d’après Carlo CollodiCommande du Festival d’Aix-en-Provence et du Théâtre Royal de la MonnaieCréation mondiale
Direction musicale Emilio PomaricoMise en scène Joël Pommerat Décors et lumière Éric Soyer Costumes, maquillage, perruques Isabelle Deffin Vidéo Renaud Rubiano
Collaboration artistique à la mise en scène Gilles Rico*, Jane Piot Assistant musical Nicolas Chesneau*Chefs de chant Frédéric Calendreau, Nicolas Royez*Assistante aux décors Marie Hervé
Assistante aux costumes Marie Szersnovicz Assistant à la lumière Gwendal Malard
Le directeur de la troupe / premier escroc /deuxième meurtrier / le directeur de cirque Stéphane Degout*Le père / troisième meurtrier / le maître d’école Vincent Le Texier Le pantin Chloé Briot*Deuxième escroc / le directeur de cabaret / le juge / premier meurtrier / le marchand d’ânes Yann BeuronLa chanteuse de cabaret / le mauvais élève Julie Boulianne La fée Marie-Eve Munger*
Figurantes Jilan Al Hassan, Charlène Girin, Camille Lucas, Garance Rivoal, Claudine Sarzier
Musiciens de troupe Fabrizio Cassol – saxophone / coordinateur de l’improvisation Philippe Thuriot – accordéon Tcha Limberger – violon tziganeOrchestre Klangforum Wien
Commande et nouvelle production du Festival d’Aix-en-ProvenceEn coproduction avec : La Monnaie / De Munt, Opéra de Dijon, Opéra national de BordeauxAide à l’écriture d’une œuvre musicale originale du ministère de la Culture et de la Communication
Éditeur de la partition : Éditions JobertAvec le soutien du Fonds de Création Lyrique
*Ancien.ne.s artistes de l’Académie
CARMENGEORGES BIZET (1838-1875)Opéra-comique en quatre actesLivret d’Henri Meilhac et Ludovic Halévy d’après la nouvelle de Prosper MériméeCréé le 3 mars 1875 à l’Opéra-Comique à ParisDialogues parlés réécrits par Dmitri Tcherniakov
Direction musicale Pablo Heras-CasadoMise en scène, décors et costumes Dmitri Tcherniakov Costumes Elena Zaytseva Lumière Gleb Filshtinsky
Assistant musical Emmanuel CalefChefs de chant David Zobel / Nino Pavlenichvili Assistant à la mise en scène Joël Lauwers Assistante aux costumes Elisabeth de Sauverzac Assistante aux décors Katia Mochenova
Interprète Delia RoubtsovaInstructeur Frédéric Gallois
Carmen Stéphanie d’Oustrac*Don José Michael Fabiano Micaëla Elsa Dreisig* Escamillo Michael Todd Simpson Frasquita Gabrielle Philiponet Mercédès Virginie Verrez Zuniga Christian Helmer Moralès Pierre DoyenLe Dancaïre Guillaume Andrieux*Le Remendado Mathias Vidal*
L’Administrateur Pierre GrammontFigurant.e.s Jean-Philippe Ansaldi, Adrien Arnaud, Florian Arnaud, Vincent Cavallotto, Sandra Core, Quentin Filippi, Julien Gourdin,
Morgan Ouhida, Cécile Peyrot, Matthieu Philippon, Kévin Poli, Etienne Roudel, Joëlle Savinien, Robin Sebeille, Jim Solian, Bernard Traversa, Emilie Yana
Chœur Chœur Aedes Chef de chœur Mathieu Romano Chœur d’enfants Maîtrise des Bouches-du-Rhône Chef de chœur Samuel Coquard
Orchestre Orchestre de Paris
Nouvelle production du Festival d’Aix-en-ProvenceEn coproduction avec Les Théâtres de la Ville de LuxembourgÉditeur de la partition : Éditions Alkor
52 53
Orchestre des Jeunes de la Méditerranée
DE L’EXTASE AUX SOUPIRS – LAURÉATS HSBC DE L’ACADÉMIE1ER JUILLET – 21H30 – HÔTEL MAYNIER D’OPPÈDESoprano Emmanuelle de Negri (Lauréate 2008)Baryton Edwin Crossley-Mercer (Lauréat 2007)Piano Edwige Herchenroder (Lauréate 2013)Intégrale des mélodies d’Henri Duparc.
ENSEMBLE KLANGFORUM5 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS MILHAUDCet ensemble viennois que l’on peut entendre dans Pinocchio, nous offre quelques perles contemporaines alliant virtuosité et expressivité. Parmi elles, l’irrésistible Sequenza II pour harpe de Berio.
SONIA WIEDER-ATHERTON – À VOIX NUES 6 JUILLET – 21H30 – HÔTEL MAYNIER D’OPPÈDEConception, musique, création bande-son et violoncelle Sonia Wieder-AthertonRéalisation Bande-son Franck RossiLumières Christian DrillonCollaboration pour la diffusion Julie GriselD’après une idée de Xavier Arias Ce concert est l’aboutissement d’une expérience onirique et sensorielle rassemblant la violoncelliste et des voix d’élèves d’établissements de l’académie d’Aix-Marseille. Un projet mené dans le cadre du Festival choral académique avec le service Passerelles du Festival d’Aix.
MATTHEW HERBERT & LE QUATUOR VAN KUIJK – REQUIEM7 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS MILHAUDQuatuor Van Kuijk (Lauréat HSBC 2014)Matthew Herbert musicien électroniqueCréation live mondiale, Requiem révèle à travers le prisme de l’électronique toute la modernité du quatuor à cordes d’hier (Haydn) et d’aujourd’hui.Co-commande de l’Académie du Festival d’Aix, de la BBC Radio 3 et gmem – Centre national de création musicale.
QUATUOR BÉLA – TROIS FRÈRES DE L’ORAGE9 JUILLET – 18H – CAMP DES MILLESCe concert redonne vie aux œuvres de trois compositeurs juifs ayant subi la persécution puis l’oubli, et présente une co-commande du Festival d’Aix et du Quatuor Béla passée au compositeur Robert Pascal, en hommage à ce site mémorial.
