YOUNG ARTISTS PROGRAM
©John Zougas
This spring, Opera Fuoco is recruiting the 6th Generation of its Young Artists Program!
Opera Fuoco Opera Fuoco offers a unique, custom-made experience to young singers of all backgrounds transitioning from conservatory to professional life. Singers are able to work with David Stern, experienced vocal coaches and stage directors in various contexts ranging from masterclasses and recitals to large-scale performances with orchestra and fully staged opera productions. The repertoire spans not only several centuries but a variety of genres, from baroque to contemporary, including musical comedy and jazz.
In 2008, Opera Fuoco began developing its young artist program, not as an academy, but as a professional company for young singers engaged for a period of three to four years. During their tenure with Opera Fuoco, young artists have performed on renowned stages both in France and internationally, as well as recorded for the Arion, Outhere/Zigzag and Aparté labels. Many Opera Fuoco laureates have gone on to sing leading and supporting roles in major world opera houses and festivals. In its 15 years of existence the Opera Fuoco Young Artists Program has trained approximately 50 singers from 15 different countries.
Masterclasses & workshops
Master classes and workshops take place at the Massy Opera house or at Paris-area venues, such as museums (Petit Palais, Monet Marmottan or National Renaissance Museum in Ecouen) cultural centers or libraries. Master classes are usually genre-based, such as French Baroque, German Lied, Italian Bel Canto, American art song or Jazz and take place over the course of 4 days with a final performance. Workshops involve an in-depth musical and dramatic study of a single piece, working with a stage director or choreographer and often in preparation for a larger-scale production.
Les workshops consistent en une étude musicale et dramatique approfondie d’une seule pièce, en collaboration avec un.e metteur.euse en scène ou un.e chorégraphe, souvent en vue d’une production d’envergure.
Concerts with orchestra & Stage productions
Opera Fuoco Young Artists have the opportunity to perform several large-scale concert programs or operas with David Stern and Opera Fuoco's orchestra during their tenure with the company. Opera Fuoco has numerous partners in France, Europe and Asia, notably the Opéra de Massy, the Paris Philharmonie, Les Grandes Voix concert series, the Beethovenfest Bonn, the Bachfest Leipzig, and the Shanghai Baroque, Nanjing and Beijing Music Festivals. The company singers have worked with numerous well-known stage directors in France and Germany. Some productions have taken the young artists to work with David Stern and other orchestras such as the Swedish Chamber Orchestra, the Hong Kong Philharmonic and the NDR Radio orchestra in Hannover.
PIANO & CONTINUO
Opera Fuoco travaille également avec des pianistes et des chef.fe.s de chant tel.le.s que Charlotte Gautier, Stéphane Petitjean, Karolos Zouganelis, des clavecinistes tel.le.s que Kenneth Weiss, Clément Geoffroy et Nora Dargazanli, les violoncellistes Jérome Huille et Hilary Metzger, le théorbiste André Henrich et le violiste de gambe Jay Bernfeld, continuiste de la compagnie de 2003 â 2018.
MENTORING
David Stern offers individual coachings to help studio singers prepare for auditions and competitions and also make repertoire choices. Studio singers participate in Opera Fuoco’s outreach projects, working with school children and amateur singers in the Paris area. Whether telling an opera story or exposing new audiences to professionally trained voices, they develop communication skills and share artistic experiences, all while discovering and using the power of music as an educational tool.
WHAT THEY SAY
You have sublime voices... It's really a collection of jewels!
David Stern and Jay Bernfeld are revolutionary in their music-making, combining an incredibly high standard with a great sense of humour and humanity. They taught me not only that the essence of music is found within the nuances of the text, but above all through the expression of joy
David Stern’s perfect understanding of the voice and the vocal repertoire are as exceptional as his generosity and his guidance towards young singers. He reveals the singers’ potential by constantly pushing them beyond their limits.
YOUNG ARTISTS
La troupe 2024-2026
Vincent Guérin began music at the age of five with the piano. Having a particular attraction for polyphony, he was fascinated very early on by the horn of harmony and played in several symphony and harmony orchestras.
Rocked on a daily basis by the voice of his mother, both singer and accompanist, he turned to lyrical singing and joined at eighteen the class of Jean-Louis Serre at the CRD of Val-Maubuée. He obtained his DEM in 2020. At the age of twenty-three, he was first admitted to the National Conservatory of Music and Dance of Paris, and obtained his license in the class of Céline Laly, in 2023. He is an integral part of the UNESCO soloists.
Since 2020, Vincent has been perfecting his skills alongside iconic singers such as Neil Shicoff and Anne Sofie Von Otter. He has already performed as a soloist with orchestra in Mozart’s "Requiem", Rossini’s "La Petite Messe Solennelle", Haydn’s "La Création" and Moussorgski’s "Les Chants et Danses de la Mort". In June 2023, he sang the role of Fernando (La Doña Francisquita, Alma Vives) with the Compagnons Lyriques orchestra at Château Ernest in Tantonville, as well as the role of Docteur Gérard in Louisa Puget’s operetta La Veilleuse, with the Compagnie Au temps pour elle.
n November 2023, he won the 1st Prize of the International Competition of Autumn Symphonies of Macon, as well as the Prize of the Orchestra and Technician and the Prize Generation Opera. He will be a member of the Opéra Comique academy for the 2024-2025 season. He also played the roles of Max in the Freischütz (Weber/Berlioz) alongside Vincent Letexier at the Festival de Jaugettes in June 2024, and Tamino (Die Zauberflöte, Mozart), with the Labopéra Seine-et-Marne from March to May 2025."
Vincent Guérin began music at the age of five with the piano. Having a particular attraction for polyphony, he was fascinated very early on by the horn of harmony and played in several symphony and harmony orchestras.
Rocked on a daily basis by the voice of his mother, both singer and accompanist, he turned to lyrical singing and joined at eighteen the class of Jean-Louis Serre at the CRD of Val-Maubuée. He obtained his DEM in 2020. At the age of twenty-three, he was first admitted to the National Conservatory of Music and Dance of Paris, and obtained his license in the class of Céline Laly, in 2023. He is an integral part of the UNESCO soloists.
Since 2020, Vincent has been perfecting his skills alongside iconic singers such as Neil Shicoff and Anne Sofie Von Otter. He has already performed as a soloist with orchestra in Mozart’s "Requiem", Rossini’s "La Petite Messe Solennelle", Haydn’s "La Création" and Moussorgski’s "Les Chants et Danses de la Mort". In June 2023, he sang the role of Fernando (La Doña Francisquita, Alma Vives) with the Compagnons Lyriques orchestra at Château Ernest in Tantonville, as well as the role of Docteur Gérard in Louisa Puget’s operetta La Veilleuse, with the Compagnie Au temps pour elle.
n November 2023, he won the 1st Prize of the International Competition of Autumn Symphonies of Macon, as well as the Prize of the Orchestra and Technician and the Prize Generation Opera. He will be a member of the Opéra Comique academy for the 2024-2025 season. He also played the roles of Max in the Freischütz (Weber/Berlioz) alongside Vincent Letexier at the Festival de Jaugettes in June 2024, and Tamino (Die Zauberflöte, Mozart), with the Labopéra Seine-et-Marne from March to May 2025."
Passionné dès son plus jeune âge par le chant lyrique, Max Latarjet commence à prendre des cours de chant dès l’âge de 5 ans au conservatoire du XIXème arrondissement de Paris dans la classe de Florence Godefroy et d’Edwin Baudo. Il participe à plusieurs productions en tant qu’enfant-soliste dans les opéras Der Jasager de Kurt Weill, ou encore Brundibar de Hans Krasa.
En 2012, il intègre la maîtrise de Claire Marchand au Conservatoire de Vincennes où il suit des cours de chant avec Jean Philippe Zielinsky. C’est alors qu’il participe à de nombreuses productions qui lui donnent le gout de la scène telles que le Roman de Renart de Coralie Fayolle mis en scène par Vincent Tavernier où il y tient le rôle du RoI.
En septembre 2016, il intègre le Département Supérieur pour Jeunes Chanteurs au CRR de Paris dans la classe d’Elsa Maurus et ensuite celle de Florence Guignolet. Il participe à de nombreux projets dans des lieux prestigieux comme le Théâtre des Champs Élysées, l’Opéra-Comique, La Seine Musicale, Le Théâtre de l’Athénée et la Philharmonie de Paris.
En 2019, il participe à une performance avec le Tanztheater Wuppertal, compagnie de Pina Bausch à Essen. Avec la compagnie Cosa Sento il interprète Figaro dans Les Noces de Figaro de Mozart au CDBM du Perreux-sur- Marne. Il crée en parallèle son association culturelle, Ginette avec laquelle il créé et mets en scène avec Pauline Jolly L’enfant et les Sortilèges de Ravel. En 2021, il interprète Dulcamara dans l’Élixir d’amour de Donizetti avec la compagnie Cosa Sento et dans le cadre de ses études au CRR de Paris Leporello dans Don Giovanni de Mozart etle rôle d’Astucio dans La Débutante de Auber, mis en scène par Florence Guignolet dans le théâtre du CNSAD.
En 2022, il intègre le CNSM de Paris dans la classe d’Elene Golgevit. Il participe alors en choeur avec Sebastien Daucé à une Cantate de Bach et des Motets de Schutz et un projet Brahms dirigé par Lionel Sow. Il intègre la classe de Jeff Cohen avec Mélanie Bracale et développent ensemble un programme autours de la Nuit.
En 2024, il intègre la 6e génération de l’académie Opera Fuoco, dirigée par David Stern.
Passionné dès son plus jeune âge par le chant lyrique, Max Latarjet commence à prendre des cours de chant dès l’âge de 5 ans au conservatoire du XIXème arrondissement de Paris dans la classe de Florence Godefroy et d’Edwin Baudo. Il participe à plusieurs productions en tant qu’enfant-soliste dans les opéras Der Jasager de Kurt Weill, ou encore Brundibar de Hans Krasa.
En 2012, il intègre la maîtrise de Claire Marchand au Conservatoire de Vincennes où il suit des cours de chant avec Jean Philippe Zielinsky. C’est alors qu’il participe à de nombreuses productions qui lui donnent le gout de la scène telles que le Roman de Renart de Coralie Fayolle mis en scène par Vincent Tavernier où il y tient le rôle du RoI.
En septembre 2016, il intègre le Département Supérieur pour Jeunes Chanteurs au CRR de Paris dans la classe d’Elsa Maurus et ensuite celle de Florence Guignolet. Il participe à de nombreux projets dans des lieux prestigieux comme le Théâtre des Champs Élysées, l’Opéra-Comique, La Seine Musicale, Le Théâtre de l’Athénée et la Philharmonie de Paris.
