Académie Voix Nouvelles

Born in Paris on February 27, 1959, Frédéric Durieux began playing the piano at the age of 5. He later continued his training at the Conservatoire national de région de Grenoble (Harmonie and Contrepoint), where he won a gold medal in Harmonie (1981). He was admitted to the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) in 1982, where he won a Premier Prix in analysis in 1984 in the class of Betsy Jolas, and a Premier Prix in composition in 1986 in the class of Ivo Malec. At the same time, he was selected by the Ensemble Intercontemporain for a first concert in 1985, and continued his training at Ircam in the Music Research department (1985-86). Appointed resident at the Villa Medici in Rome, where he stayed for two years (1987-1989), he composed his first score for ensemble and electronics, Parcours Pluriel (1987-1988), commissioned by Ircam’s Ensemble L’Itinéraire. He produced the electronic sounds in the Ircam and Villa Medici studios.
Frédéric Durieux has received numerous commissions, and his works have been performed in Europe (France, Italy, Austria, Switzerland, Germany, UK, Sweden, Norway, Spain and Portugal), Asia (Japan, China and South Korea) and North America (USA, Canada, Mexico). His catalog currently includes over fifty works, for voice, soloists, chamber groups, ensemble or orchestra, with or without electronics.
Expressive and rigorously constructed, Frédéric Durieux’s scores often refer to literary works, whether poetic (Yves Bonnefoy, Emmanuel Hocquard, Paul Celan, Friedrich Hölderlin, Ayukawa Nobuo and Philippe Beck) or dramatic (Howard Barker, Samuel Beckett). Works of visual art also inspire his work, notably those by Barnett Newman, Cy Twombly and Christian Boltanski.

www.fredericdurieux.com

George Lewis is active in the fields of 20th-century art and music, as a composer, performer and designer of computer-based installations. A twenty-year member of the Association for Advancement of Creative Musicians, he studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey. A philosophy graduate of Yale College, he has won several National Endowment for the Arts awards in the music and inter-arts categories. George Lewis has presented his interdisciplinary compositions in Eastern and Western Europe, North America and Japan. His computer compositions have been premiered at the Banff Centre (Canada), Ircam (Paris) and Studio voor Elektro-Instrumentale Muziek (Amsterdam), his multimedia installations at Chicago’s Randolf Street Gallery and the Musée de la Villette in Paris, and his “interactive music videos” combining theater, video and computer music at the Arte Elettronica festival in Camerino (Italy) and The Kitchen (New York).
George Lewis’s work as a trombonist is illustrated by over 80 recordings, on which he can be found as a composer, improviser or performer. He has taught at Simon Fraser University, the Royal Conservatory of The Hague and the Art Institute of Chicago, and was music programmer at New York City’s Kitchen Centre for two years. Since 1991, George Lewis has been Assistant Professor at the University of California, San Diego.

wisemusicclassical.com

After completing her vocal studies in Portugal, Raquel Camarinha obtained her Master’s degree from the CNSMDP in 2011, followed by the DAI “Chant” and “Répertoire Contemporain et Création” in 2013. Winner of several international competitions, she was named Révélation Lyrique at the 2017 Victoires de la Musique awards. While developing an intense activity as a duettist with pianist Yoan Héreau, she has collaborated closely with composers such as B. Attahir, K. Saariaho, P. Dusapin and F. F. Baudelaire. Attahir, K. Saariaho, P. Dusapin and F. Filidei. Filidei. His album Life Story (Naïve, 2023) takes its name from the play of the same name by T. Adès, and includes a creation by B. Attahir, A Criança em ruínas. Attahir, A Criança em ruínas. This project was born out of the Royaumont Foundation’s incubator program. In 2024, she took part in the Académie Voix Nouvelles: a collective experiment in opera creation, “Butterfly room service”, presented on September 7, 2024 at the opening of the Royaumont Festival – 60th anniversary.