AKA MOON – DE L’ORIENT AUX PRONFONDEURS BALKANIQUES9 JUILLET – 22H – THÉÂTRE DE L’ARCHEVÊCHÉSaxophone, composition Fabrizio CassolKaval Nedyalko Nedyalkov Voix Tima Nedyalkova Violon, voix Tcha Limberger Trompette, santur, voix Amir ElSaffar Accordéon João Barradas* Basse Michel Hatzigeorgiou Batterie Stéphane Galland Fabrizio Cassol et son groupe de jazz proposent un concert où le pourtour de la Méditerranée est à l’honneur.
CONCERTS
*Ancien artiste de l’Académie
ERISMENAFRANCESCO CAVALLI (1602-1676)Dramma per musica en un prologue et trois actesLivret d’Aurelio AureliCréé le 26 (ou le 30) décembre 1655 au Théâtre San Apollinare de Venise
Réalisation de la partition par Leonardo García Alarcón et Ariel Rychter
Direction musicale Leonardo García Alarcón Mise en scène et lumière Jean Bellorini Décors Jean Bellorini et Véronique Chazal Costumes Macha Makeïeff Maquillage / coiffure Cécile Kretschmar
Collaborateur artistique à la mise en scène Mathieu Coblentz Assistante à la direction musicale, cheffe de chant Monica Pustilnik Chefs de chant Ariel Rychter, Jacopo Raffaele Conseiller musical et linguistique Fabián Schofrin Assistante aux costumes Claudine Crauland
Erismena Francesca Aspromonte* Idraspe Carlo Vistoli* Aldimira Susanna HurrellOrimeno Jakub Józef Orlinski
Erimante Alexander Miminoshvili* Flerida Lea Desandre* Andrea Vincenzo Bonsignore*Argippo Andrea Bonsignore* Alcesta Stuart Jackson* Clerio Moro Tai Oney Diarte Jonathan Abernethy*
Orchestre Cappella Mediterranea
Nouvelle production du Festival d’Aix-en-Provence et de son AcadémieEn coproduction avec Les Théâtres de la Ville de Luxembourg
EUGÈNE ONÉGUINEPIOTR ILITCH TCHAÏKOVSKI (1840-1893)Scènes lyriques en trois actesLivret de Piotr Ilitch Tchaïkovski et Constantin S. Chilovski, d’après Alexandre PouchkineCréé le 29 mars 1879 au Théâtre Maly de MoscouOpéra en version de concert
Direction musicale Tugan Sokhiev
Madame Larina Irian RubtsovaTatiana Anna Nechaeva Olga Evgenia AsanovaFilippievna Svetlana Shilova
Eugène Onéguine Igor Golovatenko Vladimir Lenski Bogdan Volkov Prince Grémine Ain Anger Zaretski / Le Capitaine Goderdzi Janelidze Monsieur Triquet Stanislav Mostovoy
Chœur Chœur du Bolchoï – Théâtre académique d’État de Russie Chef de chœur Valery Borisov
Orchestre Orchestre du Bolchoï – Théâtre académique d’État de Russie
Solistes, chœur et orchestre du Bolchoï – Théâtre académique d’État de Russie
*Ancien.ne.s artistes de l’Académie54 55
JULY ACADÉMIE
De Venise à broadway
MARDI 4 JUILLET CONCERT Résidence de musique de chambre Les ensembles de la résidence interprètent des œuvres classiques, romantiques et contemporaines.Hôtel Maynier d’Oppède – 21h30
MERCREDI 5 JUILLET CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉE Quatuor GerhardŒuvres de György Kurtág et de Robert Schumann.Châteauneuf-les-Martigues, église de la Mède – 19h Avec le soutien du Territoire du Pays d’Aix – Métropole Aix-Marseille-Provence.
JEUDI 6 JUILLET MASTER CLASSE DE MUSIQUE DE CHAMBRERésidence de musique de chambre András Keller, violoniste et membre du Quatuor Keller, fait travailler les ensembles de la résidence. Hôtel Maynier d’Oppède – 12h
VENDREDI 7 JUILLET MASTER CLASSE DE COMPOSITEURMatthew Herbert, musicien électronique Auditorium du Conservatoire Darius Milhaud – 12h
SAMEDI 8 JUILLET MASTER CLASSE DE COMPOSITEURSRésidence PinocchioRaphaël Languillat et Olivier Leith, compositeurs, font travailler ensemble les chanteur.se.s et intrumentistes de la
résidence, en présence d’ Ondrej Adámek.Auditorium du Conservatoire Darius Milhaud – 12h
CONCERT Résidence de musique de chambreLes ensembles de la résidence interprètent des œuvres classiques, romantiques et contemporaines.Auditorium du Conservatoire Darius Milhaud – 20h
Quatuor Arcanto
LIFE STORY – LAURÉATS HSBC DE L’ACADÉMIE11 JUILLET – 20H – THÉÂTRE DU JEU DE PAUMESoprano Beate Mordal (Lauréate 2015)Piano Nicolas Royez (Lauréat 2015)Collaborateur artistique Joseph AlfordGershwin, Britten, Poulenc, Weill et Satie sont au menu de ce récital placé sous le signe du cabaret, conjuguant musique et humour !
ORCHESTRE DE PARIS12 JUILLET – 20H – GRAND THÉÂTRE DE PROVENCEDirection musicale Duncan WardSous la baguette de Duncan Ward, l’Orchestre de Paris nous propose un concert réunissant Schubert, Beethoven et Stravinski.
L’INSTINCT LYRIQUE – LAURÉATS HSBC DE L’ACADÉMIE13 JUILLET – 21H30 – HÔTEL MAYNIER D’OPPÈDEBaryton-basse Evan Hughes (Lauréat 2016)Piano Hélio Vida (Lauréat 2014)Evan Hughes, qui incarne Nick Shadow 2 dans The Rake’s Progress, offre un récital des plus intimes et contrastés où le sombre mystère des Lieder schumanniens côtoie les fulgurances de Sibelius.Avec le soutien du Département des Bouches-du-Rhône.