En 2019, il participe à une performance avec le Tanztheater Wuppertal, compagnie de Pina Bausch à Essen. Avec la compagnie Cosa Sento il interprète Figaro dans Les Noces de Figaro de Mozart au CDBM du Perreux-sur- Marne. Il crée en parallèle son association culturelle, Ginette avec laquelle il créé et mets en scène avec Pauline Jolly L’enfant et les Sortilèges de Ravel. En 2021, il interprète Dulcamara dans l’Élixir d’amour de Donizetti avec la compagnie Cosa Sento et dans le cadre de ses études au CRR de Paris Leporello dans Don Giovanni de Mozart etle rôle d’Astucio dans La Débutante de Auber, mis en scène par Florence Guignolet dans le théâtre du CNSAD.
En 2022, il intègre le CNSM de Paris dans la classe d’Elene Golgevit. Il participe alors en choeur avec Sebastien Daucé à une Cantate de Bach et des Motets de Schutz et un projet Brahms dirigé par Lionel Sow. Il intègre la classe de Jeff Cohen avec Mélanie Bracale et développent ensemble un programme autours de la Nuit.
En 2024, il intègre la 6e génération de l’académie Opera Fuoco, dirigée par David Stern.
Serafima Lieberman was born in Moscow. From an early age she was studied in theater school. In 2017, after graduating from high school, Serafima entered the Institute of Theatre and Vocal Art (GITIS), where her maestro and stage director was Georgy Isaakyan - artistic director of the Natalia Sats Theatre. The first teacher of Serafima was Tamara Sinyavskaya. At the university she received a scholarship from the Honored Artist of Russia Lev Leshchenko for excellent grades and exemplary performances. Then after graduation in 2021, she entered the conservatory in Paris - École Normale de Musique de Paris Alfred Cortot. Where she studied with Olga Toporkova and Vladimir Chernov.
In 2022 she entered the academy in Israel - Jerusalem Academy of Music and Dance.. Her teachers were Efrat Ben Nun and Sofia Mazar. Since 2022 he has been working as a soloist at Jerusalem Lyric Opera Studio. In 2023 she took the second place at the International Vocal Competition in Jerusalem. On the operatic stage, Serafima’s roles have included: Despina and Fiordiligi (Cosi Fan Tutte, Mozart); Helene (Midsummer Night’s Dream, Britten); Rosalinda (Die Fledermaus, Strauss); Giulietta (I Capuletti e I Montecchi, Bellini); Musetta (La Boheme, Puccini); Alcina (Alcina, Handel)
Serafima Lieberman was born in Moscow. From an early age she was studied in theater school. In 2017, after graduating from high school, Serafima entered the Institute of Theatre and Vocal Art (GITIS), where her maestro and stage director was Georgy Isaakyan - artistic director of the Natalia Sats Theatre. The first teacher of Serafima was Tamara Sinyavskaya. At the university she received a scholarship from the Honored Artist of Russia Lev Leshchenko for excellent grades and exemplary performances. Then after graduation in 2021, she entered the conservatory in Paris - École Normale de Musique de Paris Alfred Cortot. Where she studied with Olga Toporkova and Vladimir Chernov.
In 2022 she entered the academy in Israel - Jerusalem Academy of Music and Dance.. Her teachers were Efrat Ben Nun and Sofia Mazar. Since 2022 he has been working as a soloist at Jerusalem Lyric Opera Studio. In 2023 she took the second place at the International Vocal Competition in Jerusalem. On the operatic stage, Serafima’s roles have included: Despina and Fiordiligi (Cosi Fan Tutte, Mozart); Helene (Midsummer Night’s Dream, Britten); Rosalinda (Die Fledermaus, Strauss); Giulietta (I Capuletti e I Montecchi, Bellini); Musetta (La Boheme, Puccini); Alcina (Alcina, Handel)
French tenor, Lucas Pauchet, started his musical training on the violin and sang in choirs throughout his childhood. Alongside his regular education, he continued to study the violin, musical analysis and harmony, going on to concentrate on singing when he entered the Conservatoire National Supérieur de Paris. He will graduate from the Conservatoire following his Master's degree recital in June 2024. Lucas Pauchet poursuit, parallèlement à ses études générale, ses études de violon, d’analyse et d’harmonie, puis se tourne vers le chant lyrique ; il parachève en 2024 sa formation au Conservatoire National Supérieur de Paris, où il donnera son récital de Master en juin.
During his time at the Conservatoire, he has studied song, oratorio and opera, with roles including, among others, the Sailor in Purcell's Dido & Aeneas. Marin dans Dido and Æneas de Purcell.
Future plans at the start of his young career include a concert dedicated to Mozart at the prestigious Salle Gaveau in Paris this April, alongside Sabine Devieilhe, and his role debut as Count Almaviva in a young audience version of Rossini's Il barbiere di Siviglia. Comte Almaviva dans une version pour jeune public du Barber of Seville de Rossini.
French tenor, Lucas Pauchet, started his musical training on the violin and sang in choirs throughout his childhood. Alongside his regular education, he continued to study the violin, musical analysis and harmony, going on to concentrate on singing when he entered the Conservatoire National Supérieur de Paris. He will graduate from the Conservatoire following his Master's degree recital in June 2024. Lucas Pauchet poursuit, parallèlement à ses études générale, ses études de violon, d’analyse et d’harmonie, puis se tourne vers le chant lyrique ; il parachève en 2024 sa formation au Conservatoire National Supérieur de Paris, où il donnera son récital de Master en juin.
During his time at the Conservatoire, he has studied song, oratorio and opera, with roles including, among others, the Sailor in Purcell's Dido & Aeneas. Marin dans Dido and Æneas de Purcell.
Future plans at the start of his young career include a concert dedicated to Mozart at the prestigious Salle Gaveau in Paris this April, alongside Sabine Devieilhe, and his role debut as Count Almaviva in a young audience version of Rossini's Il barbiere di Siviglia. Comte Almaviva dans une version pour jeune public du Barber of Seville de Rossini.
Thaïs Raï-Westphal is still studying at the Conservatoire National Supérieur de Musique de Paris with Chantal Mathias and Anne Le Bozec. Thaïs sang Ida / Die Fledermaus in a co-production with the Paris Philharmonie, Pamina / Die Zauberflöte at the Royaumont Abbey directed by Jean-François Sivadier.
She also sang Vénus and Dorine in Thésée by Lully with Les Talents Lyriques in Vienna, Brussels and at the Théâtre des Champs-Élysées in Paris under the baton Christophe Rousset. A recording with Karine Deshayes has just been released. Thaïs won several Prizes at the voice competitions of Canari, Béziers and Nîmes. Soon she will be singing the Shepherdess and will be the cover of Jonathas in David et Jonathas by Charpentier at Opéra in Caen, Nancy, Luxembourg, Madrid and at the Théâtre des Champs-Elysées with conductor Sébastien Daucé and director Jean Bellorini.
In 2025, she will be Crobyle in Massenet's Thaïs at the Opéra du Capitole de Toulouse, and Susanna / Le Nozze di Figaro in a co-production with the Paris Philharmonie / Paris Conservatoire (directed by Mariame Clément).
Thaïs Raï-Westphal is still studying at the Conservatoire National Supérieur de Musique de Paris with Chantal Mathias and Anne Le Bozec. Thaïs sang Ida / Die Fledermaus in a co-production with the Paris Philharmonie, Pamina / Die Zauberflöte at the Royaumont Abbey directed by Jean-François Sivadier.
She also sang Vénus and Dorine in Thésée by Lully with Les Talents Lyriques in Vienna, Brussels and at the Théâtre des Champs-Élysées in Paris under the baton Christophe Rousset. A recording with Karine Deshayes has just been released. Thaïs won several Prizes at the voice competitions of Canari, Béziers and Nîmes. Soon she will be singing the Shepherdess and will be the cover of Jonathas in David et Jonathas by Charpentier at Opéra in Caen, Nancy, Luxembourg, Madrid and at the Théâtre des Champs-Elysées with conductor Sébastien Daucé and director Jean Bellorini.
In 2025, she will be Crobyle in Massenet's Thaïs at the Opéra du Capitole de Toulouse, and Susanna / Le Nozze di Figaro in a co-production with the Paris Philharmonie / Paris Conservatoire (directed by Mariame Clément).
Cette année Julien a fait ses débuts au Longborough Festival Opera dans le rôle de Pluton (L’Orfeo) avec l’ensemble La Serenissima, mis en scène par Oliva Fuchs, et en tant que Sarastro (La Flûte enchantée) dans une mise en scène de Jean-François Sivadier, dirigé par Emmanuel Olivier (Abbaye de Royaumont) ainsi qu’au Labopéra Bretagne avec l’Orchestre de chambre des Côtés d’Armor dirigé par Sébastien Taillard. Parmi ses autres rôles récemment incarnés sur scène, citons La Mort (Der Kaiser von Atlantis) au Grand Théâtre de Luxembourg dans un projet ENOA sous la direction de Corinna Niemeyer avec l’Orchestre de Chambre du Luxembourg, ou encore le Baron Gondremark (La Vie parisienne) au Nouveau Siècle (Lille) avec l’orchestre de Douai.
Julien se produit aussi régulièrement en concert : en basse solo dans la Fantaisie op. 80 de Beethoven sous la baguette de Jean-Claude Casadesus avec l’Orchestre de Picardie (Lille Piano Festival), dans la 9e Symphonie de Beethoven sous la direction de Bar Avni avec l’orchestre Bayer-philharmoniker (Altenberger Dom), sous la direction de David Robertson avec le Deutsches Symphonie Orchester (Philharmonie de Berlin), dans la Petite Messe solennelle de Rossini avec le Chœur Régional des Hauts-de-France, ou encore dans le Ve Livre de madrigaux de Monteverdi sous la direction de Geoffroy Jourdain à l’Abbaye de Royaumont.
Le répertoire du lied et de la mélodie tient une place importante pour Julien : il est régulièrement invité en récital avec les musiciens de l’Orchestre de Paris au Festival 8 de Montcabrier, et collabore avec le quatuor à corde du Tonhain.Kollektiv (Berlin).
Artiste pluridisciplinaire passionné de danse, Julien travaille avec des chorégraphes pour des créations contemporaines, notamment avec le rôle de Wolf dans Das neue Rotkäppchen (Su-eun Lee) au Deutsche Oper de Berlin (Tischlerei), ou dans la création par Margaux Marielle-Trehoüart et la compagnie OperaLab d’une version chorégraphique de Stimmung (Stockausen), présentée dans le cadre du festival Neue Musik du Deutsches Nationaltheater de Weimar.