raquelcamarinha.com

Soprano Juliet Fraser’s repertoire is dominated by works both very old and very new. Specializing in the thornier corners of contemporary classical music, Juliet is an active sponsor of new repertoire and has worked closely with composers Laurence Crane, Pascale Criton, Michael Finnissy, Bernhard Lang, Cassandra Miller and Rebecca Saunders. Recent festivals include the Aldeburgh Festival, Huddersfield Contemporary Music Festival, Acht Brücken (Cologne), MaerzMusik (Berlin), Milano Musica, Rainy Days (Luxembourg) and TIME:SPANS (NYC).
She appears regularly as guest soloist with ensembles such as MusikFabrik, Klangforum Wien, Ensemble Modern, Plus-Minus and Talea, with the Quatuor Bozzini and in duo with pianist Mark Knoop. Many of her commissions focus on the creation of a body of new works for voice and tape/electronics or for voice and piano. She has recently commissioned pieces by Lara Agar, Laurence Crane, Nwando Ebizie and Newton Armstrong. Juliet is also known for breathing new life into existing repertoire such as Schoenberg’s Second String Quartet, Babbitt’s Philomel, Vivier’s Bouchara , Feldman’s Three Voices and Grisey’s Quatre chants pour franchir le seuil .
In 2015, she released her first disc, Feldman’s Three Voices (on Hat Hut). Recent releases include her four “Carson orders”: Laurence Crane’s Natural World (Another Timbre), Lara Agar’s This Unquiet Autumn (YouTube), Nwando Ebizie’s I Birth the Moon (YouTube) and Newton Armstrong’s The Book of the Sediments (all that dust).
Juliet recently launched VOICEBOX, an initiative to support singers specializing in contemporary vocal performance, which is offered in partnership with Britten Pears Arts, City, University of London, Sound Festival (Aberdeen) and Hawkwood College.
Juliet is the founder and artistic director of eavesdropping, a new music festival held at Café OTO in East London, co-director with Mark Knoop and Newton Armstrong of all that dust, a small independent new music label, and program director of VOICEBOX. In 2023, Juliet was awarded an honorary doctorate from the University of Southampton.

www.julietfraser.co.uk

Born in Sète in 1984, Irène Gayraud is a writer, poet, translator and teacher-researcher.
In collaboration with Christophe Mileschi, she published a translation of Dino Campana’s Chants orphiques et autres poèmes, published by Points Poésie in 2016. She is a member of the editorial board of the bilingual (French-Spanish) magazine FRACAS, for which she translates contemporary Spanish-speaking authors. She is also a member of the editorial board of the contemporary poetry magazine Place de la Sorbonne.
Irène Gayraud has published a novel, Le livre des incompris (Maurice Nadeau, 2019), and four books of poetry, including Voltes et Téphra (Al Manar). A member of Outranspo and a translator (Dino Campana, Gabriela Mistral…), she also works with contemporary music composers as a poet-reciter. In 2021, she will take part in the Venice Biennale, in a piece by Marta Gentilucci. She wrote the libretto for the opera Alexina B. (music by Raquel García-Tomás), to be premiered in 2023 at the Grand Théâtre du Liceu. In 2024, she published Passer l’été with Editions La Contre-allée.

At the end of his studies at the CNSMDP, Yoan Héreau joined the Académie de l’Opéra de Paris for three seasons as pianist and vocal coach.
He soon found himself involved in productions for major theaters, particularly in the field of contemporary opera, participating in the creation of works by major contemporary composers such as Georges Benjamin, Pascal Dusapin, Francesco Filidei and Kaija Saariaho.
At the same time, he pursues a fruitful career as a concert artist, recording several opuses for the Naïve and Mirare labels, and has been artistic director of the Parenthèses musicales de Saint-Maurice since 2019. In 2024, he took part in the Académie Voix Nouvelles: a collective experiment in opera creation, “Butterfly room service”, presented on September 7, 2024 at the opening of the Royaumont Festival – 60th anniversary.