SALTANA QUARTET – VOYAGE D’EXIL ET D’AMOUR13 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS MILHAUDSaxophone Raphaël Imbert'Ûd Moneim AdwanViolon Zied ZouariPercussions Jean-Luc Di FrayaHabitués du Festival d’Aix autant que citoyens du monde de la Musique, le saxophoniste Raphaël Imbert, le ûdiste Moneim Adwan, le violoniste Zied Zouari et le percussionniste Jean-Luc Di Fraya vont nous emmener en voyage…
UDOPIA14 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS MILHAUD'Ûd, composition Thymios AtzakasSaxophone, lyra James WylieFlûte Ney Nikos ParaoulakisVioloncelle, viole de gambe Elektra MiliadouBatterie, percussions Kostas AnastasiadisMarimba, percussions Dimitris ZacharakisVoix Avgerini Gatsi Un véritable récit musical où le 'ûd s’entoure de six musicien.ne.s aux multiples horizons pour bâtir une Udopia musicale faite de polyphonies, d’improvisations et de traditions musicales des Balkans et de Grèce.En collaboration avec Les Suds, à Arles.
CAIRO JAZZ STATION – FRAGMENTS D’UNE MÉDITERRANÉE ACTUELLE16 JUILLET – 20H – AUDITORIUM DU CONSERVATOIRE DARIUS MILHAUDSaz Abdallah Abozekry*Percussions Ismail Altunbas*Accordéon João Barradas*Contrebasse Loris Lari*
CONCERT BAROQUE – LES MUSES ITALIENNES DU ROI-SOLEIL 19 JUILLET – 21H30 – HÔTEL MAYNIER D’OPPÈDEDirection musicale Leonardo García AlarcónClavecin et chef de chant Jacopo RaffaeleConseiller musical et linguistique Fabián SchofrinViolons, viole de gambe, archiluth Musiciens de la Cappella MediterraneaEn parallèle à la recréation d’Erismena, Leonardo García Alarcón tient l’orgue le temps d’un concert réunissant des musiciens de son ensemble Cappella Mediterranea et les chanteur.se.s de la résidence Erismena. Une soirée « Grand Siècle » placée sous le signe de l’inventivité et de la virtuosité du répertoire lyrique italien du XVIIIe siècle.
ORCHESTRE DES JEUNES DE LA MÉDITERRANÉE – L’ESPRIT DE SHÉHÉRAZADE22 JUILLET – 20H – GRAND THÉÂTRE DE PROVENCEDirection musicale Pablo Heras-CasadoOrchestre Orchestre des Jeunes de la MéditerranéeMezzo-soprano Virginie VerrezDirigé par Pablo Heras-Casado, un concert symphonique autour de la figure de Shéhérazade. Œuvres de Rimski-Korsakov, Ravel et de Christina Athinodorou.
*Ancien artiste de l’Académie
56 57
HORS-SÉRIELUNDI 3 JUILLET PROJECTIONThe Juilliard Experiment (2016)Documentaire de Mark Kidel sur le travail de Fabienne Verdier, l’artiste peintre, qui a signé le visuel de saison 2017 du Festival d’Aix.Aix-en-Provence, Cité du Livre – 11h
TÊTE-À-TÊTE Rencontre avec Philippe Boesmans, compositeur de la création mondiale Pinocchio. Aix-en-Provence, Cour du Presbytère – 18h
MARDI 4 JUILLET TÊTE-À-TÊTE Rencontre avec Simon McBurney, metteur en scène de The Rake’s Progress. Cour du Presbytère – 18h
MERCREDI 5 JUILLET TÊTE-À-TÊTE Rencontre avec Jean-François Sivadier, metteur en scène de Don Giovanni. Cour du Presbytère – 18h
JEUDI 6 JUILLET TÊTE-À-TÊTE Rencontre avec Stéphane Degout et Chloé Briot, Le directeur de troupe et Le pantin dans la création mondiale Pinocchio. Cour du Presbytère – 18h
PROJECTIONS D’OPÉRA EN DIRECT DU FESTIVAL D’AIXCarmen (Bizet) Pablo Heras-Casado / Dmitri TcherniakovDans les villes d’Aix-en-Provence, Apt, Cassis, Chorges, Cornillon-Confoux, Coudoux, Cucuron, Évenos, Gardanne, La Penne-sur-Huveaune, L’Isle-sur-la-Sorgue, Marseille, Martigues, Miramas, Nice, Rousset, Septèmes-les-Vallons, Sisteron, Venelles – 21h30
VENDREDI 7 JUILLET RENCONTRES ÉCONOMIQUES D’AIX-EN-PROVENCEÀ la recherche de nouvelles formes de prospéritésSession de réflexion et de débats organisés par le Cercle des ÉconomistesAix-en-Provence, Université d’Aix-Marseille, Site Schuman – 9h45-18h45
SAMEDI 8 JUILLET RENCONTRES ÉCONOMIQUES D’AIX-EN-PROVENCEAix-en-Provence, Sciences Po Aix– 8h-18h15
ÉMISSION FRANCE MUSIQUECarrefour de LodéonÉmission en direct et en public animée par Frédéric Lodéon en compagnie de nombreux invités et artistes du Festival d’Aix.
Aix-en-Provence, Cour du collège Sainte-Catherine de Sienne – 18h-20h
DIMANCHE 9 JUILLET RENCONTRES ÉCONOMIQUES D’AIX-EN-PROVENCEAix-en-Provence, Université d’Aix-Marseille, Site Schuman – 8h30-14h
ÉMISSION FRANCE MUSIQUE La Tribune des critiques de disques : spéciale Carmen Émission en direct et en public animée par Jérémie Rousseau.Aix-en-Provence, Cour du collège Sainte-Catherine de Sienne – 18h-20h
LUNDI 10 JUILLET CULTURE NUMRévolution numérique, culture et créationEn partenariat avec Audiens.Auditorium du Conservatoire Darius Milhaud – 10h30-17h30
TÊTE-À-TÊTE Rencontre avec Leonardo García Alarcón, directeur musical d’Erismena. Cour du Presbytère – 18h
MARDI 11 JUILLET RENCONTRES NATIONALES ACCORD MAJEURLa musique : une affaire de sensAuditorium du Conservatoire Darius Milhaud – 9h30-17h30Avec le soutien du groupe Audiens, de la Sacem et du Crédit Coopératif.
TÊTE-À-TÊTE Rencontre avec Stéphanie d’Oustrac, mezzo-sopano rôle-titre de Carmen. Aix-en-Provence, Cour du Presbytère – 18h
SOIRÉE CINÉ-CONCERTMusiques en citéUne soirée conviviale de concert, repas partagé et cinéma en plein air au cœur de la Cité de la Savine, qui ponctue la résidence créative autour de work songs, menée par Alexandra Satger et Wilda Philippe de la Compagnie Rara Woulib, avec des choristes amateur.trice.s de l’association Sound Musical School B. Vice.Marseille, Cité de la Savine – à partir de 19hEn partenariat avec l’Alhambra cinémarseille et Sound Musical School B. Vice.