Plusieurs fois lauréat de la Fondation Royaumont, Julien Ségol fait partie de l’Académie Voix nouvelle 2024 et a également rejoint la 6e Génération d’Opéra Fuoco. Il a été distingué par divers prix internationaux (Prix Bach de l’Académie Internationale de Chant de Saxe, 3e Prix UFAM Schola Cantorum, finaliste FLAME Paris) et a reçu le soutien de nombreuses bourses, notamment de l’Académie Internationale d’Oxenfoord Malcolm Martineau, l’Académie Vocalis Robert Holl, ou encore l’Académie Bel Canto (Wildbad).
Après avoir et enseigné la philosophie à l’université, Julien Ségol se consacre pleinement à sa passion première : la scène lyrique. En parallèle à son parcours académique à Sciences-Po Paris et à l’EHESS, il intègre le Conservatoire National Supérieur de Danse et de Musique de Paris (musicologie), et poursuit sa formation de chanteur à la Musikhochschule Felix Mendelssohn (Leipzig). Il débute dans divers lieux de renom, tels que la Philharmonie de Berlin, la Maison de la Radio RBB, l’Académie des Arts ou encore le Théâtre Delphi (Berlin).
Cette année Julien a fait ses débuts au Longborough Festival Opera dans le rôle de Pluton (L’Orfeo) avec l’ensemble La Serenissima, mis en scène par Oliva Fuchs, et en tant que Sarastro (La Flûte enchantée) dans une mise en scène de Jean-François Sivadier, dirigé par Emmanuel Olivier (Abbaye de Royaumont) ainsi qu’au Labopéra Bretagne avec l’Orchestre de chambre des Côtés d’Armor dirigé par Sébastien Taillard. Parmi ses autres rôles récemment incarnés sur scène, citons La Mort (Der Kaiser von Atlantis) au Grand Théâtre de Luxembourg dans un projet ENOA sous la direction de Corinna Niemeyer avec l’Orchestre de Chambre du Luxembourg, ou encore le Baron Gondremark (La Vie parisienne) au Nouveau Siècle (Lille) avec l’orchestre de Douai.
Julien se produit aussi régulièrement en concert : en basse solo dans la Fantaisie op. 80 de Beethoven sous la baguette de Jean-Claude Casadesus avec l’Orchestre de Picardie (Lille Piano Festival), dans la 9e Symphonie de Beethoven sous la direction de Bar Avni avec l’orchestre Bayer-philharmoniker (Altenberger Dom), sous la direction de David Robertson avec le Deutsches Symphonie Orchester (Philharmonie de Berlin), dans la Petite Messe solennelle de Rossini avec le Chœur Régional des Hauts-de-France, ou encore dans le Ve Livre de madrigaux de Monteverdi sous la direction de Geoffroy Jourdain à l’Abbaye de Royaumont.
Le répertoire du lied et de la mélodie tient une place importante pour Julien : il est régulièrement invité en récital avec les musiciens de l’Orchestre de Paris au Festival 8 de Montcabrier, et collabore avec le quatuor à corde du Tonhain.Kollektiv (Berlin).
Artiste pluridisciplinaire passionné de danse, Julien travaille avec des chorégraphes pour des créations contemporaines, notamment avec le rôle de Wolf dans Das neue Rotkäppchen (Su-eun Lee) au Deutsche Oper de Berlin (Tischlerei), ou dans la création par Margaux Marielle-Trehoüart et la compagnie OperaLab d’une version chorégraphique de Stimmung (Stockausen), présentée dans le cadre du festival Neue Musik du Deutsches Nationaltheater de Weimar.
Plusieurs fois lauréat de la Fondation Royaumont, Julien Ségol fait partie de l’Académie Voix nouvelle 2024 et a également rejoint la 6e Génération d’Opéra Fuoco. Il a été distingué par divers prix internationaux (Prix Bach de l’Académie Internationale de Chant de Saxe, 3e Prix UFAM Schola Cantorum, finaliste FLAME Paris) et a reçu le soutien de nombreuses bourses, notamment de l’Académie Internationale d’Oxenfoord Malcolm Martineau, l’Académie Vocalis Robert Holl, ou encore l’Académie Bel Canto (Wildbad).
Après avoir et enseigné la philosophie à l’université, Julien Ségol se consacre pleinement à sa passion première : la scène lyrique. En parallèle à son parcours académique à Sciences-Po Paris et à l’EHESS, il intègre le Conservatoire National Supérieur de Danse et de Musique de Paris (musicologie), et poursuit sa formation de chanteur à la Musikhochschule Felix Mendelssohn (Leipzig). Il débute dans divers lieux de renom, tels que la Philharmonie de Berlin, la Maison de la Radio RBB, l’Académie des Arts ou encore le Théâtre Delphi (Berlin).
Soprano Juliette Tacchino was born in Nice, France. She obtained In 2018 her DEM in baroque singing at the CRR in Nice and received her Bachelors in Classical singing in 2022 at the University of Montreal. Portrayed as an « excellent actress » by Le Devoir, Tacchino is currently pursuing her master degree at the prestigious Curtis Institute of Music, where she embodied the roles of Ginevra in Handel’s Ariodante, Thérèse in Poulenc’s Les Mamelles de Tirésias, Bystroušky in Janaček’s Příhody lišky Bystroušky, Mélisande in Debussy’s Pelléas et Mélisande’s Tower scene and Sophie in Strauss’s Der Rosenkavalier’s Presentation of the Rose, under the baton of Yannick Nézet-Séguin with the Curtis Symphony Orchestra. « excellente actrice » par Le Devoir, Tacchino poursuit actuellement son Master à la prestigieuse Curtis Institute of Music, où elle incarne les rôles de Ginevra (Ariodante),Thérèse (Les Mamelles de Tirésias, Poulenc), Bystroušky (Příhody lišky Bystroušky, Janaček), Mélisande dans la scène de la Tour(Pelléas et Mélisande, Debussy) et Sophie dans la Présentation de la Rose (Der Rosenkavalier, Strauss) sous la direction de Yannick Nézet-Séguin avec le Curtis Symphony Orchestra.
She also excels in early music and sacred/oratorio repertoire, and recently made her debuts as soprano soloist in Mozart’s Requiem with the Binghamton Philharmonic conducted by Daniel Hege, Purcell’s The Blessed Virgin’s Expostulation (Curtis Recitals) and in Handel’s l’Allegro, il Penseroso ed il Moderato conducted by Nicholas McGegan. « The accomplished soprano Juliette Tacchino, a delight to hear throughout » Opera News.Requiem de Mozart avec le Binghamton Philharmonic dirigé par Daniel Hege, a interprété The Blessed Virgin’s Expostulation de Purcell (Curtis Recitals) ainsi que l’Allegro, il Penseroso ed il Moderato de Handel sous la direction de Nicholas McGegan. « The accomplished soprano Juliette Tacchino, a delight to hear throughout » Opera News.
Juliette was recently part of the Amor Diletto Florida Tour with David Stern and the Opera Fuoco Obbligato ensemble, interpreting many baroque composers works such as Bach, Vivaldi and Rameau among many others.
Soprano Juliette Tacchino was born in Nice, France. She obtained In 2018 her DEM in baroque singing at the CRR in Nice and received her Bachelors in Classical singing in 2022 at the University of Montreal. Portrayed as an « excellent actress » by Le Devoir, Tacchino is currently pursuing her master degree at the prestigious Curtis Institute of Music, where she embodied the roles of Ginevra in Handel’s Ariodante, Thérèse in Poulenc’s Les Mamelles de Tirésias, Bystroušky in Janaček’s Příhody lišky Bystroušky, Mélisande in Debussy’s Pelléas et Mélisande’s Tower scene and Sophie in Strauss’s Der Rosenkavalier’s Presentation of the Rose, under the baton of Yannick Nézet-Séguin with the Curtis Symphony Orchestra. « excellente actrice » par Le Devoir, Tacchino poursuit actuellement son Master à la prestigieuse Curtis Institute of Music, où elle incarne les rôles de Ginevra (Ariodante),Thérèse (Les Mamelles de Tirésias, Poulenc), Bystroušky (Příhody lišky Bystroušky, Janaček), Mélisande dans la scène de la Tour(Pelléas et Mélisande, Debussy) et Sophie dans la Présentation de la Rose (Der Rosenkavalier, Strauss) sous la direction de Yannick Nézet-Séguin avec le Curtis Symphony Orchestra.
She also excels in early music and sacred/oratorio repertoire, and recently made her debuts as soprano soloist in Mozart’s Requiem with the Binghamton Philharmonic conducted by Daniel Hege, Purcell’s The Blessed Virgin’s Expostulation (Curtis Recitals) and in Handel’s l’Allegro, il Penseroso ed il Moderato conducted by Nicholas McGegan. « The accomplished soprano Juliette Tacchino, a delight to hear throughout » Opera News.Requiem de Mozart avec le Binghamton Philharmonic dirigé par Daniel Hege, a interprété The Blessed Virgin’s Expostulation de Purcell (Curtis Recitals) ainsi que l’Allegro, il Penseroso ed il Moderato de Handel sous la direction de Nicholas McGegan. « The accomplished soprano Juliette Tacchino, a delight to hear throughout » Opera News.
Juliette was recently part of the Amor Diletto Florida Tour with David Stern and the Opera Fuoco Obbligato ensemble, interpreting many baroque composers works such as Bach, Vivaldi and Rameau among many others.
Marion studied voice from a very early age at the children choir of Radio-France. After classical studies of French litterature, Greek and Latin (hypokhâgne / classical khâgne at Lycée Fénelon in Paris), she entered in 2019 the Paris National Conservatory of Music in the class of Frédéric Gindraux, where she got her master degree in June 2023 with full honours.
In March 2022 she made her operatic debut as the Enchantress / Dido and Aeneas by Purcell under the baton of Leonardo Garcia Alarcon at the Philharmonie in Paris. Marion is sponsored by the Meyer Foundation and is a multiple laureate of the Ensemble du Palais Royal, of the Parisian Frivolities and of the Ravel Academy. She has been also supported since March 2023 by the Société Generale Foundation "You are the future ! " .
In November 2022 she won 1st prize at the Triomphe International competition of Art in Brussels. In 2023-2024, Marion joins the Royal Queen Elizabeth Chapel in Brussels and the Favart Academy of the Opéra Comique in Paris where a.o. she will be covering Stéphanie D'Oustrac as Concepcion in L'Heure Espagnole by Ravel and appearing in Pulcinella by Stravinsky, under the baton of Louis Langrée. Other projects included her solo debut recital at the Theatre du Capitole in Toulouse (march 24) and her first solo CD of Spanish art songs under Mirare label on 2025. In 2025, she will be singing Lola in Cavalleria Rusticana by Mascagni at St Etienne opéra, and she also will be singing in Opera de Marseille, Toulon and Avignon in Regis Campo's Opera La Petite Sirène. She will also be singing in Festival d'Aix en Provence summer 2025.
