{"id":85074,"date":"2023-10-09T14:35:10","date_gmt":"2023-10-09T12:35:10","guid":{"rendered":"https:\/\/www.royaumont.com\/professional-training\/transcultural-music-program\/academie-voix-nouvelles-a-collective-opera-creation-experience\/"},"modified":"2024-09-02T10:05:04","modified_gmt":"2024-09-02T08:05:04","slug":"academie-voix-nouvelles-a-collective-opera-creation-experience","status":"publish","type":"page","link":"https:\/\/www.royaumont.com\/en\/the-cultural-project\/training-courses\/transcultural-music-program\/academie-voix-nouvelles-a-collective-opera-creation-experience\/","title":{"rendered":"Acad\u00e9mie Voix Nouvelles: a collective opera creation experience"},"content":{"rendered":"<h3 class=\"wp-block-heading\"><strong><em>Butterfly room service  <\/em><\/strong><\/h3><div class=\"wp-block-buttons is-horizontal is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-499968f5 wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/www.royaumont.com\/centre-pour-les-artistes\/les-formations-professionnelles\/pole-voix-et-repertoire\/conditions-tarifaires\/\" style=\"border-radius:23px\" target=\"_blank\" rel=\"noreferrer noopener\">Pricing conditions<\/a><\/div>\n\n\n\n\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/docs.google.com\/forms\/d\/e\/1FAIpQLScNNSEevnLhviijX7gH8zyV5hV1VCJhUfa2WZGZLk2NvRYDmA\/viewform\" style=\"border-radius:23px\" target=\"_blank\" rel=\"noreferrer noopener\">Register<\/a><\/div>\n\n\n\n\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/www.royaumont.com\/content\/uploads\/2021\/12\/reglement-interieur-2024-recadre.pdf\" style=\"border-radius:23px\">Inner rules<\/a><\/div>\n\n<\/div><div style=\"height:16px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-16018d1d wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button is-style-fill\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/www.royaumont.com\/content\/uploads\/2021\/12\/CGV_Fondation-Royaumont-2025.pdf\" style=\"border-radius:100px\">CGV<\/a><\/div>\n\n\n\n\n<div class=\"wp-block-button is-style-fill\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/www.royaumont.com\/content\/uploads\/2021\/12\/C3-I-9-CGU-Fondation-Royaumont.pdf\" style=\"border-radius:100px\">CGu<\/a><\/div>\n\n\n\n\n<div class=\"wp-block-button is-style-fill\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/www.royaumont.com\/content\/uploads\/2021\/12\/C3-I-2-LIVRET-DACCUEIL-Fondation-Royaumont-Nouvelle-version.pdf\" style=\"border-radius:100px\">Welcome book<\/a><\/div>\n\n<\/div><h2 class=\"wp-block-heading\">Presentation<\/h2><p class=\"is-style-chapeau\">To mark the centenary of Giacomo Puccini&rsquo;s death, eight young composers, five singers, a pianist, a director&rsquo;s assistant and two set designers are invited to participate,  <strong>an offbeat reflection on opera creation today and the approach to the stage genre, in the form of a collaborative workshop<\/strong>. Each composer will have to write one of the eight scenes in a libretto that creates the unity of the project.  <br>Inspired by an inversion of Puccini&rsquo;s famous opera <em>Madame Butterfly<\/em>, it features three characters whose intricately interwoven relationships completely redistribute the social codes and clich&eacute;s developed in Puccini&rsquo;s masterpiece.  <\/p><p class=\"is-style-default\">For the opera artists, the challenge will be to learn a new score quickly while working closely with the composers.<br>The composers will have to capture the particular narrative moment, and at the same time conceive how it fits into the whole. They will be called upon to work together on certain passages or transitions. Throughout the project, and right from the writing phase, they will be advised and supported in their instrumental, vocal and dramaturgical writing, and in their handling of the libretto, by artists experienced in these disciplines. The aim here is to provide comprehensive training in lyric writing and dramatic treatment.