yoanhereau.com

Elaine Mitchener is a British Afro-Caribbean singer, movement artist and composer who works between contemporary/experimental new music, free improvisation and visual art. She is currently Associate Artist at Wigmore Hall, was a DAAD Artist-in-Berlin Fellow (2022) and was an exhibiting artist at British Art Show 9 (2021-22). In February 2022, Mitchener was awarded an MBE for services to music. Elaine is the founder of the collective electroacoustic unit The Rolling Calf (with Jason Yarde and Neil Charles).
Regular collaborators include composers George E Lewis, Jennifer Walshe and Tansy Davies; visual artists Sonia Boyce, Christian Marclay and The Otolith Group; chamber ensembles Apartment House, London Sinfonietta, Ensemble MAM, Ensemble Klang and Klangforum Wien; choreographer Dam van Huynh’s company; and experimental musicians Moor Mother, Loré Lixenberg, Saul Williams, Pat Thomas and David Toop.
Recent performances include: Donaueschinger Musiktage, MaerzMusik, Baremboim-Said Akademie, Cafe Oto, Konzerthaus Wien, Radialsystem V, Centre Pompidou, Muziekgebouw, Darmstadt, ICA London, London Contemporary Music Festival, Korzo Theater, Royal Opera House, Barbican, November Music, Savvy Contemporary, Sons d’Hiver, Haus der Berliner Festspiele and the Cooper Gallery.
While developing her own projects, Elaine continues to work as a collaborative and interpretive singer.

elainemitchener.com

Founded in 2005 by Mathieu Romano, Aedes is the fruit of a human adventure: loyal to the ensemble, the singers share with their conductor the same fervor for the choral art, which they serve at the highest level. The ensemble explores all eras, from Baroque music to a cappella works of the 20th and 21st centuries, to contemporary creation. It distinguishes itself through original programs in the form of staged performances and collaborations with artists from different worlds (dance, theater, visual arts, etc.). Gifted with great stage presence, Aedes is acclaimed and regularly invited as an opera choir on France’s finest opera stages. The ensemble performs in such prestigious venues as the Philharmonie de Paris, Opéra Comique, Théâtre des Champs-Élysées, Opéra de Paris, Théâtre du Châtelet and Palais de Chaillot. He has taken part in festivals such as Aix-en-Provence, La Chaise-Dieu, Besançon, Radio France Montpellier and Rencontres Musicales de Vézelay. He performs on European stages in Vienna (Konzerthaus and Musikverein), Amsterdam, Krakow and Granada (Festival International de Musique et de Danse). Twentieth-century music and contemporary creation play an essential role in the ensemble’s activities. Its rich discography devoted to the sacred and secular a cappella repertoire of this period has been enthusiastically received by audiences and critics alike. The ensemble collaborates with renowned ensembles in the interpretation of vocal and instrumental masterpieces (Les Siècles, Ensemble Intercontemporain, Orchestre de Paris, Orchestre Philharmonique de Radio France, Latvian Radio Choir…). It promotes the development of choral singing by initiating an annual season of cultural activities. From the 2022-2023 season, the Aedes ensemble will be based at the Abbaye de Saint-Riquier, in the Hauts-de-France region, to create a Pôle Régional d’Art Vocal, in partnership with the Département de la Somme.