Marion has been nominated Adami's lyrical best opera newcomer in April 2023.
Marion studied voice from a very early age at the children choir of Radio-France. After classical studies of French litterature, Greek and Latin (hypokhâgne / classical khâgne at Lycée Fénelon in Paris), she entered in 2019 the Paris National Conservatory of Music in the class of Frédéric Gindraux, where she got her master degree in June 2023 with full honours.
In March 2022 she made her operatic debut as the Enchantress / Dido and Aeneas by Purcell under the baton of Leonardo Garcia Alarcon at the Philharmonie in Paris. Marion is sponsored by the Meyer Foundation and is a multiple laureate of the Ensemble du Palais Royal, of the Parisian Frivolities and of the Ravel Academy. She has been also supported since March 2023 by the Société Generale Foundation "You are the future ! " .
In November 2022 she won 1st prize at the Triomphe International competition of Art in Brussels. In 2023-2024, Marion joins the Royal Queen Elizabeth Chapel in Brussels and the Favart Academy of the Opéra Comique in Paris where a.o. she will be covering Stéphanie D'Oustrac as Concepcion in L'Heure Espagnole by Ravel and appearing in Pulcinella by Stravinsky, under the baton of Louis Langrée. Other projects included her solo debut recital at the Theatre du Capitole in Toulouse (march 24) and her first solo CD of Spanish art songs under Mirare label on 2025. In 2025, she will be singing Lola in Cavalleria Rusticana by Mascagni at St Etienne opéra, and she also will be singing in Opera de Marseille, Toulon and Avignon in Regis Campo's Opera La Petite Sirène. She will also be singing in Festival d'Aix en Provence summer 2025.
Marion has been nominated Adami's lyrical best opera newcomer in April 2023.
Young Artists 2021-2023
Aymeric Biesemans est un jeune baryton quimpérois de vingt-trois ans. Il commence le chant à l’âge de quinze ans et s’éprend rapidement de ce nouveau mode d’expression permettant d’extérioriser et de partager sa sensibilité à travers un langage universel.
En 2018, il intègre le CNSM de PARIS. Il s’y découvre une passion pour le répertoire allemand grâce au cours de Stephan Gens sur l’interprétation de cette musique, d’un projet autour des Knaben Wunderhorn de Mahler et d’un travail de musique de chambre sur les Goethe Lieder de Wolf dans la classe d’Anne Le Bozec. Son timbre naturellement chaleureux et puissant dans les graves lui offre une aisance pour ce répertoire.
Parmi les rôles interprétés, on peut citer Sarastro dans Les mystères d’Isisde Lachnith, Morales dans Carmende Bizet et Pandolphe dans Cendrillonde Massenet. Il est à noter qu’il est arrivé finaliste pour le concours « Opéra Jeunes Espoirs » Raymond Duffaud 2019. Dans les années à venir, il aimerait travailler les répertoires de baryton de Händel, Haydn et Mozart.
Aymeric Biesemans est un jeune baryton quimpérois de vingt-trois ans. Il commence le chant à l’âge de quinze ans et s’éprend rapidement de ce nouveau mode d’expression permettant d’extérioriser et de partager sa sensibilité à travers un langage universel.
En 2018, il intègre le CNSM de PARIS. Il s’y découvre une passion pour le répertoire allemand grâce au cours de Stephan Gens sur l’interprétation de cette musique, d’un projet autour des Knaben Wunderhorn de Mahler et d’un travail de musique de chambre sur les Goethe Lieder de Wolf dans la classe d’Anne Le Bozec. Son timbre naturellement chaleureux et puissant dans les graves lui offre une aisance pour ce répertoire.
Parmi les rôles interprétés, on peut citer Sarastro dans Les mystères d’Isisde Lachnith, Morales dans Carmende Bizet et Pandolphe dans Cendrillonde Massenet. Il est à noter qu’il est arrivé finaliste pour le concours « Opéra Jeunes Espoirs » Raymond Duffaud 2019. Dans les années à venir, il aimerait travailler les répertoires de baryton de Händel, Haydn et Mozart.
Titulaire d’une licence de droit, et après des études d’accordéon au CRR d’Avignon, Rémy Brès-Feuillet étudie le chant lyrique au Conservatoire National à Rayonnement Régional de Marseille où il perfectionne sa technique vocale auprès de Magali Damonte ainsi que Mareike Schellenberger au CRR d’Aix-en-Provence. Il reçoit entre autres les conseils de Susan Manoff, Brigitte Balleys et Sandrine Piau lors de masterclass. Prix « jeune espoir » du Centre Français de Promotion Lyrique au Concours International de la mélodie de Gordes, ainsi que premier prix Mélodie Française au concours international de chant de Marmande en 2019, il reçoit également le prix Dussurget « Jeune espoir » de la fondation Gabriel Dussurget en juin 2019.
Il fait ses débuts sur scène en interprétant le rôle de la Triade lors de la création de l’Opéra BaroKKo au Théâtre Académique de Perm (Russie) puis au Baltic House Festival en 2019 (Saint-Petersbourg) dans une mise en scène de Serge Noyelle. Au fil d’une démarche artistique originale, il travaille avec la compagnie Théâtre NoNo avec laquelle il initie une recherche autour de la voix de contre-ténor et son rapport à la théâtralité et la création contemporaine. Il collabore également en tant que soliste aux créations de l’ensemble Concerto Soave, notamment dans l’Admeto de Händel dans le rôle de Trasimède à La Criée (Marseille) ainsi que dans La contesa de numi de Caldara avec les solistes du choeur de chambre de Namur (CAV&MA).
Rémy forme par ailleurs un duo avec le jeune pianiste Yoann Pourre, avec lequel il explore le répertoire du lied et de la mélodie. Ils se produisent notamment en récital au Lavaux Classic (Lausanne), aux Musicales du Luberon (Gordes) et à la Folle Criée (Marseille).
Titulaire d’une licence de droit, et après des études d’accordéon au CRR d’Avignon, Rémy Brès-Feuillet étudie le chant lyrique au Conservatoire National à Rayonnement Régional de Marseille où il perfectionne sa technique vocale auprès de Magali Damonte ainsi que Mareike Schellenberger au CRR d’Aix-en-Provence. Il reçoit entre autres les conseils de Susan Manoff, Brigitte Balleys et Sandrine Piau lors de masterclass. Prix « jeune espoir » du Centre Français de Promotion Lyrique au Concours International de la mélodie de Gordes, ainsi que premier prix Mélodie Française au concours international de chant de Marmande en 2019, il reçoit également le prix Dussurget « Jeune espoir » de la fondation Gabriel Dussurget en juin 2019.
Il fait ses débuts sur scène en interprétant le rôle de la Triade lors de la création de l’Opéra BaroKKo au Théâtre Académique de Perm (Russie) puis au Baltic House Festival en 2019 (Saint-Petersbourg) dans une mise en scène de Serge Noyelle. Au fil d’une démarche artistique originale, il travaille avec la compagnie Théâtre NoNo avec laquelle il initie une recherche autour de la voix de contre-ténor et son rapport à la théâtralité et la création contemporaine. Il collabore également en tant que soliste aux créations de l’ensemble Concerto Soave, notamment dans l’Admeto de Händel dans le rôle de Trasimède à La Criée (Marseille) ainsi que dans La contesa de numi de Caldara avec les solistes du choeur de chambre de Namur (CAV&MA).
Rémy forme par ailleurs un duo avec le jeune pianiste Yoann Pourre, avec lequel il explore le répertoire du lied et de la mélodie. Ils se produisent notamment en récital au Lavaux Classic (Lausanne), aux Musicales du Luberon (Gordes) et à la Folle Criée (Marseille).
British-Hungarian soprano Anna Cavaliero is a Samling Artist, City Music Foundation Artist, Handel House Talent Scheme Artist, and member of the studio of the Opéra de Lyon. She was previously also a Britten-Pears Young Artist, an Alvarez Young Artist with Garsington Opera, and a Countess of Munster Recital Scheme Artist. Anna won the 2019 Opera Prelude Singer’s Prize, was a semi-finalist in the London Mozart Competition, and was awarded second prize in the 2017 Lies Askonas competition.
At home in a wide range of musical genres, Anna performs a diverse repertoire encompassing opera, oratorio, chamber music, art song, contemporary music and early music. This season she sings the roles of Bergère/ Chauve-souris/ Pastourelle/ Chouette in Ravel L'Enfant et les sortilèges for the Opéra de Lyon. Upcoming concert appearances include Britten Les Illuminations with the Echéa Quartet and Tippett A Child of Our Time with the Orquesta Sinfónica Nacional de México. Anna has given recitals with Sholto Kynoch for Oxford Lieder and Leicester International Music Festival. She recently performed a baroque song programme with Julian Perkins for the Oxford Lieder Festival 2020, and Mozart’s Exsultate, jubilate with the London Mozart Players at East Finchley Arts Festival. Further concert appearances have included performances at Wigmore Hall, Hereford Cathedral, Eton College Chapel, Snape Maltings Concert Hall, Southwark Cathedral, Kings College Chapel and The Queen’s Gallery, Buckingham Palace.
On the operatic stage, Anna’s roles have included Belinda Dido and Aeneas (The Master Shipwright's House, Deptford); Ground Ivy The Fairy Queen, and Zerlina Don Giovanni (Waterperry Opera Festival); Soliste/ Mme Rossignol in Blacher Romeo and Juliet (Théâtre de La Croix Rousse Opéra de Lyon); Die Prinzessin in Maxwell-Davies The Hogboon (Philharmonie de Luxembourg); Fortuna/ Damigella/ Venere L’incoronazione di Poppea and Euridice (cover) Orfeo ed Euridice (Longborough Festival Opera); Mab, Adelaide in Dove The Enchanted Pig (Hampstead Garden Opera); Galatea Acis and Galatea, serenata in tre parti (Snape Maltings); and Pamina The Magic Flute (ADC Theatre Cambridge).
Anna studied English with a choral scholarship at Trinity College, Cambridge, before graduating with distinction from a masters at the Royal College of Music. She then completed her postgraduate studies at the Mozarteum in Salzburg with soprano Barbara Bonney.
British-Hungarian soprano Anna Cavaliero is a Samling Artist, City Music Foundation Artist, Handel House Talent Scheme Artist, and member of the studio of the Opéra de Lyon. She was previously also a Britten-Pears Young Artist, an Alvarez Young Artist with Garsington Opera, and a Countess of Munster Recital Scheme Artist. Anna won the 2019 Opera Prelude Singer’s Prize, was a semi-finalist in the London Mozart Competition, and was awarded second prize in the 2017 Lies Askonas competition.