MERCREDI 12 JUILLET TÊTE-À-TÊTE Rencontre avec Jérémie Rhorer, directeur musical de Don Giovanni. Cour du Presbytère – 18h
JEUDI 13 JUILLET TÊTE-À-TÊTE Rencontre avec Carlo Vistoli, Jakub Józef Orlinski et Taï Oney, contre-ténors dans Erismena. Cour du Presbytère – 18h
VENDREDI 14 JUILLET TÊTE-À-TÊTE Rencontre avec Philippe Sly, baryton-basse rôle-titre dans Don Giovanni. Cour du Presbytère – 18h
SAMEDI 15 JUILLET TÊTE-À-TÊTE Rencontre avec Julia Bullock et Paul Appleby, Anne Trulove et Tom Rakewell dans The Rake’s Progress. Cour du Presbytère – 18h
LUNDI 17 JUILLET TÊTE-À-TÊTE Rencontre avec Fabrizio Cassol, saxophoniste et compositeur pour son groupe de jazz Aka Moon et encadrant de la session de création interculturelle de l’OJM.Cour du Presbytère – 18h
MARDI 18 JUILLET TÊTE-À-TÊTE Rencontre avec Michael Fabiano, Don José dans Carmen. Cour du Presbytère – 18h
MERCREDI 19 JUILLET TÊTE-À-TÊTE Rencontre avec Francesca Aspromonte, Susanna Hurell et Lea Desandre, sopranos et mezzo-soprano dans Erismena. Cour du Presbytère – 18h
JEUDI 20 JUILLET TÊTE-À-TÊTE Rencontre avec Émilie Delorme, Directrice de l’Académie du Festival d’Aix, de l’OJM et des réseaux enoa et Medinea, elle présente les projets à venir. Cour du Presbytère – 18h
VENDREDI 21 JUILLET TÊTE-À-TÊTE Rencontre avec Bernard Foccroulle, Directeur général du Festival d’Aix. Cour du Presbytère – 18h
SAMEDI 22 JUILLET TÊTE-À-TÊTE Rencontre avec Alain Perroux, Conseiller artistique et dramaturge du Festival d’Aix. Il présente la programmation de l’édition 2018. Cour du Presbytère – 18h
LUNDI 10 JUILLETMASTER CLASSE DE COMPOSITRICES Résidence Pinocchio / Résidence de musique de chambreSivan Eldar et Camille Pepin, compositrices, travaillent avec les chanteur.se.s et instrumentistes ainsi que les ensembles de musique de chambre en résidences à l’Académie, en présence de Jeff Cohen.Auditorium du Conservatoire Darius Milhaud – 12h
CONCERT Concert de créationsQuatre compositeurs d’aujourd’hui – parmi lesquels la jeune révélation française Camille Pepin – présentent autant de créations mondiales, commandes de l’Académie du Festival d’Aix, ainsi qu’une
œuvre d’Ondrej Adámek, interprétées par les chanteur.se.s et instrumentistes de la résidence Pinocchio ainsi que les ensembles de la résidence de musique de chambre. Hôtel Maynier d’Oppède – 21h30En partenariat avec la Sacem et Copie privée.
MARDI 11 JUILLET MASTER CLASSE DE MUSIQUE DE CHAMBRERésidence de musique de chambreDavid Albermann, violoniste et ancien membre du Quatuor Arditti, fait travailler les ensembles de la résidence. Hôtel Maynier d’Oppède – 12h
CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉE Quatuor HansonLes Quintes de Haydn et Quatuor en sol mineur de Debussy.Avec le soutien du Territoire du Pays d’Aix – Métropole Aix-Marseille-Provence.Martigues, Chapelle de l’Annonciade – 19h
MERCREDI 12 JUILLETMASTER CLASSE DE CHANTRésidence Erismena Jacopo Raffaele, claveciniste et chef de chant, et Fabián Schofrin, conseiller musical et linguistique, font travailler les chanteurs, les chanteuses et instrumentistes de la résidence. Hôtel Maynier d’Oppède – 12h
CONCERT DE CHANT EN TOURNÉEL’Instinct lyriqueEvan Hughes (Lauréat HSBC 2016)Hélio Vida (Lauréat HSBC 2014)Evan Hughes, qui incarne Nick Shadow 2 dans The Rake’s Progress, offre un récital
des plus intimes et contrastés où le sombre mystère des Lieder schumanniens côtoie les fulgurances de Sibelius. Cassis, Jardin de la Villa L’Ariane – 19h Avec le soutien du département des Bouches-du-Rhône.
CONCERT Résidence de musique de chambre Les ensembles de la résidence interprètent des œuvres classiques, romantiques et contemporaines.Hôtel Maynier d’Oppède – 21h30
JEUDI 13 JUILLET MASTER CLASSE DE MUSIQUE DE CHAMBRERésidence de musique de chambreTabea Zimmermann, altiste et membre du Quatuor Arcanto, fait travailler les ensembles de la résidence.Hôtel Maynier d’Oppède – 12h
CONCERT DE CHANT EN TOURNÉE De Venise à BroadwayRépertoire baroque italien croisé à des comédies musicales interprétés par les chanteur.se.s et instrumentises des résidences Pinocchio et Erismena.Eyguières, Parc des Frères Recordier (parc des Platanes) – 19h Avec le soutien du Département des Bouches-du-Rhône.
CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉE Quatuor HansonLes Quintes de Haydn et Quatuor en sol mineur de Debussy.Cornillon-Confoux, Place de la Mairie – 19hAvec le soutien du Territoire du Pays d’Aix – Métropole Aix-Marseille-Provence.
