Repertoire of the XIII and XIV centuries, French and Italian


Since 2019, the Royaumont Foundation has been offering a training program dedicated to the teaching of medieval repertoire for students of the CRR of Ile-de-France.
Over 7 days, 8 students who are not specialists in medieval music will be introduced to the French and Italian secular and solo repertoire of the 13th and 14th centuries.
The baritone Marc Mauillon, a great specialist in this repertoire, will be in charge of this group. His recent recordings of Guillaume de Machaut have been very successful. After being a professor at Pôle Sup 93, he has been teaching medieval music practice at the University of Paris Sorbonne since 2018. Alongside the musical training, Thibaut Mihelich (professeur agrégé de lettres modernes) will offer a literary analysis of medieval poems.

At the end of the training, a tour of the work is planned in the partner conservatories.


Marc Mauillon baritone
Thibaut Mihelich literature analysis


Marc Mauillon, baritone

*2014: Grands motets de Rameau/Mondonville concert with Les Arts Florissants. 2018: concert A due voci with Vivabiancaluna Biffi. 2022 : Formation Chant sur le Livre, 2019-2024 Formation Initiation à la musique médiévale

By the extent and the singularity of his repertoire, his recognizable tone and his diction, Marc Mauillon occupies a very personal place on the current opera scene. He works with the conductors W. Christie, M. Minkowski, R. Pichon, C. Rousset, J. Savall, V. Dumestre… and directors such as B. Lazar, I. Alexandre, R. Carsen… Recitals and chamber music have a special place in his career. Whether it is Machaut with Pierre Hamon, Vivabiancaluna Biffi and Angélique Mauillon, Poulenc/Eluard with Guillaume Coppola, these programs always strongly question the relationship between music, poetry and vocality. After having been a professor at Pôle Sup 93, Marc Mauillon has been teaching profane medieval music at the University of Paris-Sorbonne since September 2018 as part of the Master of Interpretation of Early Music (MIMA). For the past five years, he has supervised this introductory workshop at Royaumont.

Thibaut Mihelich, literary analysis

A former student of the École Normale Supérieure and the Paris Conservatory (CNSM) in musicology, Thibaut Mihelich is an associate professor of modern literature. He has taught in the United States at Harvard University and has worked for the Opéra-Orchestre National de Montpellier and the Opéra National du Rhin. He is a regular contributor to Pôle Voix et Répertoire training sessions, whether for a philosophical workshop, a day of art history at the Musée d’Orsay or French poetry as part of the Orsay-Royaumont Academy.

* previous collaborations with Royaumont


  • 8 singers

Terms and conditions


  • Session 1/2: Saturday, February 10 and Sunday, February 11, 2024 at Royaumont
  • Session 2/2: Saturday, April 6 to Wednesday, April 10, 2024 at Royaumont

Training duration: 7 days, 49 hours
Training schedule: see program sheet below.

The participants formally commit themselves to follow the entire curriculum.

All Royaumont Foundation training programs have a minimum access time of 11 working days.
For example, if the Royaumont Foundation validates the application on June 14, it can offer the beneficiary a course that begins on June 29.

Public presentation

Fenêtre sur cour(s) on Wednesday, April 10 at 6pm.

5 public performances in the CRRs of Ile-de-France and at Royaumont in June 2024:

  • Thursday, June 13, 2024 at CRR Rueil-Malmaison
  • Thursday, June 20, 2024 at CRR Cergy-Pontoise
  • Tuesday, June 25, 2024 at the CRR de Boulogne-Billancourt
  • CRR de Paris: date to be confirmed (June 2024)
  • CRR d’Aubervilliers – La Courneuve: date to be confirmed (June 2024)

Registration only with the partner CRR establishments.
No registration on Royaumont website

Elements to be provided

For the application form and the pre-selection, please contact the partner CRR

Closing date for applications

Consult partner CRRs.

Fiche programme

version n°1 of 07/13/2023

Number of traines minimum / maximum

Minimum number of singers: 6
Maximum number of singers: 8

Pre-requisites and conditions of access to the course

Be a young professional singer in the final stages of higher education, enrolled in one of the Île-de-France regional conservatories partnering the training program.
Participants formally undertake to follow the entire curriculum, i.e. 7 days of training and 5 performances at Île de France regional conservatories.