At home in a wide range of musical genres, Anna performs a diverse repertoire encompassing opera, oratorio, chamber music, art song, contemporary music and early music. This season she sings the roles of Bergère/ Chauve-souris/ Pastourelle/ Chouette in Ravel L'Enfant et les sortilèges for the Opéra de Lyon. Upcoming concert appearances include Britten Les Illuminations with the Echéa Quartet and Tippett A Child of Our Time with the Orquesta Sinfónica Nacional de México. Anna has given recitals with Sholto Kynoch for Oxford Lieder and Leicester International Music Festival. She recently performed a baroque song programme with Julian Perkins for the Oxford Lieder Festival 2020, and Mozart’s Exsultate, jubilate with the London Mozart Players at East Finchley Arts Festival. Further concert appearances have included performances at Wigmore Hall, Hereford Cathedral, Eton College Chapel, Snape Maltings Concert Hall, Southwark Cathedral, Kings College Chapel and The Queen’s Gallery, Buckingham Palace.
On the operatic stage, Anna’s roles have included Belinda Dido and Aeneas (The Master Shipwright's House, Deptford); Ground Ivy The Fairy Queen, and Zerlina Don Giovanni (Waterperry Opera Festival); Soliste/ Mme Rossignol in Blacher Romeo and Juliet (Théâtre de La Croix Rousse Opéra de Lyon); Die Prinzessin in Maxwell-Davies The Hogboon (Philharmonie de Luxembourg); Fortuna/ Damigella/ Venere L’incoronazione di Poppea and Euridice (cover) Orfeo ed Euridice (Longborough Festival Opera); Mab, Adelaide in Dove The Enchanted Pig (Hampstead Garden Opera); Galatea Acis and Galatea, serenata in tre parti (Snape Maltings); and Pamina The Magic Flute (ADC Theatre Cambridge).
Anna studied English with a choral scholarship at Trinity College, Cambridge, before graduating with distinction from a masters at the Royal College of Music. She then completed her postgraduate studies at the Mozarteum in Salzburg with soprano Barbara Bonney.
Guy Elliott is a tenor based in London where he studied on a full scholarship at the Royal College of Music. During his studies, he was generously supported by Help Musicians UK and the HR Taylor Trust. Guy has won several awards and scholarships including the Help Musicians UK Ian Fleming Award, Josephine Baker Trust Scholarship and a Joaninha Trust prize. Guy won the Britten - Pears YAP Prize at the 2019 Wigmore Hall International Song Competition.
Guy is an experienced concert soloist with recent oratorio highlights including; Messiah (Handel) at the Royal Albert Hall with the English Festival Orchestra, Requiem (Mozart) at St. Stephen's Cathedral, Vienna, with the Wiener Domorchester and Nelson Mass (Haydn) in Riga Cathedral Latvia. He has sung the Evangelist in the St. John Passion (Bach) on numerous occasions. Guy made his Wigmore Hall debut in 2019 singing excerpts from Fauré's La Bonne Chanson as part of the Wigmore Hall French Song Exchange. He is also a keen exponent of experimental music with performances including Stimmung (Stockhausen) with Singcircle at Barbican Hall.
For the RCM International Opera Studio, Guy has performed the roles of Prince Philippe A Dinner Engagement (Berkeley), Toby Robinson Crusoe (Offenbach) and covered Sandy The Lighthouse (Maxwell Davies). Guy has also covered several roles for English Touring Opera including Telemachus Ulysses’ Homecoming (Monteverdi) and Mercurio La Calisto (Cavalli). In 2019, Guy performed the role of Dr. Miracle Le Docteur Miracle (Bizet) for Wexford Festival Opera.
Guy has a passion for arts education, having worked with the education department of English Touring Opera on roles including Olly in Waxwings, an opera for children with SEN which toured the UK and performed at Philharmonie Luxembourg and Orpheus in One Step Forward, a school collaboration. He has also performed songs from On Wenlock Edge (Vaughan Williams) with the education department of the London Philharmonic Orchestra.
➜ Guy Elliott's website
Guy Elliott is a tenor based in London where he studied on a full scholarship at the Royal College of Music. During his studies, he was generously supported by Help Musicians UK and the HR Taylor Trust. Guy has won several awards and scholarships including the Help Musicians UK Ian Fleming Award, Josephine Baker Trust Scholarship and a Joaninha Trust prize. Guy won the Britten - Pears YAP Prize at the 2019 Wigmore Hall International Song Competition.
Guy is an experienced concert soloist with recent oratorio highlights including; Messiah (Handel) at the Royal Albert Hall with the English Festival Orchestra, Requiem (Mozart) at St. Stephen's Cathedral, Vienna, with the Wiener Domorchester and Nelson Mass (Haydn) in Riga Cathedral Latvia. He has sung the Evangelist in the St. John Passion (Bach) on numerous occasions. Guy made his Wigmore Hall debut in 2019 singing excerpts from Fauré's La Bonne Chanson as part of the Wigmore Hall French Song Exchange. He is also a keen exponent of experimental music with performances including Stimmung (Stockhausen) with Singcircle at Barbican Hall.
For the RCM International Opera Studio, Guy has performed the roles of Prince Philippe A Dinner Engagement (Berkeley), Toby Robinson Crusoe (Offenbach) and covered Sandy The Lighthouse (Maxwell Davies). Guy has also covered several roles for English Touring Opera including Telemachus Ulysses’ Homecoming (Monteverdi) and Mercurio La Calisto (Cavalli). In 2019, Guy performed the role of Dr. Miracle Le Docteur Miracle (Bizet) for Wexford Festival Opera.
Guy has a passion for arts education, having worked with the education department of English Touring Opera on roles including Olly in Waxwings, an opera for children with SEN which toured the UK and performed at Philharmonie Luxembourg and Orpheus in One Step Forward, a school collaboration. He has also performed songs from On Wenlock Edge (Vaughan Williams) with the education department of the London Philharmonic Orchestra.
➜ Guy Elliott's website
Young mezzo with a warm voice, Floriane Hasler holds a Bachelor's degree with honors form the Conservatoire National de Musique et de Danse de Paris.
During her chilhood, she took french horn and vocal-lessons, before pursuing her studies at the Maîtrise de Notre-Dame de Paris'choir (conductor Lionel Sow) where she followed the teaching of Rosa Dominguez. She became familiar with medieval music and improved her knowledge of early music, her favourite period. In 2017, she joined the CNSMDP, where she studied a later repertoire, supported by her teachers Chantal Mathias, Florence Boissolle, etc. She also discovered the performing art with Emmanuelle Cordoliani.
The young mezzo was then chosen for several projects where she held solo parts, such as Bach cantata BWV 3 (conductor Masaaki Suzuki) and BWV 106 (conductor Stephan MacLeod), the re-creation of the Opera Giove in Argo by Antonio Lotti, in the role of Diane (conductor Léonardo García Alarcón) and has attended masterclass with Barbara Hannigan on a live broadcast from the Opéra Comique.
Floriane Hasler took her first steps on stage at the age of 23 in the operas of Versailles, Bordeaux, and Caen, in the part of the third Grace in Rossi's Orfeo (conductor Raphaël Pichon, stagingJetske Mijnssen). Passionate about J.S Bach, she performed in the Magnificat (conductor Marzena Diakun), as well as in the Saint John Passion (conductor Simon Proust) where she successively held the alto solo parts. She was also invited by the Ensemble Correspondance (conductor Sébastien Daucé) to perform extracts from works by H. Purcell.
Shortly after, she recorded M.A Charpentier's Descente d’Orphée aux Enfers with the Ensemble Desmarest (conductor Ronan Khalil), in the role of Proserpine (published by Glossa). By the same composer, she sang the part of Architecture in the Arts Florissants with the Ensemble Marguerite Louise (conductor Gaëtan Jarry). Then she collaborated with Le Poème Harmonique (conductorVincent Dumestre) with whom she sang Clérambault's Miserere on many occasions. Ardently devoted to contemporary music, she joined the ensemble Le Balcon (conductor Maxime Pascal and Alphonse Cemin) for a programme based on Claude Vivier's Voix.
She recently joined Les Ambassadeurs (conductor Alexis Kossenko) to record Achante et Céphise by J.P Rameau as the Third Priestess of Love (to be released soon by Warner Classics). She shall take part in F. Cavalli's Egisto conducted by Vincent Dumestre at the Royal Opera of Versailles and sing Didone and Volupia. Floriane Hasler is now a member of the 5th generation of the prestigious Compagny Opera Fuoco conducted by David Stern.
Young mezzo with a warm voice, Floriane Hasler holds a Bachelor's degree with honors form the Conservatoire National de Musique et de Danse de Paris.
During her chilhood, she took french horn and vocal-lessons, before pursuing her studies at the Maîtrise de Notre-Dame de Paris'choir (conductor Lionel Sow) where she followed the teaching of Rosa Dominguez. She became familiar with medieval music and improved her knowledge of early music, her favourite period. In 2017, she joined the CNSMDP, where she studied a later repertoire, supported by her teachers Chantal Mathias, Florence Boissolle, etc. She also discovered the performing art with Emmanuelle Cordoliani.
The young mezzo was then chosen for several projects where she held solo parts, such as Bach cantata BWV 3 (conductor Masaaki Suzuki) and BWV 106 (conductor Stephan MacLeod), the re-creation of the Opera Giove in Argo by Antonio Lotti, in the role of Diane (conductor Léonardo García Alarcón) and has attended masterclass with Barbara Hannigan on a live broadcast from the Opéra Comique.
Floriane Hasler took her first steps on stage at the age of 23 in the operas of Versailles, Bordeaux, and Caen, in the part of the third Grace in Rossi's Orfeo (conductor Raphaël Pichon, stagingJetske Mijnssen). Passionate about J.S Bach, she performed in the Magnificat (conductor Marzena Diakun), as well as in the Saint John Passion (conductor Simon Proust) where she successively held the alto solo parts. She was also invited by the Ensemble Correspondance (conductor Sébastien Daucé) to perform extracts from works by H. Purcell.
Shortly after, she recorded M.A Charpentier's Descente d’Orphée aux Enfers with the Ensemble Desmarest (conductor Ronan Khalil), in the role of Proserpine (published by Glossa). By the same composer, she sang the part of Architecture in the Arts Florissants with the Ensemble Marguerite Louise (conductor Gaëtan Jarry). Then she collaborated with Le Poème Harmonique (conductorVincent Dumestre) with whom she sang Clérambault's Miserere on many occasions. Ardently devoted to contemporary music, she joined the ensemble Le Balcon (conductor Maxime Pascal and Alphonse Cemin) for a programme based on Claude Vivier's Voix.