www.ensembleaedes.fr

Ensemble Orbis specializes in musical creation. Orbis means compass in Latin and carries a particularly inspiring symbolism for the Ensemble, which is in perpetual search of a utopian cardinal point, an imaginary voyage towards a sound world constructed by the desires of composers. The ensemble is distinguished by the wide range of aesthetics it represents, and by its determination to develop multidisciplinary projects. Starting with an innovative instrumentarium: flute, saxophone, accordion, percussion, electronics with conductor, the ensemble develops a logic of variable geometry, multiplying sound possibilities and inscribing itself in a dynamic and creative contemporary repertoire.
Under the artistic direction of composer Demian Rudel Rey, the Orbis Ensemble is fueled by the emulation of a committee made up of personalities from different backgrounds: Rocío Cano Valiño (composer and interior designer), Lisa Heute (composer and accordionist) and Louis Quiles (percussionist and creator of automated sound devices and objects). It is sponsored by Franck Bedrossian. The specificities of the members of the committee highlight an innovative and ambitious artistic direction. Working with electronics is at the heart of its sound identity. The ensemble develops shows with video, image, dance and theater, while giving considerable thought to scenography and show form. Based in the Lyon region, the ensemble’s vocation is to support cultural and artistic mediation projects in partnership with various regional, national and international institutions.
Ensemble Orbis has already made a name for itself with its numerous commissions for composers. The strong conviction to work with artists from all over the world has led to the launch of international projects such as the DME Festival (Portugal), the Rainy Days Festival (Luxembourg) and the Delphi Theatre (Germany), among others. The ensemble is also developing activities in France at venues such as Périscope, the Argentine Embassy in Paris, OPUS 24.1 Rocher de Palmer (Bordeaux metropole), Théâtre Le Dôme (Albertville), Théâtre de la Renaissance (Oullins) as part of GRAME’s B!ME 2024 program.

ensembleorbis.com

The seven singers of the Neue Vocalsolisten see themselves as explorers and discoverers: in exchange with composers, they are constantly searching for new forms of vocal expression. The emphasis is on collaboration with artists who virtuously exploit the possibilities of digital media, with an interest in networking, playing with genres, dissolving space, perspectives and functions. In this way, idiosyncratic interdisciplinary formats between musical theater, performance, installation and concert staging characterize the projects of the ensemble, whose work, with over 30 premieres a year, is regarded worldwide as leading and unique in the field of contemporary vocal music.
The Neue Vocalsolisten have made their mark on the chamber vocal theater genre, with works by Georges Aperghis, Carola Bauckholt, Luciano Berio, Chaya Czernowin, Ricardo Eizirik, Luca Francesconi, Andreas Eduardo Frank, Sara Glojnarić, Gordon Kampe, Mischa Käser, Sarah Nemtsov, Sergei Newski, Lucia Ronchetti, Katharina Rosenberger, François Sarhan, Simon Steen-Andersen, Oscar Strasnoy, Claude Vivier, Jennifer Walshe, Raed Yassin and Yiran Zhao. The ensemble’s partners continue to include leading specialist ensembles and orchestras, international opera houses, the independent theater scene, electronic studios and numerous organizers of new music festivals and concert series worldwide.
The Neue Vocalsolisten regularly work at the frontiers of other cultures and musical genres. In collaboration with composers from twelve different countries in the Mediterranean region and video artist Daniel Kötter, they created the concert installation “Mediterranean Voices”. And with musicians from Beirut’s experimental music scene, the singers created the following project VOICE AFFAIRS.

www.neuevocalsolisten.de

A versatile conductor in perpetual search of new experiences, Mathieu Romano draws on his extensive knowledge of solo voices, choir and orchestra to tackle all genres, from baroque to symphonic and contemporary music, equally at ease on stage or in the opera pit.
During his Master’s degree in conducting at the CNSM de Paris, he benefited from the advice of conductors such as François-Xavier Roth, Pierre Boulez, Susanna Mälkki and Zsolt Nagy. His career then took him to work as assistant conductor with David Zinman, Dennis Russell Davies, François-Xavier Roth, Paul Agnew and Marc Minkowski. In 2022, he became Artistic Director of the new Pôle Régional d’Art Vocal des Hauts-de-France and Music Director of the Lille Opera Choir. With the Aedes ensemble, of which he is founder and artistic director, he performs in all the major musical seasons. His rich discography devoted to a cappella music has been acclaimed by audiences and critics alike.