<br>All work will be essentially collaborative, with everyone participating in the elaboration, conception and realization of the collective work in progress, whether compositionally, interpretatively or scenically. It will take place in two sessions, under the guidance of seasoned trainers who will lead the work to its culmination: a stage performance of the collective work thus brought to light.  <\/p><p><strong>The musical and stylistic challenges are numerous:  <\/strong><\/p><ul class=\"wp-block-list\">\n<li>How do you share the same subject?  <\/li>\n\n\n\n\n<li>What attention should we pay to the work of other composers?  <\/li>\n\n\n\n\n<li>How do you create unity while retaining your own style?  <\/li>\n\n\n\n\n<li>How do you adapt the text\/booklet to your own writing?  <\/li>\n\n\n\n\n<li>How do you find the essential scenic springs and adapt to a staging project?  <\/li>\n\n\n\n\n<li>What is the role of the performer, his or her creative part in the process of writing and conceiving a new work?<\/li>\n\n<\/ul><h2 class=\"wp-block-heading\">Breakdown of sessions<\/h2><div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\">Session I:  <br>Singers, pianist, assistant director, set design assistants<\/h3>\n\n<\/div>\n\n<\/div><h4 class=\"wp-block-heading\">Teachers<\/h4><p class=\"has-large-font-size\"><strong>Yoan H&eacute;reau<\/strong> vocal coach, musical director<br><strong>Raquel Camarinha<\/strong> vocal coach<br><strong>Antoine Gindt<\/strong> director, libretto<\/p><hr class=\"wp-block-separator has-alpha-channel-opacity\"><h3 class=\"wp-block-heading\">Session II: <strong> <\/strong>Singers, composers, pianists, assistant directors, set designers<\/h3><h4 class=\"wp-block-heading\">Teachers<\/h4><p class=\"has-large-font-size\"><strong>Yoan H&eacute;reau<\/strong> vocal coach, musical director<br><strong>Raquel Camarinha<\/strong> vocal coach<br><strong>Antoine Gindt<\/strong> director, libretto<br><strong>Cecilia Franco<\/strong>, assistant director, libretto<br><strong>Elise Capdenat<\/strong> set designer<br><strong>Bernhard Lang<\/strong> (Austria, 1957) composer<br><strong>Sivan Eldar<\/strong> (Israel, 1985) composer<br><strong>Francesco Filidei<\/strong> (Italy, 1973) composer<\/p><p class=\"has-large-font-size\"><strong>Linea set  <\/strong><br><strong>Jean-Philippe Wurtz<\/strong> conductor<\/p><div style=\"height:46px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h2 id=\"at-844050\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Biographies<\/h2><div id=\"ac-844050\" class=\"c-accordion__content\">\n<h4 class=\"wp-block-heading\">Yoan H&eacute;reau<\/h4>\n\n\n\n\n<p>At the end of his studies at the CNSMDP, Yoan H&eacute;reau joined the Acad&eacute;mie de l&rsquo;Op&eacute;ra de Paris for three seasons as pianist and vocal coach.  <br>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.<br>At the same time, he pursues a fruitful career as a concert artist, recording several opuses for the Na&iuml;ve and Mirare labels, and has been artistic director of the Parenth&egrave;ses musicales de Saint-Maurice since 2019.<\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Raquel Camarinha<\/h4>\n\n\n\n\n<p>After completing her vocal studies in Portugal, Raquel Camarinha obtained her Master&rsquo;s degree from the CNSMDP in 2011, followed by the DAI &ldquo;Chant&rdquo; and &ldquo;R&eacute;pertoire Contemporain et Cr&eacute;ation&rdquo; in 2013. Winner of several international competitions, she was named R&eacute;v&eacute;lation Lyrique at the 2017 Victoires de la Musique awards. While developing an intense activity as a duettist with pianist Yoan H&eacute;reau, 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 <em>Life Story<\/em> (Na&iuml;ve, 2023) takes its name from the play of the same name by T. Ad&egrave;s, and includes a creation by B. Attahir, A Crian&ccedil;a em ru&iacute;nas. Attahir, <em>A Crian&ccedil;a em ru&iacute;nas<\/em>. This project was born out of the Royaumont Foundation&rsquo;s incubator program.