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Version #1 of September 21, 2026
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Course description\/content of the training<\/strong><\/p>\n\n\n\n\nDay 1 <\/strong><\/td>Afternoon:<\/strong> Welcoming beneficiaries at the La Grange-Fleuret Music Library (Paris).In-person welcome, with all training participants. Weeks 1, 2 and 3<\/strong><\/td>Day of classes at RoyaumontMorning:<\/strong> lessons in pairs and\/or groups, detailed work on each piece, definition of aesthetic and technical specificitiesAfternoon:<\/strong> lessons in pairs and\/or groups, detailed work on each piece, definition of aesthetic and technical specificitiesEnd of day<\/strong> : Shared activities with other campuses<\/td>Sessions led by the speakers<\/td><\/tr><\/tbody><\/table>This standard schedule can be adapted to suit the needs of the course and the participants.<\/em><\/figcaption><\/figure>\n\n\n\n\nNumber of traines minimum \/ maximum<\/strong><\/p>\n\n\n\n\nFloor staff:<\/strong> 4 piano & vocal duosMaximum number of members:<\/strong> 5 piano & vocal duos<\/p>\n\n\n\n\nPrerequisites and conditions of access to training<\/strong><\/p>\n\n\n\n\nTo be a young professional singer and\/or instrumentalist at the end of higher education, forming a duo.
Educational objectives<\/strong><\/p>\n\n\n\n\nKnowledge<\/strong><\/p>\n\n\n\n\n\nUnderstanding<\/strong> a sung and spoken text in its literal meaning as well as its subtext<\/li>\n\n\n\n\nTo integrate<\/strong> the pronunciation of sung and spoken texts in one’s native language as well as in foreign languages<\/li>\n\n<\/ul>\n\n\n\n\nExpertise<\/strong><\/p>\n\n\n\n\n\nAcquire <\/strong>the technical tools needed to interpret a repertoire, and know when and how to use them.<\/li>\n\n\n\n\nWorking<\/strong> and searching in a music library: finding a specific work or searching for lesser-known works to perform, identifying an edition and its relevance to a composer’s oeuvre.<\/li>\n\n\n\n\nTo take into account<\/strong> the information provided by an art historian in order to refine one’s interpretation of a work<\/li>\n\n\n\n\nDefining<\/strong> one’s own interpretation of a work based on the advice provided by the supervisors<\/li>\n\n<\/ul>\n\n\n\n\nsoft skills<\/strong><\/p>\n\n\n\n\n\nTo hear and understand<\/strong> the requests of the supervisors and their musical suggestions<\/li>\n\n\n\n\nTo clearly express<\/strong> one’s musical and stage intentions and be able to justify them<\/li>\n\n\n\n\nSharing<\/strong> their interpretation with an audience during the final performance<\/li>\n\n\n\n\nAdapting<\/strong> to the requirements of a repertoire (pronunciation, musicality of a language, theatrical performance…)<\/li>\n\n<\/ul>\n\n\n\n\nSkills targeted <\/strong><\/p>\n\n\n\n\nAt the end of the training the beneficiary will be able to :<\/p>\n\n\n\n\n
\nLearn<\/strong> the specific repertoire of French art songs and German Lieder<\/li>\n\n\n\n\nTo delve deeper into<\/strong> German and French prosody…<\/li>\n\n\n\n\nAnalyzing<\/strong> poetic texts<\/li>\n\n\n\n\nDevelop<\/strong> a concert program<\/li>\n\n<\/ul>\n\n\n\n\nMethods used<\/strong><\/p>\n\n\n\n\nTeaching aids :<\/strong><\/p>\n\n\n\n\nPractical, face-to-face instruction in the form of interpretation courses given by instructors in small groups or collectively depending on the repertoire covered.
Technical resources available :<\/strong><\/p>\n\n\n\n\nThe rooms are spacious, equipped with music stands (fixed or folding), chairs or stools suitable for musicians (without armrests), and the instruments required for the lessons. Participants must bring their own instruments and sheet music, which are not provided. Outside of class time, rehearsal spaces can be made available free of charge, upon request and subject to the availability of rooms and instruments.
Documentation via private drive.<\/p>\n\n\n\n\n
Monitoring and evaluation methods<\/strong><\/p>\n\n\n\n\nBefore the training <\/strong><\/p>\n\n\n\n\nPre-selection based on application file (via the platform…) by the academic director, through a questionnaire which helps to identify the needs of the beneficiary.
During the course, face-to-face<\/strong><\/p>\n\n\n\n\n\nEvaluation of the beneficiary’s responsiveness and ability to quickly integrate the suggestions made by the consultant.<\/li>\n\n\n\n\n During the presentation at the end of the training: the interpretation of one or more works in a real situation in front of an audience allows us to appreciate the evolution of the interpretation, as well as the emotional and physical postures.<\/li>\n\n<\/ul>\n\n\n\n\nThe beneficiaries sign a sign-in sheet for each half-day.<\/p>\n\n\n\n\n
At the end of training<\/strong><\/p>\n\n\n\n\nA 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.<\/p>\n\n\n\n\n
Qualitative assessment methods<\/strong><\/p>\n\n\n\n\nThe beneficiary completes a qualitative evaluation form in order to assess the achievements of the training from an artistic, pedagogical, human and material point of view.
Accessibility and consideration of disability situations<\/strong><\/p>\n\n\n\n\nThe 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. <\/p>\n\n\n\n\n
Contact<\/strong><\/p>\n\n\n\n\n\n
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Pedagogical manager<\/strong><\/p>\n\n\n\n\nNN, artistic director of the Voice and Repertoire<\/em> departmentFrançois Naulot<\/strong> and Catherine Huet<\/strong> , acting<\/p>\n\n\n\n\n<\/div>\n\n\n\n\n
Administrative referent<\/strong><\/p>\n\n\n\n\n