ensembleaedes.fr

Dubbed a “young titan” by the Montreal Gazette after conducting the Orchestre symphonique de Montréal in Bartók’s Bluebeard’s Castle and Schönberg’s Erwartung , Gregory Vajda has rapidly become one of the most sought-after conductors on the international scene. Reflecting his growing presence and demand in North America, in 2011 he was appointed sixth Music Director of the Huntsville Symphony Orchestra. He begins his tenure as Principal Conductor of the Savaria Symphony Orchestra in Hungary in the fall of 2022. After 3 years as artist-in-residence, he was appointed associate principal conductor (Chef Principal Associé) of the Ars nova new music ensemble in France for 2024-2026. In Hungary, Gregory Vajda is Artistic Director of the UMZE new music ensemble and Program Director of the Peter Eötvös Contemporary Music Foundation. After completing his three-year term as principal conductor, he was appointed guest principal conductor of the Hungarian Radio Symphony Orchestra in 2014. He was artistic director of the Armel International Opera Festival and Competition between 2014 and 2019. For his achievements as a performing artist, he was awarded the Gundel Art Prize in 2001, the Bartók-Pásztory Prize in 2018 and the Artisjus Performing Arts Prize in 2020. Mr. Vajda holds a DLA diploma in conducting.

In the 2022-23 season, Vajda made his debut with the Staatskapelle Dresden in Germany, the Chicago Philharmonic and the Vancouver Symphony in Canada, the Transilvania Fiharmonia in Romania, and the Plural Ensemble in Madrid, Spain.

gregoryvajda.com

version n°1 dated 18/10/2024
Validity of version n°1: 1 year renewable

Course description/content of the training

Prior to training	January 2025 > Videoconference meetings between training participants. January to June 2025 > Collective sessions between composers, singers and supervisors, by videoconference, approximately every three weeks between January and June, with the aim of understanding, conceiving and elaborating the overall form of the final work presented at the end of the Académie. Between March and June 2025 > Individual exchanges between composers and performers during the writing of their work. > One-to-one lessons between composers and composer supervisors, while the work is being written, by videoconference. Between January and July 2025 > Personal self-study work prior to the course: composition of the work for the composers, according to a precise timetable.	Group meeting with beneficiaries, some of the instructors and the training manager. Individual exchanges between beneficiaries and supervisors.
Week 1	August 8 > Welcome to training participants: Presentation of beneficiaries, instructors, referents (pedagogical, administrative, logistical); > Site presentation ; > Course outline ; > Reminder of target skills/operational objectives. August 8 to 10 > Composers receive one-to-one tuition with composer supervisors (1 one-hour lesson per supervisor) and group tuition (1 three-hour lesson per supervisor). August 11 > Workshop on individual vocality in the 20th and 21st centuries, with composers and singers, presented by Raquel Camarinha and Yoan Héreau. August 13-15 > Each composer introduces himself or herself to the other Académie participants (background, approach, completed works, work in progress). > Composers discuss their career plans individually with the course leader.	This week is led by the educational advisor and the supervisors, face-to-face.
Week 2	August 17-22 > Rehearsals of the composers’ works in workshop format. > Introduction to improvisation with Elaine Mitchener. > Collective management session (creation of an ensemble, contemporary music network, etc.). > Collective debriefing. > Fenêtre sur cour[s] on August 22, with audiovisual recording.	This week is led by the educational advisor and the supervisors, face-to-face.

Number of traines minimum / maximum

Lower limit: 10 male and female composers
Upper limit: 10 male and female composers

Educational objectives

Knowledge

• Deepen theoretical knowledge of a specific repertoire.

Expertise

• Use technical specificities to create a new work and present the fruit of this work in public during the final performance.

soft skills

• Find the best ways to share your artistic intentions and integrate the technical limitations of the performers into your writing process.
• Share your project with an audience during the final presentation.
• Be able to integrate into a team and participate actively and positively in the collaborative process.

Targeted competencies / operational objectives

At the end of the training the beneficiary will be able to :

• To compose a work integrating the voice in a given time ;
• Conceive a project collectively, and know how to take part in a joint reflection process by contributing proposals;
• Communicate about your career, your approach, your work;
• Communicate his/her artistic intentions to the performers of his/her work ;
• Receive and integrate suggestions from performers and a poet ;
• Integrate the technical limits of interpretation as expressed by interpreters and supervisors.