<\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Antoine Gindt  <\/h4>\n\n\n\n\n<p>Director and producer, he has directed T&amp;M since 1997, after co-directing Atem with Georges Aperghis (Th&eacute;&acirc;tre Nanterre-Amandiers, 1992-2001). He has commissioned and produced numerous operas and musical performances (Aperghis, Bianchi, Dillon, Donatoni, Dubelski, Dusapin, Filidei, Goebbels, Lorenzo, Pesson, Rivas, Sarhan&hellip;) or contributed to premieres in France (Dusapin, Goebbels, Mitterer, Sciarrino, Zappa&hellip;).<\/p>\n\n\n\n\n<p>He recently directed <strong>\n  <em>Eurydice, an experience of the dark<\/em>\n<\/strong> by Dmitri Kourliandski to a poem by Nastya Rodionova (2020, Festival Aperto, Reggio Emilia),  <strong><em>Explore! Awards<\/em><\/strong>  (2020, Sc&egrave;ne de recherche ENS Paris-Saclay),  <strong>\n  <em>Voix in situ<\/em>\n<\/strong> as part of the event  <strong>\n  <em>Behind the scenes<\/em>\n<\/strong> at the Palais de la Porte Dor&eacute;e in Paris (2019),  <strong>\n  <em>La traici&oacute;n oral<\/em>\n<\/strong> by Mauricio Kagel (2018, CETC &ndash; Teatro Col&oacute;n Buenos Aires),  <strong>\n  <em>200 Motels<\/em>\n<\/strong> by Frank Zappa (2018, Musica-Z&eacute;nith de Strasbourg, Philharmonie de Paris),  Sylvano Bussotti&rsquo;s <em>La Passion selon Sade<\/em> (2017, Th&eacute;&acirc;tre de N&icirc;mes), creations by  <em>Iliade l&rsquo;amour <\/em>by Betsy Jolas (2016, CNSMDP \/ Philharmonie de Paris),<em> <\/em><em>Giordano Bruno<\/em> by Francesco Filidei (2015, Casa da M&uacute;sica Porto) and<strong>\n  <em>Aliados<\/em>\n<\/strong><em>a real-time opera <\/em>by Sebastian Rivas (2013, T2G). In 2011-2012, he staged <em>Ring Saga<\/em><em>(<\/em> Richard Wagner&rsquo;s<em>Ring of the Nibelung<\/em>, Jonathan Dove and Graham Vick&rsquo;s version), a three-day show first performed at Casa da M&uacute;sica in Porto and then on tour. He also directed  <em>Wanderer, postscript<\/em>, recital with Ivan Ludlow and Kalina Georgieva on lieder by W. Rihm, H. Eisler, R. Wagner and G. Pesson (2013),  <em>Pas Si<\/em> by Stefano Gervasoni (2008),  <em>Kafka-Fragmente<\/em> by Gy&ouml;rgy Kurt&aacute;g (2007),  Igor Stravinsky&rsquo;s <em>The Rake&rsquo;s Progress<\/em> (2007, 2009), <em>Consequenza, a tribute to Luciano Berio<\/em> (2006), Pascal Dusapin&rsquo;s <em>Medea<\/em> (2005) and <strong>\n  <em>Richter<\/em>\n<\/strong><em>a documentary chamber opera<\/em> by Mario Lorenzo (2003), which have been performed in France, Europe and Argentina.<\/p>\n\n\n\n\n<p>In 2021, he will stage two creations, <strong>\n  <em>Lyoudka (a buffoonery)<\/em>\n<\/strong> by Eug&eacute;nia Palekhova at the Ilkhom Theatre in Tashkent (Uzbekistan) and <strong>\n  <em>Artichoke Row<\/em>\n<\/strong> (based on <em>Wagner&rsquo;s Visit to Rossini<\/em>) at the Th&eacute;&acirc;tre de N&icirc;mes. He is also continuing to develop <strong>\n  <em>Rayon N<\/em>\n<\/strong> by Sebastian Rivas, for which he wrote the libretto.<\/p>\n\n\n\n\n<p>Author of numerous articles on contemporary music, he edited a collective work on Georges Aperghis<em>(Le corps musical<\/em>, &eacute;ditions Actes Sud, 1990) and directed the journal <strong>\n  <em>th&eacute;&acirc;tres&amp;musique<\/em>\n<\/strong> from 2003 to 2012. In 2009, he directed the Atelier Op&eacute;ra en Cr&eacute;ation at the Festival d&rsquo;Aix-en-Provence, in 2012 he taught at the Acad&eacute;mie Chigiana in Siena with composer Giorgio Battistelli, in 2017 he took part in the Biennale College program at the Venice Biennale at the invitation of Ivan Fedele, and in 2018 he taught at the Escuola de Invierno in Buenos Aires. In 2019, he will be leading a workshop on <strong>\n  <em>Conversations<\/em>\n<\/strong> at the Ilkhom-Mark Weil Theatre in Tashkent.