She recently joined Les Ambassadeurs (conductor Alexis Kossenko) to record Achante et Céphise by J.P Rameau as the Third Priestess of Love (to be released soon by Warner Classics). She shall take part in F. Cavalli's Egisto conducted by Vincent Dumestre at the Royal Opera of Versailles and sing Didone and Volupia. Floriane Hasler is now a member of the 5th generation of the prestigious Compagny Opera Fuoco conducted by David Stern.
The lyric baritone Daegyun Jeong was born in South Korea in 1994. From 2013-2017, he studied voice at the Yong Siew Toh Conservatory of Music in Singapore with Prof. Alan Lee Bennett.
During his studies, he performed in a variety of concerts, singing music by Bach, Mozart and Haydn, among others, as well as in renowned halls such as Daegu Opera House, Suseung Art Center and Daegu Citizen Hall. He has also been heard on several Korean radio stations. In October 2017, Daegyun Jeong began a master's degree at the Hochschule für Musik und Tanz Köln with a focus on opera and concert in the class of Prof. Mario Hoff and Prof. Johannes Martin Kränzle. In the 2017/18 season he made his debut at the Aachen Theatre as the Forester in Das schlaue Füchslein (Příhody lišky Bystroušky), and at Munich's Cuvilliéstheater in 2018 he appeared as Guglielmo in Così fan tutte (Mozart).
Daegyun Jeong has been a member of the Opera Studio NRW since 2019/20 and was on stage at the Dortmund Theatre as 3rd Noble in Lohengrin. At the Wuppertal Opera he was heard as Schaunard in La Bohème (Puccini). In the 2020/21 season he will appear at the Aalto Theater Essen as Leuthold in Rossini's Guillaume Tell, at the Musiktheater im Revier as Yamadori in Madama Butterfly (Puccini), at the Wuppertal Opera as Samuel in The Pirates of Penzance (Sullivan), and again as Shaunard as well as Duphol in La traviata (Verdi).
The lyric baritone Daegyun Jeong was born in South Korea in 1994. From 2013-2017, he studied voice at the Yong Siew Toh Conservatory of Music in Singapore with Prof. Alan Lee Bennett.
During his studies, he performed in a variety of concerts, singing music by Bach, Mozart and Haydn, among others, as well as in renowned halls such as Daegu Opera House, Suseung Art Center and Daegu Citizen Hall. He has also been heard on several Korean radio stations. In October 2017, Daegyun Jeong began a master's degree at the Hochschule für Musik und Tanz Köln with a focus on opera and concert in the class of Prof. Mario Hoff and Prof. Johannes Martin Kränzle. In the 2017/18 season he made his debut at the Aachen Theatre as the Forester in Das schlaue Füchslein (Příhody lišky Bystroušky), and at Munich's Cuvilliéstheater in 2018 he appeared as Guglielmo in Così fan tutte (Mozart).
Daegyun Jeong has been a member of the Opera Studio NRW since 2019/20 and was on stage at the Dortmund Theatre as 3rd Noble in Lohengrin. At the Wuppertal Opera he was heard as Schaunard in La Bohème (Puccini). In the 2020/21 season he will appear at the Aalto Theater Essen as Leuthold in Rossini's Guillaume Tell, at the Musiktheater im Revier as Yamadori in Madama Butterfly (Puccini), at the Wuppertal Opera as Samuel in The Pirates of Penzance (Sullivan), and again as Shaunard as well as Duphol in La traviata (Verdi).
Eugénie is a french mezzo-soprano who studied in Lyon with Pierre Ribémont. Then, she perfected herself in different repertoire with Anaïk Morel, Jane Thorner, Irene Kudela, Marie-Claude Papion and Mari Laurila-Lili.
As part of her studies, she sang Orphée (Orphée and Eurydice) and Dido (Dido and Aeneas).
She was invited as a soloist in « La petite messe solennelle » of Rossini in the main room of the Lyon’s City Hall and also in Lou (L’homme qui titubait dans la guerre by Isabelle Aboulker).
In 2018, she won the 1st Opera Prize and the 1st Melody Prize at the 25th International Opera Competition in Mâcon.
She made her debut as the 3rd Lady (Die Zauberflöte), under the baton of Quentin Hindley.
In 2020/21, she will be Gertrude in Hansel and Gretel, The German Mother/The Danish Lady/The Newspaper seller in Death in Venice and Kate Pinkerton in Madame Butterfly.
En 2020/21 elle y chantera notamment le rôle de la Mère dans Hansel et Gretel, The German Mother, the Danish lady et the Newspaper seller dans la Mort à Venise et celui de Kate Pinkerton dans Madame Butterfly.
Eugénie is a french mezzo-soprano who studied in Lyon with Pierre Ribémont. Then, she perfected herself in different repertoire with Anaïk Morel, Jane Thorner, Irene Kudela, Marie-Claude Papion and Mari Laurila-Lili.
As part of her studies, she sang Orphée (Orphée and Eurydice) and Dido (Dido and Aeneas).
She was invited as a soloist in « La petite messe solennelle » of Rossini in the main room of the Lyon’s City Hall and also in Lou (L’homme qui titubait dans la guerre by Isabelle Aboulker).
In 2018, she won the 1st Opera Prize and the 1st Melody Prize at the 25th International Opera Competition in Mâcon.
She made her debut as the 3rd Lady (Die Zauberflöte), under the baton of Quentin Hindley.
In 2020/21, she will be Gertrude in Hansel and Gretel, The German Mother/The Danish Lady/The Newspaper seller in Death in Venice and Kate Pinkerton in Madame Butterfly.
En 2020/21 elle y chantera notamment le rôle de la Mère dans Hansel et Gretel, The German Mother, the Danish lady et the Newspaper seller dans la Mort à Venise et celui de Kate Pinkerton dans Madame Butterfly.
Gautier Joubert discovered lyrical singing during his studies at the Lycée Sainte-Geneviève in Versailles. While teaching mathematics, he took vocal classes at the Conservatoire de Reims during three years and joined the choir Ensemble Lyrique Champagne-Ardenne for several productions at the Opéra de Reims and at the Théâtre des Champs-Elysées.
In January 2017 he obtained his first role as a soloist, Oroveso in Norma, for the symphonic orchestra Les Concerts d’Athalie. Gautier Joubert made his stage debut 2018 as Zaretsky (Eugene Onegin) at the Opéra de Reims. He then was Zuniga (Carmen) for the Orchestre Ut Cinquième, Angelotti (Tosca) for the Orchestre Symphonique et Lyrique de Paris, and Sarastro (Die Zauberflöte) for the companies Pro'Scenio and ArtemOise, as well as performing several times at recitals in Switzerland.
In the field of oratories he sang Puccini’s Messa di Gloria and Mozart’s Requiem with the ensemble VociHARMONIE as well as Dvořák’s Stabat Mater with the Choeur Montjoie.
In September 2019, he joined the Opera Studio of the Opéra national du Rhin, where he was cast in the season’s opening concert, the production of Parsifal and the creation of Howard Moody’s Lunar Lake.
Lately he participated in masterclasses with Malcolm King, Lionel Sarrazin, Patricia Ciofi and Chris Merritt.
In 2021, he becomes a member of the 5th generation of the Young Artists Program offered by Opera Fuoco, the opera company founded and directed by David Stern.
Gautier Joubert discovered lyrical singing during his studies at the Lycée Sainte-Geneviève in Versailles. While teaching mathematics, he took vocal classes at the Conservatoire de Reims during three years and joined the choir Ensemble Lyrique Champagne-Ardenne for several productions at the Opéra de Reims and at the Théâtre des Champs-Elysées.
In January 2017 he obtained his first role as a soloist, Oroveso in Norma, for the symphonic orchestra Les Concerts d’Athalie. Gautier Joubert made his stage debut 2018 as Zaretsky (Eugene Onegin) at the Opéra de Reims. He then was Zuniga (Carmen) for the Orchestre Ut Cinquième, Angelotti (Tosca) for the Orchestre Symphonique et Lyrique de Paris, and Sarastro (Die Zauberflöte) for the companies Pro'Scenio and ArtemOise, as well as performing several times at recitals in Switzerland.
In the field of oratories he sang Puccini’s Messa di Gloria and Mozart’s Requiem with the ensemble VociHARMONIE as well as Dvořák’s Stabat Mater with the Choeur Montjoie.
In September 2019, he joined the Opera Studio of the Opéra national du Rhin, where he was cast in the season’s opening concert, the production of Parsifal and the creation of Howard Moody’s Lunar Lake.
Lately he participated in masterclasses with Malcolm King, Lionel Sarrazin, Patricia Ciofi and Chris Merritt.
In 2021, he becomes a member of the 5th generation of the Young Artists Program offered by Opera Fuoco, the opera company founded and directed by David Stern.
Née en Ukraine, Iryna Kyshliaruk commence ses études musicales à l’Académie des Arts de Kiev, tout d’abord dans les classes de violoncelle et de composition, avant d’y intégrer la classe de chant de Maria Stefiuk, puis elle se perfectionne au CNSM de Paris auprès d’Elène Golgevit ainsi que de Stephan Genz (répertoire allemand), Anne Le Bozec (Lied et mélodie), Jeff Cohen (Lied et mélodie) ou encore Kenneth Weiss (répertoire baroque). Passionnée par le répertoire allemand, Iryna Kyshliaruk étudie également à Leipzig auprès de KS Pr. Regina Werner. Elle est lauréate du Concours de chant de Mâcon et Concours de Lied et Mélodie de Gordes.
Elle fait ses débuts sur scène dans le rôle de l’Amour (Orfeode Gluck) à l’Opéra Studio de Kiev. En 2018 elle débute dans le rôle de Cléopâtre (Giulio Cesare) dans le cadre d’une collaboration entre le CNSMDP et la Philharmonie de Paris.
En concert, elle chante le rôle d’Eve (Die Schopfung) sous la direction de David Reiland à la cathédrale Notre-Dame de Paris. Pendant les saisons 2018-2019 elle s’est produite en concert à l’Opéra National de Kiev sous la direction de M.Diadura, au Festival de Paris avec Jeff Cohen et Sahy Ratianarivo, au Festival de l’Histoire de l’Art de Fontainebleau avec Kenneth Weiss, à “l’École des Filles” avec Anne Le Bozec et Yun-Ho Chen ainsi qu’en récital au Nohant Festival Chopin avec Yun-Ho Chen. Elle retrouve également Anne Le Bozec au Festival de Fénétrange, et Yun-Ho Chen pour Le Festival de Croissy.
Plus récemment elle chante en concerts à la Salle Cortot et à l’Opéra d’Avignon au Festival “Fieffés Musiciens et participe aux résidences de Royaumont et de la Cité de la Voix.
Pendant la saison 2021-2022 Iryna fera ses débuts à l’Opéra de Saint-Etienne et à l’Opéra de Rouen.