Methods used

Teaching aids :

• Individual lessons (2 with each composer) ;
• Group lessons (2 with each composing supervisor) ;
• Group discussion sessions between composers, singers and supervisors;
• Individual discussion sessions between composers and performers, before the works are handed over;
• Each composer presents his or her background and work;
• Collective management session (creation of an ensemble, contemporary music network…) ;
• Workshop rehearsals;
• Public presentations of final work, with audiovisual recording.

Technical resources available :

• Work rooms with desks and chairs.
• During the training period, workplaces can be made available free of charge, on request and subject to availability.
• Documentation via a private google drive.
• Composers will have access to a photocopier and will be provided with the materials needed to print their full score and separate parts (paper, binders, cover).

Monitoring and evaluation methods

During the course, face-to-face

Evaluation of the beneficiary’s responsiveness and ability to quickly integrate the suggestions made by the instructors, as well as his/her ability to integrate into the group.
The individual interview between the training manager and the beneficiary enables assessment and advice in terms of career orientation.

In particular, the following are observed for the beneficiary :

• the ability to conceive and produce a balanced, original work, using writing techniques or effects in a controlled, balanced way;
• the ability to communicate about one’s work, both during rehearsals and public presentations.

The beneficiaries sign a sign-in sheet for each half-day.

At the end of training

The beneficiary receives a certificate at the end of the training course, stating the objectives, nature and duration of the action, as well as the results of the assessment of the training acquired, along with the certificate where applicable.

Qualitative assessment methods

The beneficiary fills in a qualitative evaluation form to assess the artistic, pedagogical, human and material aspects of the training.
A post-training follow-up is established, for which beneficiaries are asked to inform us within six months of the end of the training of any contracts they have obtained.

Accessibility and consideration of disability situations

The Royaumont Foundation has made the acceptance and participation of people with disabilities a strong commitment to its project. Our training courses are open to people with disabilities and different arrangements can be made according to the specificities of each course. To discuss your needs, please contact us when you register, or get in touch with our disability advisors.

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Contact

version n°1 dated 18/10/2024
Validity of version n°1: 1 year renewable

Course description/content of the training

Prior to training	January 2025 > Training participants meet by videoconference. January to June 2025 > Collective sessions between composers, singers and supervisors, by videoconference, approximately every three weeks between January and June, with the aim of understanding, conceiving and elaborating the overall form of the final work presented at the end of the Académie. > Personal self-study prior to the course: analysis and work on the works in the training program for performers.	A group meeting with the beneficiaries, some of the facilitators and the pedagogical manager.
Week 1	August 9 to 15 > Group lessons, detailed work on each work, > Definition of aesthetic and technical specifications > Individual and/or group work August 9 morning Welcome to training participants > presentation of beneficiaries, speakers, referents (educational, administrative, logistical); – presentation of premises; > presentation of the course of the training; > reminder of target skills, operational objectives. August 9 and 10 > Work on sound and polyphonic gesture with choirmasters and the Aedes ensemble on repertoire including Britten’s AMDG and Frank Martin’s Messe à double chœur a cappella. August 11th > workshop on individual vocality in the 20th and 21st centuries, presented by Raquel Camarinha and Yoan Héreau. August 12 to 15 >Discover contemporary solo repertoire with Raquel Camarinha and Yoan Héreau, every day for 1 hour. > Exploration of the polyphonic repertoire with Mathieu Romano: Cantique des Cantiques by Daniel-Lesur, Madrigaux by Philippe Fénelon, Partita for 8 voices by Caroline Shaw, Cries of London byLuciano Berio, Poèmes chinois by Philippe Hersant and a commission for the young Colombian composer Fran Barajas, winner of the Académie Voix Nouvelles 2024, with the support of Christine Jolivet Erlih. Fenêtre sur cour(s) August 15 at 6pm	Face-to-face welcome, with all training beneficiaries. Group meeting with beneficiaries, instructors and training manager. Sessions led by instructors.
Week 2	Vocal work in the form of workshops > individual and collective vocality in repertoires from the late 20th and early 21st centuries with Juliet Fraser. > joint work with the Neue Vocalsolisten on works written by young composers from the Académie Voix Nouvelles. > from improvisation to creation: work with Elaine Mitchener. > improvisation in a transcultural setting Fenêtre sur cour[s] August 22 at 6 pm	Sessions led by the trainers. With the training manager.