<\/p>\n\n\n\n\n<p><a href=\"http:\/\/www.antoinegindt.com\">www.antoinegindt.com<\/a> <\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Elise Capdenat<\/h4>\n\n\n\n\n<p>After studying Architecture, Elise Capdenat graduated from the &Eacute;cole nationale sup&eacute;rieure des Arts D&eacute;coratifs in Scenography (1993). During a year in residence at the Villa Medici in Rome (1996\/1997), she published the book <em>Circo Massimo-Sette Sale X2<\/em> in collaboration with Anne Attali in 1998. Since 1995, she has collaborated with Eric Didry both on his creations (Boltanski \/ interview in 1995, R&eacute;cits \/ Reconstitutions in 1998, Non ora, non qui in 2002\/2003, L&rsquo;oppoponax in 2005, la loi du marcheur with Nicolas Bouchaud in 2010) and on numerous training courses (AFDAS course, Ecole du TNB).<br>In 2004, she designed and produced the scenography for Comme des Gar&ccedil;ons&rsquo; Dover Street Marquet boutique in London. From 2003 to 2010, she took part in Sylvain Prunenec&rsquo;s creations and research periods (Effroi in 2003, Redoux 2004, Lunatique 2006, About you 2007, &ldquo;in-situ&rdquo; residency in Bagnolet in 2009\/2010, CND grant). Since 2009, she has collaborated with Thierry Collet on his &ldquo;political magic&rdquo; shows: influences directed by Michel Cerda (in 2009) and Qui-Vive directed by Eric Didry (in 20012). She explores opera with Antoine Gindt: <em>Ringsaga<\/em> (Richard Wagner&rsquo;s tetralogy) created in 2011, then <em>Aliados<\/em> (contemporary opera by S&eacute;bastien Rivas) in 2013. She also collaborates on Nicolas Bouchaud&rsquo;s new creations: Paroles d&rsquo;acteurs (Festival d&rsquo;Automne, Oct 2012), the Lucioles project (Avignon 2013).<\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Bernhard Lang<\/h4>\n\n\n\n\n<p>Bernhard Lang first studied piano at the Bruckner Konservatorium in Linz. In Graz, he continued learning classical and jazz piano, as well as arranging. He also studied philosophy and Germanic philology. Between 1977 and 1981, he worked with some of the greatest jazz bands, including Erich Zann Septett. He then studied composition with Polish composer Andrzej Dobrowolski, who introduced him to the techniques of new music, and counterpoint with Hermann Markus Pressl, who introduced him to the dodecaphonic techniques of Joseph-Matthias Hauer. In Graz, he studied with G&ouml;sta Neuwirth and Georg-Friedrich Haas, who introduced him to microtonal music. In 1986, Bernhard Lang composed Zeitmasken for string quartet as part of the Musikprotokoll festival, marking the start of his career as a composer. At the same time, he began teaching music, harmony and counterpoint at Graz University, and from 2003, composition. At the Graz Institute for Electronic Music, he developed the Loop Generator and Visual Loop Generator with Winfried Ritsch and Thomas Musil.<\/p>\n\n\n\n\n<p>Since 1999, his main interest has been in music for the stage, where he applies his work on interpretation and, in particular, on contrast, as in the cycle Differenz\/Wiederholung (difference\/repetition): Das Theater der Wiederholungen (2003), I HATE MOZART (2006), Der Alte vom Berge (2007). Since 2003, he has collaborated with many choreographers, including Xavier Le Roy, Willi Dorner and Christine Gaigg, with whom he created NetTrike in 2010, a duplex between Ircam and Graz. In 2007, he embarked on a project to examine repetitive structures with the Monadologies cycle, based on a concept Bernhard Lang calls &ldquo;musical-cellular treatment&rdquo; derived from Leibniz&rsquo;s Monadology. The project is still ongoing, the latest opus being Monadology XXXIX (2019). From 2013, he is a guest lecturer in composition at Lucerne. In June 2018, two portrait concerts are dedicated to him at Vienna&rsquo;s Academy of Music and Performing Arts. Author of various projects in collaboration with Austrian musicians, artists and writers, Bernhard Lang is also a member of the improvisation groups LALELOO and VLO. In 2019, he receives the Austrian Arts Award for Music.