VENDREDI 14 JUILLET MASTER CLASSE DE CHANTRésidence Erismena Leonardo García Alarcón, directeur musical, fait travailler les chanteur.se.s et instrumentistes de la résidence.Hôtel Maynier d’Oppède – 12h
CONCERT Résidence de musique de chambre Les ensembles de la résidence interprètent des œuvres classiques, romantiques et contemporaines.Hôtel Maynier d’Oppède – 21h30
SAMEDI 15 JUILLET RENCONTRERésidence de musique de chambre À l’issue de 2 semaines de création avec
les quatuors de la résidence de musique de chambre, l’artiste peintre Fabienne Verdier rencontre le public du Festival d’Aix.Hôtel Maynier d’Oppède – 12h
CONCERT Résidence de musique de chambre Pour le concert de clôture de la résidence, des ensembles se produisent avec Tabea Zimmermann dans un programme de quintette à cordes et quatuor avec piano.Hôtel Maynier d’Oppède – 21h30
LUNDI 17 JUILLET MASTER CLASSE DE CHANTRésidence PinocchioJeff Cohen, pianiste et chef de chant, fait travailler les chanteur.se.s et instrumentistes de la résidence sur un programme de comédies musicales. Hôtel Maynier d’Oppède – 12h
CONCERT De Venise à BroadwayRépertoire baroque italien croisé à des comédies musicales interprétés par les chanteur.se.s et instrumentises des résidences Pinocchio et Erismena. Hôtel Maynier d’Oppède – 21h30
MARDI 18 JUILLET MASTER CLASSE DE COMPOSITEUR Fabrizio Cassol fait travailler les musicien.ne.s de la session de création interculturelle de l’OJM autour de l’improvisation musicale et de la composition collective.Hôtel Maynier d’Oppède – 12h
CONCERT Création interculturelleOrchestre des Jeunes de la MéditerranéeDe jeunes musicien.ne.s méditerranéen.ne.s présentent leur création collective élaborée avec Fabrizio Cassol lors de la session de création interculturelle mêlant jazz, improvisation et musiques traditionnelles de la Méditerranée.Hôtel Maynier d’Oppède – 21h30
JEUDI 20 JUILLET CONCERT Vanderbilt Music AcadémieConcert final avec les instrumentistes de la Vanderbilt Music Académie sous la direction musicale de Thomas Verrier. Hôtel Maynier d’Oppède – 21h30
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LUNDI 19 JUINMASTER CLASSE DE CHANT ET DE PIANORésidence Mozart Ouri Bronchti, pianiste et chef de chant, travaille le répertoire mozartien avec les jeunes chanteur.se.s et pianistes de la résidence.Hôtel Maynier d’Oppède – 12h
MARDI 20 JUINCONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉED’un Viennois à l’autreQuatuor Arod (Lauréat HSBC 2016 de l’Académie)Œuvres d’Anton Webern et de Franz Schubert.Mallemort, église Saint-Michel – 19hAvec le soutien du Territoire du Pays d’Aix – Métropole Aix-Marseille-Provence.
PROJECTIONLes Aventures de Pinocchio(Luigi Comencini)Aix-en-Provence, Institut de l’Image – 19h
MERCREDI 21 JUINRÉPÉTITION PUBLIQUE D’OPÉRA The Rake’s Progress (Stravinski)Théâtre de l’Archevêché – 18h
CONCERT DE MUSIQUE DE CHAMBRE EN TOURNÉED’un Viennois à l’autreQuatuor Arod (Lauréat HSBC 2016 de l’Académie)La Penne-sur-Huveaune, église Saint-Laurent – 19h
JEUDI 22 JUINRÉPÉTITION PUBLIQUE D’OPÉRADon Giovanni (Mozart)Théâtre de l’Archevêché – 18h
CONCERT Confidence pour confidenceQuatuor Arod (Lauréat HSBC 2016 de l’Académie)Œuvres de Felix Mendelssohn et de Franz Schubert.Hôtel Maynier d’Oppède – 21h30
VENDREDI 23 JUINMASTER CLASSE DE COMPOSITEUR Résidence PinocchioPhilippe Boesmans, compositeur de Pinocchio, présente son opéra en compagnie de Nicolas Royez, pianiste et chef de chant, et des chanteur.se.s engagé.e.s comme doublures pour cette création mondiale.Hôtel Maynier d’Oppède – 12h
RÉPÉTITION PUBLIQUE D’OPÉRA Carmen (Bizet)Théâtre de l’Archevêché – 18h
CONCERT DE CHANT EN TOURNÉEAs this Dark Hour Ends (Et c’est ainsi que cet obscur temps s’achève)Les artistes de la résidence Mozart donnent une restitution de leur travail autour d’airs et ensembles d’opéras mozartiens sur le thème de la séparation.Ceyreste Cour de l’école Albert Blanc – 19h
CONCERT-SPECTACLE¿Tangos ? / Trio So–ra Une rencontre entre la musique de chambre et la danse autour d’un répertoire de tango traditionnel et contemporain dans le cadre de l’Atelier de Création et d’Innovation. Hôtel Maynier d’Oppède – 21h30
SAMEDI 24 JUINCONCERT Odyssée n°7 – À voix nues / Sonia Wieder-Atherton Aix-en-Provence, Théâtre du Bois de l’Aune – 20h
CONCERT DE CHANTAs this Dark Hour Ends (Et c’est ainsi que cet obscur temps s’achève)Les artistes de la résidence Mozart donnent une restitution de leur travail autour d’airs et ensembles d’opéras mozartiens sur le thème de la séparation, mise en espace par Joseph W. Alford.Hôtel Maynier d’Oppède – 21h30
DIMANCHE 25 JUINLES DIMANCHES DE LA CANEBIÈREÀ nous de jouer ! Des groupes amateurs et des acteur.trice.s culturels du département se réunissent autour de la Compagnie Rara Woulib pour fêter l’été en musique et en danse avec le public. Dans ce cadre, Passerelles propose un projet amateur d’improvisation autour du jazz avec les classes orchestres d’Aix-en-Provence, Marseille et Saint-Maximin-la-Sainte-Baume, dirigé par Raphaël Imbert, un concert du chœur Ibn Zaydoun ainsi qu’un projet choral amateur rejoignant work songs piloté par la Compagnie Rara Woulib.Marseille, La Canebière – de 11h à 18h Un événement du Département des Bouches-du-Rhône.En partenariat avec l’IMPF (Salon-de-Provence), le Conservatoire Darius Milhaud d’Aix-en-Provence (CRR), le Conservatoire Pierre Barbizet de Marseille (CNRR) et la Cité de la Musique de Marseille.