Number of traines minimum / maximum

Minimum number of artists: 10
Maximum number of artists: 12

Educational objectives

Knowledge

• A critical approach to the cultural history of ^20th and ^21st century music – transformation of contemporary aesthetics and writing.
• Cultivate a taste for reading works – open up interpretative avenues linked to your own project.
• Analyzea work (form, rhythm, harmony…)
• Acquire the technical tools needed to interpret a repertoire, and know when and how to use them.
• Understand a sung text in its literal meaning as well as its subtext
• Integrate the pronunciation of sung texts in one’s mother tongue as well as in foreign languages
• Identify the specific characteristics of the professional network in which the trainee wishes to pursue a career

Expertise

• Efficiently repeat a program in a limited amount of time
• Find your musical and human place in a band
• Acquire the technical tools needed to interpret a repertoire, and know when and how to use them.
• Work and search in the music library: find a specific work or search for lesser-known works to perform, identify an edition and its relevance to a composer’s work.
• Take into account the information provided by a musicologist specializing in a given repertoire to fine-tune your interpretation of a work.
• Define one’s own interpretation of a work, based on advice from supervisors
• Affirm your career plan by defining the various stages and a development strategy
• Publicize your work to the public, the press and professionals

soft skills

• Hearing and understanding managers’ requests and musical suggestions
• Clearly express musical intentions and justify them
• Share your interpretation with an audience during the final performance
• Adapt to the demands of a repertoire (pronunciation, musicality of a language…)
• Benefit from the learning of other training participants
• Identify all the people present at the training session and their roles: supervising artists, artistic director, administrator, production manager, receptionist…

Targeted competencies / operational objectives

At the end of the training the beneficiary will be able to :

• Performing a musical program in polyphony
• Work on the particularities of ^20th- and ^21st-century choral repertoire
• Master solo works from the contemporary repertoire

Methods used

• Theoretical and practical group courses given by the instructors.
• Rehearsals and research time for beneficiaries without supervisors to reinforce autonomy in work
• Meetings with the artistic director to discuss the trainee’s career path

Monitoring and evaluation methods

During the course, face-to-face

• Evaluation of the beneficiary’s reactivity and ability to integrate the suggestions made by the consultant.
• During the performance at the end of the course: interpretation of the works in front of an audience, to assess the progress of the interpretation and the ability of the participant to present his or her work in a show.

The beneficiaries sign a sign-in sheet for each half-day.

At the end of training

A certificate stating the objectives, nature and duration of the course, and the results of the training assessment, is given to the beneficiary, along with the certificate where applicable.

Qualitative assessment methods

The beneficiary fills in a qualitative evaluation form to assess the artistic, pedagogical, human and material aspects of the training.
A post-training follow-up is established, for which beneficiaries are asked to inform us within six months of the end of the training of any contracts they have obtained.

Accessibility and consideration of disability situations

The Royaumont Foundation has made the acceptance and participation of people with disabilities a strong commitment to its project. Our training courses are open to people with disabilities and different arrangements can be made according to the specificities of each course. To discuss your needs, please contact us when you register, or get in touch with our disability advisors.