<br>Ircam-Centre Pompidou<\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Sivan Eldar<\/h4>\n\n\n\n\n<p>Composer Sivan Eldar&rsquo;s music has been described as &ldquo;meditative and captivating&rdquo; (l&rsquo;Humanit&eacute;), &ldquo;of great refinement&rdquo; (ResMusica) and &ldquo;with a unique sensitivity to drama&rdquo; (Diapason). Recent creations include Like Flesh (Op&eacute;ras de Lille, Montpellier, Lorraine,Anvers),After Arethusa (Biennale deVenise,Auditorium du Louvre),Una Mujer Derramada (Th&eacute;&acirc;tre du Ch&acirc;telet), Heave (Centre Pompidou, Op&eacute;ra de Marseille, November Musique) and Solicitations (Philharmonie Luxembourg, Ultraschall Berlin, Festival Pr&eacute;sences, Wien Modern). His most recent honors include the Prix de Rome-Villa M&eacute;dicis 2022, the Prix Fedora Op&eacute;ra 2021 and residencies at Villa Albertine, Colonie MacDowell, Cit&eacute; Internationale des Arts, and the Camargo, Civitella Ranieri, Singer-Polignac, Royaumont and Fulbright foundations. She has also been composer-in-residence at the Op&eacute;ra de Montpellier (2019-22) and at IRCAM (2020-22). Born in Tel Aviv in 1985, she holds a doctorate in composition from UC Berkeley, then joined IRCAM for the Cursus in Composition and Computer Music. His music is published by Durand-Universal Music Classical.<\/p>\n\n\n\n\n<p><a href=\"http:\/\/www.sivaneldar.com\">www.sivaneldar.com<\/a><\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Francesco Filidei<\/h4>\n\n\n\n\n<p>Francesco Filidei graduated from the Luigi Cherubini Conservatory in Florence, where he won unanimous first prizes in organ and composition. He then took advanced courses with Salvatore Sciarrino, Sylvano Bussotti, Giacomo Manzoni and Jean Guillou in Zurich. From 1999 to 2005, he studied composition at the Conservatoire National Sup&eacute;rieur de Paris with Marco Stroppa and Fr&eacute;d&eacute;ric Durieux, and analysis with Micha&euml;l L&eacute;vinas. At the same time, he took part in Ircam&rsquo;s Cursus de composition et d&rsquo;informatique musicale in 2001-2002 &ndash; where he was taught by Philippe Leroux &ndash; and in the &ldquo;Voix nouvelles&rdquo; composition session at Royaumont in 2004. As a soloist, he has been invited to the Berlin Philharmonic, the Festival d&rsquo;Automne in Paris, the Archipel Festival in Geneva, the Venice Biennale, Milano Musica (La Scala season 2008-2009), Ircam, the Vienna Theaterhaus and the Forum Neues Musiktheater in Stuttgart. His works, published by Rai Trade, are performed by various ensembles, including Itin&eacute;raire, Alter Ego, Cairn, L&rsquo;Instant donn&eacute;, Nouvel Ensemble Moderne, Atelier XX, Court-Circuit, Ensemble intercontemporain, Ensemble Orchestral Contemporain and Percussions de Strasbourg, Quatuor B&eacute;la, Quartetto Prometeo, Klangforum Wien, SWR Sinfonieorchester Baden-Baden und Freiburg, WDR Sinfonieorchester K&ouml;ln, Ensemble Recherche, Ensemble Remix, 2e2m, MusikFabrik, Les Cris de Paris, Ensemble Linea and Orchestra Sinfonica Nazionale della RAI. He won the Salzburg Music Forderpreistrager in 2006, the Takefu International Music Festival Prize in 2007, the Siemens F&ouml;rderpreis in 2009 and the Unesco Picasso\/Miro Medal from the Rostrum of Composers in 2011.