LUNDI 26 JUINMASTER CLASSE DE MISE EN SCÈNEAtelier Opéra en CréationKatie Mitchell, metteuse en scène, partage avec des artistes de l’Académie son rapport à l’opéra et, plus particulièrement, à la mise en scène.Hôtel Maynier d’Oppède – 12h
CONCERT DE CHANT EN TOURNÉELa Belle Maguelone John Chest (Lauréat HSBC 2015 de l’Académie), Marcelo Amaral & Julie MoulierRécital de quinze Lieder de Johannes Brahms inspiré du roman de Ludwig Tieck, Les Amours de la belle Maguelonne et de Pierre de Provence. Fuveau, église Saint-Michel – 19h Avec le soutien du Département des Bouches-du-Rhône.
CONCERT – PARADE[S]Sélection d’airs de Carmen interprétés par l’Orchestre de Paris, les solistes de la pro-duction et le Chœur Aedes, dirigés par Pablo Heras-Casado.Aix-en-Provence, Cours Mirabeau – 21h45
MARDI 27 JUINRÉCITALLa Belle Maguelone John Chest (Lauréat HSBC 2015 de l’Académie), Marcelo Amaral & Julie MoulierHôtel Maynier d’Oppède – 21h30
MERCREDI 28 JUINRÉPÉTITION PUBLIQUE D’OPÉRA Pinocchio (Boesmans)Grand Théâtre de Provence – 19h
VENDREDI 30 JUINCONCERT Prix Gabriel DussurgetL’association Gabriel Dussurget remet le Prix Gabriel Dussurget au pianiste Alphonse Cemin et le Prix Jeune Espoir au violoncelliste Rafaël Arreghini. Les remises de prix sont suivies d’un concert avec les artistes récompensés, accompagnés par l’Orchestre du Conservatoire Darius Milhaud d’Aix-en-Provence (CRR) et par l’Orchestre symphonique d’Aix-Marseille Université (OSAMU).Auditorium du Conservatoire Darius Milhaud – 20h30
CONCERT Trio TatavlaUn concert explorant les musiques traditionnelles grecques, leurs éléments autochtones ainsi que les multiples héritages et influences dont ces œuvres se sont nourries au fil du temps. Un voyage musical proposé par Tcha Limberger, violoniste dans Pinocchio, création mondiale donnée en ouverture du Festival. Hôtel Maynier d’Oppède – 21h30
AIX EN JUIN
Concert Résidence Mozart
MERCREDI 7, JEUDI 8, VENDREDI 9 JUINSPECTACLE BENJAMIN DUPÉ Comme je l’entendsEn clôture de sa résidence à Sciences Po Aix, Benjamin Dupé présente Comme je l’entends, un solo construit sur l’enregistrement des impressions des auditeur.trice.s face à sa musique.Aix-en-Provence, 3 bis f – 20h30 (Me, Je) et 15h (Ve)En partenariat avec Aix-Marseille Université.
LUNDI 12 JUINPANORAMA - SOIRÉE MUSICALEAvec les artistes de la programmation de juillet.Aix-en-Provence, Hôtel Maynier d’Oppède – 19h
MERCREDI 14 JUINMASTER CLASSE DE CHANTRésidence MozartSusanna Eken propose un perfectionnement vocal autour du répertoire de Mozart et d’Haydn.Hôtel Maynier d’Oppède – 12h
CONCERT Chœur Ibn Zaydoun Direction, chant, ‘ûd Moneim Adwan Chœur Chœur multiculturel Ibn ZaydounRépertoire de chants traditionnels du Moyen-Orient et de poésies arabes anciennes et contemporaines, sur des compositions originales de Moneim Adwan.Hôtel Maynier d’Oppède – 21h30
VENDREDI 16 JUINCONCERT DE CHANT - LES VOIX DE SILVACANE Visages de la Vierge dans la musique sacrée occidentaleJeune chœur de la Maîtrise des Bouches-du-RhôneMusiques sacrées de la Renaissance à nos jours.La Roque d’Anthéron, Abbaye de Silvacane – Abbatiale – 19h
CONCERT DE CHANT EN TOURNÉEMozart et « papa » Haydn / Artistes de la résidence MozartAirs et ensembles de musique sacrée de Mozart et de Haydn.Trets, Cour du Château –20hAvec le soutien du Département des Bouches-du-Rhône.Dans le cadre de Trets, Capitale provençale de la Culture 2017.
SAMEDI 17 JUINCONCERT DE CHANT - LES VOIX DE SILVACANE Dufay en Italie / GraindelavoixLa Roque d’Anthéron, Abbaye de Silvacane – Abbatiale – 16h
CONCERT DE CHANT EN TOURNÉE - LES VOIX DE SILVACANE Mozart et « papa » Haydn / Artistes de la résidence MozartAirs et ensembles de musique sacrée de Mozart et de Haydn.La Roque d’Anthéron, Abbaye de Silvacane – Abbatiale – 19h
CONCERT DE CHANT EN TOURNÉE Erismena (Cavalli)Extraits de l’opéra Erismena, par les artistes de la nouvelle production du Festival d’Aix et de l’Académie. Saint-Marc-Jaumegarde, Salle Frederi Mistral – 19hAvec le soutien du Département des Bouches-du-Rhône
CONCERT Odyssée n°7 – À voix nues / Sonia Wieder-Atherton Sonia Wieder-Atherton emmène avec elle 160 jeunes chanteur.se.s de chorales d’établissements de l’Académie d’Aix-Marseille pour une variation de son spectacle Odyssée pour violoncelle et
chœur imaginaire.Saint-Marc-Jaumegarde, Salle Frederi Mistral – 19hEn partenariat avec le Festival choral Académique, dispositif culturel du rectorat Aix-Marseille, le Conservatoire de Manosque (CRD), le Théâtre Jean le Bleu (Manosque) et le Bois de l’Aune (Aix-en-Provence)Manosque, Théâtre Jean le Bleu – 20h
SPECTACLE MUSICAL Au plus fort de l’orage Spectacle musical autour de la correspondance d’Igor Stravinski et d’Ernest Ansermet. Production de l’Académie du Festival d’Aix, avec le soutien de la Fondation d’entreprise La Poste. En collaboration avec la Comédie de Saint-Étienne – Centre dramatique national et la compagnie The party.Hôtel Maynier d’Oppède – 21h30