Iryna a été soutenue par la Fondation Royaumont, la Fondation de France, la Fondation Meyer, la Fondation Goélands, la Société Générale, la Fondation « L’or du Rhin », la Bourse Ute, le Fonds Kriegelstein et Patrick Petit.
Née en Ukraine, Iryna Kyshliaruk commence ses études musicales à l’Académie des Arts de Kiev, tout d’abord dans les classes de violoncelle et de composition, avant d’y intégrer la classe de chant de Maria Stefiuk, puis elle se perfectionne au CNSM de Paris auprès d’Elène Golgevit ainsi que de Stephan Genz (répertoire allemand), Anne Le Bozec (Lied et mélodie), Jeff Cohen (Lied et mélodie) ou encore Kenneth Weiss (répertoire baroque). Passionnée par le répertoire allemand, Iryna Kyshliaruk étudie également à Leipzig auprès de KS Pr. Regina Werner. Elle est lauréate du Concours de chant de Mâcon et Concours de Lied et Mélodie de Gordes.
Elle fait ses débuts sur scène dans le rôle de l’Amour (Orfeode Gluck) à l’Opéra Studio de Kiev. En 2018 elle débute dans le rôle de Cléopâtre (Giulio Cesare) dans le cadre d’une collaboration entre le CNSMDP et la Philharmonie de Paris.
En concert, elle chante le rôle d’Eve (Die Schopfung) sous la direction de David Reiland à la cathédrale Notre-Dame de Paris. Pendant les saisons 2018-2019 elle s’est produite en concert à l’Opéra National de Kiev sous la direction de M.Diadura, au Festival de Paris avec Jeff Cohen et Sahy Ratianarivo, au Festival de l’Histoire de l’Art de Fontainebleau avec Kenneth Weiss, à “l’École des Filles” avec Anne Le Bozec et Yun-Ho Chen ainsi qu’en récital au Nohant Festival Chopin avec Yun-Ho Chen. Elle retrouve également Anne Le Bozec au Festival de Fénétrange, et Yun-Ho Chen pour Le Festival de Croissy.
Plus récemment elle chante en concerts à la Salle Cortot et à l’Opéra d’Avignon au Festival “Fieffés Musiciens et participe aux résidences de Royaumont et de la Cité de la Voix.
Pendant la saison 2021-2022 Iryna fera ses débuts à l’Opéra de Saint-Etienne et à l’Opéra de Rouen.
Iryna a été soutenue par la Fondation Royaumont, la Fondation de France, la Fondation Meyer, la Fondation Goélands, la Société Générale, la Fondation « L’or du Rhin », la Bourse Ute, le Fonds Kriegelstein et Patrick Petit.
Solène Laurent débute la musique à l’âge de quatre ans. Parallèlement à la chorale du conservatoire, sous la direction d’Olivier Frontière, elle découvre respectivement la danse, le hautbois, le piano puis le chant. En 2007, elle intègre la Maîtrise de Notre-Dame de Paris, dirigée par Lionel Sow et Emily Fleury. Elle fait ses premières armes en tant que soliste dans de nombreuses manifestations musicales : événements religieux, concerts, enregistrements, notamment dans Le Livre de Notre-Dame, création mondiale dans le cadre du Jubilé de Notre-Dame de Paris, en 2013.
L’année suivante, Solène intègre le département supérieur pour Jeunes Chanteurs au CRR de Paris, dans la classe de Florence Guignolet. Elle chante les rôles de Cupidon (Orphée aux Enfers d’Offenbach, 2016), du Prince Orlovsky (La Chauve-Souris, Johann Strauss, 2017), et de Geneviève (Pelléas et Mélisande, Debussy, 2018), mis en scène par Florence Guignolet.
En 2017, elle obtient brillamment son DEM. Elle participe en janvier 2019 aux Préludes à la Philharmonie de Paris, et chante l’air de La Habanera, de Carmen, au Théâtre des Champs-Elysées, en juillet 2019, à l’occasion d’un concert pour Amnesty International. Elle obtient son Prix de Perfectionnement au DSJC avec les félicitations du jury et un prix spécial pour la mise en scène. Solène poursuit actuellement ses études au CNSMDP et intègre en 2021 l’Atelier Lyrique d’Opera Fuoco.
Solène Laurent débute la musique à l’âge de quatre ans. Parallèlement à la chorale du conservatoire, sous la direction d’Olivier Frontière, elle découvre respectivement la danse, le hautbois, le piano puis le chant. En 2007, elle intègre la Maîtrise de Notre-Dame de Paris, dirigée par Lionel Sow et Emily Fleury. Elle fait ses premières armes en tant que soliste dans de nombreuses manifestations musicales : événements religieux, concerts, enregistrements, notamment dans Le Livre de Notre-Dame, création mondiale dans le cadre du Jubilé de Notre-Dame de Paris, en 2013.
L’année suivante, Solène intègre le département supérieur pour Jeunes Chanteurs au CRR de Paris, dans la classe de Florence Guignolet. Elle chante les rôles de Cupidon (Orphée aux Enfers d’Offenbach, 2016), du Prince Orlovsky (La Chauve-Souris, Johann Strauss, 2017), et de Geneviève (Pelléas et Mélisande, Debussy, 2018), mis en scène par Florence Guignolet.
En 2017, elle obtient brillamment son DEM. Elle participe en janvier 2019 aux Préludes à la Philharmonie de Paris, et chante l’air de La Habanera, de Carmen, au Théâtre des Champs-Elysées, en juillet 2019, à l’occasion d’un concert pour Amnesty International. Elle obtient son Prix de Perfectionnement au DSJC avec les félicitations du jury et un prix spécial pour la mise en scène. Solène poursuit actuellement ses études au CNSMDP et intègre en 2021 l’Atelier Lyrique d’Opera Fuoco.
After having been an aeronautical engineer, then an investment banker, Halidou decides to devote himself fully to the operatic scene, his first passion. Parallel to his academic career, he took his first steps on stage in musicals before joining a big band soul interpreting the great classics of motown. Spotted by a modeling agency, he tried his hand as model for fashion designers and fashion TV. Interested in dance, he joined the contemporary dance company of the Sorbonne during his graduate studies. The desire to always work on his voice leads him to the lyrical repertoire which appears to be a revelation. He began his training in Saint Ouen with Frédérique Epin and Aurélie Courtot, before perfecting his skills with Pierre Catala and Guillemette Laurens. Holder of a Diploma of Musical Study from the CRR Paris, Halidou integrates at the end of 2018 his concertist cycle in the class of Elsa Maurus from whom he will graduate in 2020. He participates in numerous masterclasses, among which we will retain the one about Don Giovanni and Le Nozze di Figaro with maestro Ruggero Raimondi. In 2020, Halidou became resident artist at the Queen Elisabeth Music Chapel for which he received a scholarship. He collaborates then with the masters in residence José Van dam and Sophie Koch. In 2021 he is laureate of the Orsay-Royaumont Academy and joins the Opera Fuoco lyric workshop directed by David Stern.
As a stage true lover, Halidou has distinguished himself in numerous roles since his debut in both opera and operetta, not forgetting the repertoire of chamber music and Lieder with Jean-Marc Pont Marchesi with whom he performs in recital. He has also tried his hand at directing, notably with a production of Dido and Aeneas at the Hotel Gouthière in Paris. Among the roles he has taken on are Don Alfonso in Mozart's Cosi Fan Tutte at the PBA in Charleroi, Escamillo in Bizet's Carmen at the Théâtre Royal de Mons in 2020, Golaud in Debussy's Pelleas et Melisande, Mercutio in Gounod's Roméo et Juliette in 2018, The fairy queen by Purcell (Drunken poet and Hymen), Geneviève de Brabant by Offenbach (Grabuge), Elle est à vous by Maurice Yvain (René) in 2017, Le dialogue des carmélites by Poulenc (Le Marquis de la force) in 2016, Don Giovanni by Mozart (Leoporello) and Il matrimonio segreto de Cimarosa (Geronimo) in 2015. In 2019 he participates in the creation of the contemporary Jungle Opera inspired by Kipling's book at the opera houses of Limoges, Bordeaux and Tours.
For the 2020/2021 season he will be on tour with Les Frivolités Parisiennes in Paul Miraski's "Normandie" as Victor, in a revival of Jungle at the opera of Tour and Massy, and in Rameau's Platée directed by Stephane Delbassé as Jupiter. He will also be at the Festival d'Aix en Provence in June 2021 as part of his academy (opera de ci de là).
For the next two seasons, he will reprise the role of Golaud in a new creation of Debussy's opera Pelléas & Mélisande directed by Moshe Leiser and Patrice Caurier at the Vichy and Clermont Ferrand Opera and then on a national tour.
After having been an aeronautical engineer, then an investment banker, Halidou decides to devote himself fully to the operatic scene, his first passion. Parallel to his academic career, he took his first steps on stage in musicals before joining a big band soul interpreting the great classics of motown. Spotted by a modeling agency, he tried his hand as model for fashion designers and fashion TV. Interested in dance, he joined the contemporary dance company of the Sorbonne during his graduate studies. The desire to always work on his voice leads him to the lyrical repertoire which appears to be a revelation. He began his training in Saint Ouen with Frédérique Epin and Aurélie Courtot, before perfecting his skills with Pierre Catala and Guillemette Laurens. Holder of a Diploma of Musical Study from the CRR Paris, Halidou integrates at the end of 2018 his concertist cycle in the class of Elsa Maurus from whom he will graduate in 2020. He participates in numerous masterclasses, among which we will retain the one about Don Giovanni and Le Nozze di Figaro with maestro Ruggero Raimondi. In 2020, Halidou became resident artist at the Queen Elisabeth Music Chapel for which he received a scholarship. He collaborates then with the masters in residence José Van dam and Sophie Koch. In 2021 he is laureate of the Orsay-Royaumont Academy and joins the Opera Fuoco lyric workshop directed by David Stern.
As a stage true lover, Halidou has distinguished himself in numerous roles since his debut in both opera and operetta, not forgetting the repertoire of chamber music and Lieder with Jean-Marc Pont Marchesi with whom he performs in recital. He has also tried his hand at directing, notably with a production of Dido and Aeneas at the Hotel Gouthière in Paris. Among the roles he has taken on are Don Alfonso in Mozart's Cosi Fan Tutte at the PBA in Charleroi, Escamillo in Bizet's Carmen at the Théâtre Royal de Mons in 2020, Golaud in Debussy's Pelleas et Melisande, Mercutio in Gounod's Roméo et Juliette in 2018, The fairy queen by Purcell (Drunken poet and Hymen), Geneviève de Brabant by Offenbach (Grabuge), Elle est à vous by Maurice Yvain (René) in 2017, Le dialogue des carmélites by Poulenc (Le Marquis de la force) in 2016, Don Giovanni by Mozart (Leoporello) and Il matrimonio segreto de Cimarosa (Geronimo) in 2015. In 2019 he participates in the creation of the contemporary Jungle Opera inspired by Kipling's book at the opera houses of Limoges, Bordeaux and Tours.