---

Contact

version n°1 dated 18/10/2024
Validity of version n°1: 1 year renewable

Course description/content of the training

Prior to training	January 2025 > Training participants meet by videoconference. > Personal self-study prior to the course: analysis and work on the works in the training program for performers.	A group meeting with the beneficiaries, some of the facilitators and the pedagogical manager.
Week 1	August 7 Morning: Welcome to training participants > Presentation of beneficiaries, speakers, referents (pedagogical, administrative, logistical); – Presentation of premises; > Course outline ; > Reminder of target skills and operational objectives. August 7 to 11 > Group lessons, detailed work on each work, > Definition of aesthetic and technical specifications > Individual and/or group work August 7 and 8 > Work with the Aedes ensemble (12 singers) supervised by Mathieu Romano August 9 and 10 > Work with the Aedes ensemble (12 singers) and the 12 prize-winning singers, coached by Mathieu Romano. August 11th > A day of theory, listening and score reading on individual vocality in the 20th and 21stcenturies , presented by Raquel Camarinha and Yoan Héreau.	Face-to-face welcome, with all training beneficiaries. Group meeting with beneficiaries, instructors and training manager. Sessions led by instructors.

Number of traines minimum / maximum

Minimum staff complement: 5 chefs
Maximum staff complement: 6 chefs

Educational objectives

Knowledge

• A critical approach to the cultural history of ^20th and ^21st century music – transformation of contemporary aesthetics and writing.
• Cultivate a taste for reading works – open up interpretative avenues linked to your own project.
• Analyzea work (form, rhythm, harmony…)
• Understand a sung text in its literal meaning as well as its subtext
• Integrate the pronunciation of sung texts in one’s mother tongue as well as in foreign languages
• Identify the specific characteristics of the professional network in which the beneficiary wishes to pursue a career

Expertise

• Efficiently repeat a program in a limited amount of time
• Find your musical and human place in a band
• Acquire the technical tools needed to interpret a repertoire, and know when and how to use them.
• Work and search in the music library: find a specific work or search for lesser-known works to perform, identify an edition and its relevance to a composer’s work.
• Take into account the information provided by a musicologist specializing in a given repertoire to fine-tune your interpretation of a work.
• Define one’s own interpretation of a work, based on advice from supervisors
• Affirm your career plan by defining the various stages and a development strategy
• Publicize your work to the public, the press and professionals

soft skills

• Hearing and understanding managers’ requests and musical suggestions
• Clearly express musical intentions and justify them
• Communicating with kindness to the artists with whom we play the difficulties we may encounter in our relationships.
• Share your interpretation with an audience during the final performance
• Adapt to the demands of a repertoire (pronunciation, musicality of a language…)
• Benefit from the learning of other training participants
• Identify all the people present at the training session and their roles: supervising artists, artistic director, administrator, production manager, receptionist…

Targeted competencies / operational objectives

At the end of the training the beneficiary will be able to :

• Conducting a polyphonic musical program
• Work on the particularities of ^20th- and ^21st-century choral repertoire

Methods used

• Theoretical and practical group courses given by the instructors.
• Rehearsals and research time for beneficiaries without supervisors to reinforce autonomy in work
• Meetings with the artistic director to discuss the beneficiary’s career path

Monitoring and evaluation methods

During the course, face-to-face

• Evaluation of the beneficiary’s reactivity and ability to integrate the suggestions made by the consultant.

The beneficiaries sign a sign-in sheet for each half-day.

At the end of training

A certificate stating the objectives, nature and duration of the course, and the results of the training assessment, is given to the beneficiary, along with the certificate where applicable.

Qualitative assessment methods

The beneficiary fills in a qualitative evaluation form to assess the artistic, pedagogical, human and material aspects of the training.
A post-training follow-up is established, for which beneficiaries are asked to inform us within six months of the end of the training of any contracts they have obtained.

Accessibility and consideration of disability situations

The Royaumont Foundation has made the acceptance and participation of people with disabilities a strong commitment to its project. Our training courses are open to people with disabilities and different arrangements can be made according to the specificities of each course. To discuss your needs, please contact us when you register, or get in touch with our disability advisors.

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