SPECTACLEPhone Call to HadesTrois interprètes guident le spectateur dans une mystérieuse balade nocturne en plein air.Une production de la Münchener Biennale et de la Theaterakademie August Everding créée le 31 mai 2016 à la Biennale de Munich. En coproduction avec la Chapelle musicale Reine Elizabeth et Les Théâtres de la Ville de Luxembourg.Avec le soutien du programme Young Opera Makers d’enoa et du Programme Europe Créative de l’Union européenne.Aix-en-Provence, Parc de la Torse – 22h et 23h
DIMANCHE 18 JUINSPECTACLEPhone Call to HadesAix-en-Provence, Parc de la Torse – 22h et 23h
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Mexico / Guanajuato – Institut français 14 octobre 2017 Marne-la-Vallée – La Ferme du Buisson 19 décembre 2017
LE TURC EN ITALIE Yaoundé – Institut français 3 février 2017
ALCINA Antananarivo – Institut français 14 janvier 2017
SVADBA Marrakech – Institut français 14 avril 2017 Meudon – Archimusic La Boutique du Val 18 juin 2017
COSÌ FAN TUTTE Yaoundé – Institut français 21 avril 2017
KALÎLA WA DIMNA Marrakech – Institut français 1er février 2017
ŒDIPUS REX Meknès – Institut français 14 février 2017 Marrakech – Institut français 1er mars 2017 Kiev – Institut français 12 mars 2017 Prague – Institut français 29 août 2017
CARMEN Valence – Institut français 11 juillet 2017 Safi – Alliance française 14 juillet 2017 Istanbul – Institut français 26 juillet 2017 Prague – Institut français 8 août 2017 Antananarivo – Institut français 9 septembre 2017 Milan – Institut français Milano-Corso-Magenta 21 septembre 2017 Madrid – Institut français 3 octobre 2017 Moscou – Institut français Stanislavski 18 octobre 2017 Safi – Alliance française 27 octobre 2017 Ouagadougou – Institut français 28 octobre 2017 Yaoundé – Institut français 9 novembre 2017 Rabat – Institut français 21 novembre 2017
DON GIOVANNI Safi – Alliance française 28 juillet 2017 Prague – Institut français 3 août 2017 Beuvrequen – Autres caps – Association Sous l’Opalétuvier 9 août 2017 Istanbul – Institut français 9 août 2017 Safi – Alliance française 13 octobre 2017 Meudon – Archimusic La Boutique du Val 22 octobre 2017 Barcelone – Institut français novembre 2017 Madrid – Institut français 5 décembre 2017
ERISMENA Prague – Institut français 18 juillet 2017 Istanbul – Institut français 16 août 2017
PINOCCHIO Istanbul – Institut français 19 juillet 2017 Safi – Alliance française 21 juillet, 20 octobre 2017 Clermont-en-Genevois – Château de Clermont 22 juillet 2017 Prague – Institut français 17 août 2017 Yaoundé – Institut français 22 septembre 2017 Barcelone – Institut français octobre 2017
Madrid – Institut français 7 novembre 2017 Antananarivo – Institut français 11 novembre 2017 THE RAKE’S PROGRESS Istanbul – Institut français 2 août 2017 Prague – Institut français 24 août 2017
CONCERT DES LAURÉATS HSBC DE L’ACADÉMIE Paris – Le Théâtre – La Scène Thélème 28 mars 2017 Beate Mordal, soprano (Lauréate HSBC 2015) Nicolas Royez, piano (Lauréat HSBC 2015) Programme : Life StoryMartigues – Festival Le Train Bleu - Théâtre des Salins 31 mars 2017 Beate Mordal, soprano (Lauréate HSBC 2015) Nicolas Royez, piano (Lauréat HSBC 2015) Programme : Life StoryLille – Opéra de Lille 5 avril 2017 Andri Björn Róbertsson, baryton-basse (Lauréat HSBC 2014) Edwige Herchenroder, piano (Lauréate HSBC 2013) Programme : D’amour et de mortWaterloo – Chapelle Musicale Reine Elisabeth 26 avril 2017 Quatuor Van Kuijk (Lauréat HSBC 2014)Programme : Mozart – Dissonances À l’occasion de la sortie du disque Mozart (production du Festival d’Aix et d’Alpha Classics)Hong Kong – French May Arts Festival - City Hall - Concert Hall 3 juin 2017 Quatuor Van Kuijk (Lauréat HSBC 2014) Aubagne – Musicales de la Font de Mai - Font de mai 29 juillet 2017 Léa Trommenschlager, soprano (Lauréate HSBC 2011) Damien Pass, baryton-basse (Lauréat HSBC 2011) Alphonse Cemin, pianiste (Lauréat HSBC 2010) Programme : Comédies musicalesParis – Philharmonie de Paris 12 octobre 2017 John Chest, baryton (Lauréat HSBC 2015) Marcelo Amaral, pianiste Julie Moulier, comédienne Programme : La Belle Maguelone Chili – Teatro del Lago 4 novembre 2017 Léa Trommenschlager, soprano (Lauréate HSBC 2011) Damien Pass, baryton-basse (Lauréat HSBC 2011) Alphonse Cemin, piano (Lauréat HSBC 2010)Mougins – Scène 55 7 novembre 2017 Beate Mordal, soprano (Lauréate HSBC 2015) Nicolas Royez, pianiste (Lauréat HSBC 2015) Programme : Life Story
CONCERT DE L’ORCHESTRE DES JEUNES DE LA MÉDITERRANÉESESSION SYMPHONIQUE Puget-Théniers – Hôpital du Pays de la Roudoule 25 juillet 2017 Gémenos – Théâtre de verdure dans le cadre du festival Les Arts Verts 26 juillet 2017MEDINEA – Cairo Jazz Station Heidelberg (Allemagne) – Festival Heidelberg Frühling - Kongresshaus Stadthalle 21 avril 2017 Lisbonne (Portugal) – Festival Jardim de Verão - Fondation Calouste - Gulbenkian 29 juin 2017
BROADCASTS AND TOURS
Il trionfo del Tempo e del disinganno (Festival d’Aix 2016)
WRITTEN ON SKIN Nouvelle production du Festival d’Aix-en-Provence 2012 Londres – Covent Garden – Royal Opera House 13, 18, 23, 27, 30 janvier 2017 Moscou – Théâtre du Bolchoï 22 et 23 avril 2017