For the 2020/2021 season he will be on tour with Les Frivolités Parisiennes in Paul Miraski's "Normandie" as Victor, in a revival of Jungle at the opera of Tour and Massy, and in Rameau's Platée directed by Stephane Delbassé as Jupiter. He will also be at the Festival d'Aix en Provence in June 2021 as part of his academy (opera de ci de là).
For the next two seasons, he will reprise the role of Golaud in a new creation of Debussy's opera Pelléas & Mélisande directed by Moshe Leiser and Patrice Caurier at the Vichy and Clermont Ferrand Opera and then on a national tour.
Thomas Ricart first began singing in his school choir under the direction of Rémi Gousseau. Then, after graduating from the ESSEC Business School in both finance and entrepreneurship, he entered the Paris Conservatoire (CNSMDP), France’s leading music school, in 2016 in order to fully devote his life to music.
Dans les prochains mois, il chantera le rôle du Prologue dans The Turn of the Screw de Britten sous la direction d’Alexander Brieger dans une mise en scène de Brigitte Jaques-Wajeman en février 2021. Puis il incarnera Gernando dans L’isola disabitata de Haydn avec Le Studiopéra en mars 2021 et sera le ténor solo de la Passion Selon Saint Mathieu de Bach au Cirque d’Hiver sous la direction de Xavier Ricour.
Thomas Ricart se consacre également avec bonheur au répertoire de chambre qu’il explore avec la pianiste Katia Weimann. Ils se forment pendant trois ans auprès d’Anne Le Bozec et bénéficient également des précieux conseils de Susan Manoff et d’Hartmut Höll. En août 2020, ils participent au Festival d’été de France Musique dans un programme de mélodies françaises.
Thomas Ricart receives support from the Porosus Foundation.
Thomas Ricart first began singing in his school choir under the direction of Rémi Gousseau. Then, after graduating from the ESSEC Business School in both finance and entrepreneurship, he entered the Paris Conservatoire (CNSMDP), France’s leading music school, in 2016 in order to fully devote his life to music.
Dans les prochains mois, il chantera le rôle du Prologue dans The Turn of the Screw de Britten sous la direction d’Alexander Brieger dans une mise en scène de Brigitte Jaques-Wajeman en février 2021. Puis il incarnera Gernando dans L’isola disabitata de Haydn avec Le Studiopéra en mars 2021 et sera le ténor solo de la Passion Selon Saint Mathieu de Bach au Cirque d’Hiver sous la direction de Xavier Ricour.
Thomas Ricart se consacre également avec bonheur au répertoire de chambre qu’il explore avec la pianiste Katia Weimann. Ils se forment pendant trois ans auprès d’Anne Le Bozec et bénéficient également des précieux conseils de Susan Manoff et d’Hartmut Höll. En août 2020, ils participent au Festival d’été de France Musique dans un programme de mélodies françaises.
Thomas Ricart receives support from the Porosus Foundation.
The tenor Léo Vermot-Desroches studied at the Conservatoire Supérieur de Paris in the class of Valérie Guillorit and graduated in 2022 with a Master's degree with honors. In 2019 he is laureate of the Ravel class of the Académie Jaroussky, then in 2021 he joins the Opera Fuoco's Young Artists Program and in 2022 the first class of Generation Opera.
Winner of the 2020 edition of the international competition of lyrical singing of Marmande, he receives the First Prize Opera and the First Prize Melody. In 2021, he also won the Second Prize and the Audience Prize at the Arles International Opera Competition and the same two awards at the Canari International Opera Competition.
Playing on contrasting vocalities, Léo Vermot-Desroches has taken on roles such as Tamino in Mozart's The Magic Flute, the Chevalier de la Force in Poulenc's Dialogues des Carmélites, Peter Quint in Britten's Le Tour d'écrou, Don Ottavio in Mozart's Don Giovanni, or Aeneas in Purcell's Dido and Aeneas. He was recently heard at the Athénée Theatre in Paris and at the Dijon Opera in Monteverdi's Coronation of Poppea (Soldato1 and Lucano) conducted by Vincent Dumestre, in Strauss's Ariadne auf Naxos (Scaramuccio) at the Limoges Opera conducted by Robert Tuohy, at the Salle Cortot for nine evenings of German Lieder, and in various opera recitals at the Eiffel Tower and the Sainte Chapelle.
Léo will be performing at the Aix-en-Provence Festival in Strauss' Salome (1st Jew) conducted by Ingo Metzmacher, and at the La Grange aux Pianos Festival in Puccini's La Bohème (Rodolfo) with the Opera Fuoco company. He can also be heard in recital at the Lagrasse Festival, or at the Royaumont Abbey for an Organ and Voice program with Lucile Dolat.
In the coming season Léo will perform the principal role in Benatzky's Auberge du Cheval Blanc (Leopold) at the Marseilles Opera, the Chevalier Des Grieux in Massenet's Manon at the Saint-Etienne, Vichy and Massy operas with the Op'la company, San Giovanni in the baroque opera Il Terremoto by Draghi in Malta with the Poème Harmonique, Peppe in Rita ou le Mari Battu by Donizetti at the opera of Tours, Bastien in Bastien et Bastienne by Mozart with the opera of Avignon, or as Malcolm in Macbeth by Verdi at the opera of Saint-Étienne. He will be heard in various recitals and concerts, at the Montpellier Opera for a Lyric evening with the Montpellier/Occitania National Orchestra or in Rossini's Petite Messe Solennelle in the Bordeaux Opera season. In addition, the young French tenor will perform in several recitals at the Théâtre Impérial de Compiègne, with whom he is beginning a long-term collaboration.
The tenor Léo Vermot-Desroches studied at the Conservatoire Supérieur de Paris in the class of Valérie Guillorit and graduated in 2022 with a Master's degree with honors. In 2019 he is laureate of the Ravel class of the Académie Jaroussky, then in 2021 he joins the Opera Fuoco's Young Artists Program and in 2022 the first class of Generation Opera.
Winner of the 2020 edition of the international competition of lyrical singing of Marmande, he receives the First Prize Opera and the First Prize Melody. In 2021, he also won the Second Prize and the Audience Prize at the Arles International Opera Competition and the same two awards at the Canari International Opera Competition.
Playing on contrasting vocalities, Léo Vermot-Desroches has taken on roles such as Tamino in Mozart's The Magic Flute, the Chevalier de la Force in Poulenc's Dialogues des Carmélites, Peter Quint in Britten's Le Tour d'écrou, Don Ottavio in Mozart's Don Giovanni, or Aeneas in Purcell's Dido and Aeneas. He was recently heard at the Athénée Theatre in Paris and at the Dijon Opera in Monteverdi's Coronation of Poppea (Soldato1 and Lucano) conducted by Vincent Dumestre, in Strauss's Ariadne auf Naxos (Scaramuccio) at the Limoges Opera conducted by Robert Tuohy, at the Salle Cortot for nine evenings of German Lieder, and in various opera recitals at the Eiffel Tower and the Sainte Chapelle.
Léo will be performing at the Aix-en-Provence Festival in Strauss' Salome (1st Jew) conducted by Ingo Metzmacher, and at the La Grange aux Pianos Festival in Puccini's La Bohème (Rodolfo) with the Opera Fuoco company. He can also be heard in recital at the Lagrasse Festival, or at the Royaumont Abbey for an Organ and Voice program with Lucile Dolat.
In the coming season Léo will perform the principal role in Benatzky's Auberge du Cheval Blanc (Leopold) at the Marseilles Opera, the Chevalier Des Grieux in Massenet's Manon at the Saint-Etienne, Vichy and Massy operas with the Op'la company, San Giovanni in the baroque opera Il Terremoto by Draghi in Malta with the Poème Harmonique, Peppe in Rita ou le Mari Battu by Donizetti at the opera of Tours, Bastien in Bastien et Bastienne by Mozart with the opera of Avignon, or as Malcolm in Macbeth by Verdi at the opera of Saint-Étienne. He will be heard in various recitals and concerts, at the Montpellier Opera for a Lyric evening with the Montpellier/Occitania National Orchestra or in Rossini's Petite Messe Solennelle in the Bordeaux Opera season. In addition, the young French tenor will perform in several recitals at the Théâtre Impérial de Compiègne, with whom he is beginning a long-term collaboration.
Young Artists 2017-2020
➜ Site internet de Julie Goussot
Young Artists 2014-2017
Past Members
[ Site personnel de Marc Callahan en cours de réédition ]
Masterclass-History
2023
Eternal muse
Avec Elsa Rooke
2022
Un portrait de Giuseppe Verdi
With Laurent Naouri
Natures/Humans
With Reri Grist
2021
Les Bohèmes
With Inva Mula
The Golden Age of Russian Opera
With Irene Kudela
The Vocal Universe of Kaija Saariaho
With Kaija Saariaho
2020
Offenbach / Gilbert & Sullivan
With Dame Felicity Lott
Jazz & Blues
With Tierney Sutton
2019
Les plaisirs de la Seine
With Karine Deshayes
La Rondine
With Inva Mula
2018
Mozart Ensemble(s)
With Barbara Bonney
Blues & Jazz
With Sara Lazarus
2017
Baroque à Venise
With Yetzabel Arias Fernandez
Au temps de Monsieur Marmottan
With Jeff Cohen
West Side Story
With Reri Grist
2016
Candide de Bernstein
With David Charles Abell
Baroque & Jazz
With Christopher Culpo
The Golden Bride
With Stuart Seide
Autour de Massenet
With Laurent Naouri
2015
Around John Cage
With Stuart Seide
Monteverdi, Cavalli, Sartorio
With Guillemette Laurens
Kiss me Kate de Cole Porter
With Jeff Cohen
Les noces de Figaro
With Eric-Emmanuel Schmitt
Naissance du Romantisme
With Véronique Gens
2014
Bernstein, Gershwin, Ives
With Jeff Cohen
Cosi Fanciulli
With Chantal Santon
2013
L’école américaine
With Jeff Cohen
Autour de Mozart et Haydn
With Laurence Dale
Les Italiens autour de Haendel
With Jill Feldman
2012
Autour du Mikado de Gilbert et Sullivan
With Richard Stuart
Chanter l’anglais, de Purcell à Britten
With Paul Agnew
La mélodie française
With Paul Agnew
2011
L’opéra français
With Jean-Paul Fouchécourt
Le Bel Canto
With Véronica Cangemini