Targeted competencies / operational objectives

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

  • Learn more about the French and Italian secular and solo repertoire of the 13th and 14th centuries
  • Analyzing medieval poems
  • Create a complete music program
  • Take part in a tour of prizewinners’ concerts at partner CRRs in the Paris region

Educational objectives


  • Analyze a 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
  • Defining the dramaturgical content of a work
  • Memorize musical works to detach oneself from the score
  • Identify the specific characteristics of the professional network in which the beneficiary wishes to pursue a career


  • Build a coherent concert program with a given timing
  • Efficiently repeat a program in a limited amount of time
  • Findyour 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
  • Exchanging musical ideas with artists with whom we play and defining a common discourse
  • 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…
  • Identify the various contacts in a professional sector and know how to approach them to develop your artistic projects.

Course description/content of the training

The entire program is designed around an immersive, co-constructed pedagogy.
This new program, organized in one session, will combine theoretical and practical approaches, in the form of experimental workshops, creative phases, seminars, meetings, conferences and role-playing situations, with the common thread for this third edition: from solo form to collective project.

DAY 1 10 a.m.: welcome and tour de table
11am-1pm/14.30pm-6.30pm: Group lessons, detailed work on each work, definition of aesthetic and technical specificities
Face-to-face reception, with all the participants in the training.
DAYS 2 TO 610am-1pm/14.30pm-6.30pm: Group lessons, detailed work on each work, definition of aesthetic and technical specificitiesSessions facilitated by the speakers.
DAY 710am-1pm/14.30pm-4.30pm: Group lessons, detailed work on each work, definition of aesthetic and technical specificities
6pm-7.30pm: Fenêtre sur cour(s) (Window on the courtyard): rehearsals open to the public, presentation of the group and the work carried out during the week.
Sessions facilitated by the speakers.

This sample schedule can be adapted to suit the needs of the course and its participants.

Methods used

Teaching aids :

Practical, face-to-face teaching in the form of performance classes given by the main instructor in small groups or collectively, depending on the repertoire covered.
A public presentation at the end of the course can take the form of a masterclass, a presentation of the entire body of work performed or other…
It brings together all beneficiaries and does not give rise to remuneration.

Technical resources available :

The rooms are spacious, equipped with music stands (solid or folding), chairs or stools suitable for musicians (without armrests) and the instruments required for training.
Beneficiaries bring their own instruments and scores, which are not supplied.
Outside lesson times, rehearsal spaces can be made available free of charge, on request and subject to availability.
The abbey monument in its entirety (rooms and gardens)
Documentation via private Drive

Monitoring and evaluation methods

Before training :

Selection of trainees by the pedagogical managers of the CRRs in the Ile-de-France region
Registration only with the partner CRR establishments. No registration on Royaumont website

During the course, face-to-face

  • Evaluation of the beneficiary’s responsiveness and ability to quickly integrate the suggestions made by the consultant.
  • During the presentation at the end of the training: the interpretation of one or several works in a real situation in front of an audience allows to appreciate the evolution of the interpretation, as well as the emotional and physical postures.

The interview is used to evaluate and guide career choices.
In particular, the following are observed for the beneficiary :

  • the quality of physical and gestural ease,
  • the relevance of interpretation in relation to historical and musicological analysis,
  • accuracy and coherence within the ensemble,
  • the relevance of work techniques,
  • taking into account the spatial and acoustic configuration of the site,
  • the quality of the relationship with the public.

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

End course :

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.
The beneficiary fills in a qualitative evaluation form in order to assess the training’s achievements from an artistic, pedagogical, human and material point of view.
Concerts outside the training framework enable us to monitor the development of the beneficiary’s career after the training courses, and in particular to evaluate the quality of performance and the number of concerts given.
A post-training follow-up is established, for which the beneficiaries are asked to inform during the six months following the end of the training of the 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.

  • Rooms accessible by elevator.
  • Screen equipment and amplified speakers.
  • Catering on the first floor.

Pedagogical manager

François Naulot, artistic director of the Voix et Répertoire division

Administrative referent

Catherine Huet, administrator of the Voix et Répertoire division

Disability referents

Samuel Agard and Doriane Trouboul

Coproduction with Château de Parentignat

La Fondation Bettencourt Schueller est le mécène principal du pôle Voix et répertoire de la Fondation Royaumont.

The Etrillard Foundation supports the Royaumont Foundation’s programs of professional training, research, residency and artistic dissemination, which aim to give new influence to medieval music.

In partnership with the CRR of Cergy-Pontoise and Val d’Oise, Boulogne Billancourt, Aubervilliers-La Courneuve, Paris, Rueil-Malmaison.

La certification qualité à été délivrée au titre de la catégorie d’action suivante :