IL TURCO IN ITALIA Nouvelle production du Festival d’Aix-en-Provence 2014 Varsovie - Teatr Wielki – Polish National Opera 17, 19, 21, 23, 25 mars 2017
TRAUERNACHT Nouvelle production du Festival d’Aix-en-Provence 2014 Moscou – Théâtre du Bolchoï 25 et 26 avril 2017
L’ENLÈVEMENT AU SÉRAIL Nouvelle production du Festival d’Aix-en-Provence 2015 Bologne –Teatro Comunale di Bologna 20, 22, 24, 26, 29 janvier 2017 Reggio Emilia –Teatro Romolo Valli 10 et 12 février 2017
LE MONSTRE DU LABYRINTHE Nouvelle production du Festival d’Aix-en-Provence 2015 Montpellier – Opéra de Montpellier 21, 22 avril 2017 Lisbonne – Fondation Gulbenkian 27, 28, 29 septembre 2017
SVADBA Nouvelle production du Festival d’Aix-en-Provence 2015 Luxembourg – Les Théâtres de la Ville de Luxembourg 14, 15 février 2017 Ljubljana – Festival de Lubljana 22 août 2017
COSÌ FAN TUTTE Nouvelle production du Festival d’Aix-en-Provence 2016 Lille – Opéra de Lille 30 septembre, 3, 5, 8, 10, 12 octobre 2017
IL TRIONFO DEL TEMPO E DEL DISINGANNO Nouvelle production du Festival d’Aix-en-Provence 2016 Lille – Opéra de Lille 12, 14, 17, 19, 21 janvier 2017 Caen – Théâtre de Caen 3, 5 février 2017
KALÎLA WA DIMNA Nouvelle production du Festival d’Aix-en-Provence 2016 Le Mans – Les Quinconces 13, 14 janvier 2017 Festival de Casablanca 23 mars 2017 Opéra de Dijon 11, 13, 14 mai 2017 Philharmonie de Paris 19 mai 2017
PINOCCHIO Création mondiale du Festival d’Aix-en-Provence 2017 Bruxelles – La Monnaie / De Munt 5, 7, 8, 10, 12, 13, 15, 16 septembre 2017 Dijon – Opéra de Dijon 6, 8 et 10 octobre 2017
DON GIOVANNI Nouvelle production du Festival d’Aix-en-Provence 2017 Nancy – Opéra national de Lorraine 1er, 3, 5, 9, 10, 12 octobre 2017 Luxembourg – Les Théâtres de la Ville de Luxembourg 23, 25, 27 octobre 2017
ERISMENA Nouvelle production du Festival d’Aix-en-Provence 2017 Versailles – Château de Versailles spectacles 2, 3 décembre 2017
PROJECTIONS SUR GRAND ÉCRAN LE ROSSIGNOL ET AUTRES FABLES Buenos Aires – Alliance française 27 janvier 2017 Gijón – Alliance française 24 mai 2017 Prague – Institut français 22 août 2017 Mexico / Guanajuato – Institut français 15 octobre 2017 Barcelone – Institut français décembre 2017
LA TRAVIATA Bilbao – Institut français 27 janvier 2017Marne-la-Vallée – La Ferme du Buisson 31 janvier 2017Antananarivo – Institut français 8 avril 2017 Gwangmyeong – Ville de Gwangmyeong 14, 15 avril 2017 Gijón – Alliance française 3 mai 2017 Meudon – Archimusic La Boutique du Val 21 mai 2017 Mexico / Guanajuato – Institut français 13 octobre 2017
DAVID ET JONATHAS Meknès – Institut français 12 décembre 2017
LES NOCES DE FIGARO Gwangmyeong – Ville de Gwangmyeong 14, 15 avril 2017 Valence – Institut français 10 juillet 2017
ELEKTRA Marne-la-Vallée – La Ferme du Buisson 14 mars 2017Rivne – Institut français 13 janvier 2017 Yaoundé – Institut français 8 juin 2017
RIGOLETTO Rivne – Institut français 20 janvier 2017
ARIODANTE Bilbao – Institut français 20 janvier 2017 Gijón – Alliance française 27 février 2017 Kiev – Institut français 23 avril 2017
LA FLÛTE ENCHANTÉE Buenos Aires – Alliance française 19 janvier 2017 Kiev – Institut français 12 février 2017 Gijón – Alliance française 27 mars 2017 Meudon – Archimusic La Boutique du Val 30 avril 2017
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BOARD OF DIRECTORS
Mr Bruno RogerPrésidentMr Jean-Francois DubosSecretary GeneralMrs Catherine DémierTreasurer
Mr Stéphane BouillonPrefect of the Provence-Alpes Côte d’Azur region and Bouches-du-Rhône Mrs Régine HatchondoGeneral Director of Artistic Creation, Ministry of Culture Mr Marc CeccaldiRegional Director of Cultural Affairs, Ministry of CultureMrs Maryse Joissains-MasiniMayor of Aix-en-Provence, President of the Conseil de Territoire duPays d’Aix, Vice-President of Metropole Aix-Marseille ProvenceMr Gérard BramoulléDeputy Mayor of Aix-en-Provence, delegate for the Festival of Aix-en-ProvenceMr Jean-Claude GaudinPresident of Metropole Aix-Marseille-Provence, Mayor of Marseille, Vice-President of the Senaterepresented by Mr Daniel GagnonVice-President of Metropole Aix-Marseille Provence, delegate for Culture and Cultural Facilities, Mayor of Cornillon-Confoux
Mrs Martine VassalChairperson of the Departmental Council of Bouches-du-Rhônerepresented by Mrs Sabine BernasconiVice-President of the Departmental Council of Bouches-du-Rhone Cultural DelegateMr Renaud MuselierPresident of the Provence-Alpes-Côte d’Azur Regional Councilrepresented by Mr Michel BissièreRegional councillor and delegate for artistic creationMr Jean-Marc ForneriQualified person, named by the Pasino of Aix-en-ProvenceMr Alain TaravellaQualified person, named by the State
PHOTO CREDITS :
©Sonia Barcet : p.24©Artcompress / Patrick Berger : Cover, 2, 6, 8, 20, 49, 50, 52, 62©Artcompress / Pascal Victor : Inside cover, inside back cover, 4, 10, 12, 14, 53, 54©Vincent Beaume : pages 16, 17, 18, 25, 26, 28, 29, 36, 37, 38, 54, 55, 57, 60©Jean-Claude Carbonne : pages 27, 30, 34©Philippe Chancel : page 22©Clément Vial : pages 32, 40, 42, 43, 46, 59©Laurie Wagner : page 35
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