<\/p>\n\n\n\n\n<p>Francesco Filidei was composer-in-residence at the Schloss Solitude Academy in Stuttgart in 2006, and a member of the Casa de Vel&aacute;zquez in Madrid for two years in 2007. In 2010, he was appointed professor of composition at the Voix Nouvelles de Royaumont festival, and in 2011 he was a guest professor at the University of Iowa and the Takefu Academy. He was a resident at the Villa Medici in Rome in 2012 and 2013, and composer-in-residence at Ensemble 2e2m in 2015. In 2016, he was named Chevalier des Arts et Lettres by the French Ministry of Culture. Francesco Filidei joined the Emilia Region Theatres Foundation in Italy as a musical consultant in 2018, and the Villa Medici in Rome as artistic director of the Controtempo contemporary music festival. In 2019, commissioned by the Op&eacute;ra comique, he composed the opera L&rsquo;inondation in collaboration with Jo&euml;l Pommerat. In 2021, he will adapt Le masque de la mort rouge, commissioned by Ircam for the 100th anniversary of the Donaueschinger Musiktage.<br>His works are published by Rai Trade and, since 2018, by Ricordi.<\/p>\n\n\n\n\n<p>Ircam-Centre Pompidou<\/p>\n\n<\/div><\/div><h2 class=\"wp-block-heading\">Recipients<\/h2><h4 class=\"wp-block-heading\">Session 1 and 2<\/h4><ul class=\"wp-block-list\">\n<li>2 singers \/ 3 singers :  \n<ul class=\"wp-block-list\">\n<li>2 sopranos for the role of Sakura (a Japanese businesswoman)<\/li>\n\n\n\n\n<li>1 baritone for the role of Takura (Sakura&rsquo;s husband)<\/li>\n\n\n\n\n<li>2 countertenors for the role of Paruparo (a young Roomservice employee)<\/li>\n\n<\/ul>\n\n<\/li>\n\n\n\n\n<li>1 pianist<\/li>\n\n\n\n\n<li>1 assistant director<\/li>\n\n\n\n\n<li>2 set design assistants (reserved for students of the &Eacute;cole nationale sup&eacute;rieure des Arts D&eacute;coratifs)<\/li>\n\n<\/ul><h4 class=\"wp-block-heading\">Session 2<\/h4><ul class=\"wp-block-list\">\n<li>8 composers<\/li>\n\n<\/ul><h2 class=\"wp-block-heading\">Terms and conditions<\/h2><h4 class=\"wp-block-heading\">Calendar<\/h4><h5 class=\"wp-block-heading has-large-font-size\">Session 1 | <strong>Singers, pianist &ndash; Assistant director &ndash; Assistant set designer<\/strong><\/h5><p class=\"has-large-font-size\"><strong>July 15-20, at Royaumont  <\/strong><\/p><p>6 days &ndash; 42 hours<br>7-hour day: 10am-1pm \/ 2:30pm-7pm, including a 30-minute afternoon break<\/p><p><strong>Public presentation: <\/strong><em>Fen&ecirc;tre sur cour[s<\/em> ] July 20 at 6 p.m.<\/p><div style=\"height:37px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><h5 class=\"wp-block-heading has-large-font-size\"><strong>Session 2 | Singers, Composers, Pianists, Assistant Stage Directors, Assistant Set Designers<\/strong><\/h5><p class=\"has-large-font-size\"><strong>August 24 to September 8, 2024  <\/strong><\/p><p>17 days, including two OFF days<br>7-hour day: 10am-1pm \/ 2:30pm-7pm, including a 30-minute afternoon break<\/p><p><strong>Public presentation: <\/strong>Performance on September 7 and\/or 8, 2024 at the Royaumont Festival<\/p><p><strong>The participants formally commit themselves to follow the entire curriculum.<\/strong><\/p><p><em>All Royaumont Foundation training programs have a minimum access time of 11 working days.<\/em><br><em>For example, if the Royaumont Foundation validates the application on June 14, it can offer the beneficiary a course that begins on June 29.<\/em><\/p><div style=\"height:37px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><h4 class=\"wp-block-heading\">Selection<\/h4><h5 class=\"wp-block-heading\"><strong>Singers, pianist, assistant director, assistant set designer<\/strong><\/h5><ul class=\"wp-block-list\">\n<li>Stage 1: Pre-selection on the basis of applications  <\/li>\n\n\n\n\n<li>Closing date: Sunday, October<sup>1<\/sup>, 2023 at midnight<\/li>\n\n\n\n\n<li>Response: mid-October 2023<\/li>\n\n\n\n\n<li>Stage 2: Audition on November 20, 2023 in Paris<\/li>\n\n\n\n\n<li>Response: early December 2023<\/li>\n\n<\/ul><h6 class=\"wp-block-heading\">Elements to be provided<\/h6><p>For the application and selection process, you will need to provide the following:<\/p><ul class=\"wp-block-list\">\n<li>Cover letter<\/li>\n\n\n\n\n<li>Biography (minimum 600 characters including spaces)<\/li>\n\n\n\n\n<li>CV<\/li>\n\n\n\n\n<li>Picture<\/li>\n\n\n\n\n<li>1 or more video files related to the chosen course (please note that WeTransfer links will not be uploaded)<\/li>\n\n<\/ul><div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/forms.gle\/d2R9zBCaUe9VZHcXA\" target=\"_blank\" rel=\"noreferrer noopener\">Sign up<\/a><\/div>\n\n<\/div><div style=\"height:37px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><h5 class=\"wp-block-heading\">Composers<\/h5><ul class=\"wp-block-list\">\n<li>Stage 1: Pre-selection on the basis of applications<\/li>\n\n\n\n\n<li>Answer: November 23, 2023<\/li>\n\n\n\n\n<li>Stage 2: Selected candidates will be invited for an interview in late November\/early December.<\/li>\n\n\n\n\n<li>Answer: current<\/li>\n\n<\/ul><h6 class=\"wp-block-heading\">Elements to be provided<\/h6><p>For the application and selection process, you will need to provide the following:<\/p><ul class=\"wp-block-list\">\n<li>Cover letter: highlighting skills and qualities, reasons for wanting to take part in the Academy, short ideas about the project, experience.  <\/li>\n\n\n\n\n<li>Biography (minimum 600 characters including spaces)<\/li>\n\n\n\n\n<li>CV<\/li>\n\n\n\n\n<li>Picture<\/li>\n\n\n\n\n<li>Three scores and the three corresponding recordings; good quality sound recordings are essential. Mock-ups are not accepted.<\/li>\n\n<\/ul><h6 class=\"wp-block-heading\">Instrumental workforce<\/h6><p>Flutes \/ Clarinets \/ French Horns \/ Accordion \/ Digital Percussion \/ E-Guitar \/ Violin \/ Cello<br>The precise list of understudies and instruments will be specified after selection.<\/p><h6 class=\"wp-block-heading\">Timetable for the delivery of your score composed especially for the Voix Nouvelles Academy :<\/h6><ul class=\"wp-block-list\">\n<li>60% of the score on June<sup>1<\/sup>, 2024, but with the vocal parts complete, as the orchestration work may still be incomplete; the vocal part is to be engraved;<\/li>\n\n\n\n\n<li>80% of the score by July<sup>1<\/sup>, 2024, with a note in English and French about the work (1200 characters including spaces)<\/li>\n\n\n\n\n<li>100% complete score on August<sup>1,<\/sup> 2024, duly engraved.<\/li>\n\n<\/ul><div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/www.ulysses-network.eu\/competitions\/voix-nouvelles-composers-2024\/\" target=\"_blank\" rel=\"noreferrer noopener\">Sign up<\/a><\/div>\n\n<\/div><div style=\"height:54px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><h4 class=\"wp-block-heading\">Closing date for applications <\/h4><p>Sunday, November 5th 2023 at 23:55<\/p><p><\/p><div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h2 id=\"at-844051\" class=\"c-accordion__title js-accordion-controller\" role=\"button\"><br><br>Fiche programme<br><br><\/h2><div id=\"ac-844051\" class=\"c-accordion__content\">\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n\n<p class=\"has-small-font-size\">version n&deg;1 of 27\/07\/2023<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Number of traines minimum \/ maximum<\/h3>\n\n\n\n\n<p><strong>Floor staff:<\/strong> 3 singers, 1 pianist, 8 composers, 1 assistant director, 2 assistant scenographers<br><strong>Headcount: <\/strong> 5 singers, 8 composers, 1 pianist, 1 assistant director, 2 assistant scenographers<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Pre-requisites and conditions of access to the course<\/h3>\n\n\n\n\n<p><strong>Singers, pianist, assistant director, set design assistants<\/strong><br>Be a young singer, pianist, assistant director or set designer in your final year of higher education.<br>Participants formally undertake to complete the entire 21-day course.<br>Have a good level of spoken English. <br>The conditions of access are transmitted during the training.<\/p>\n\n\n\n\n<p><strong>Composers<\/strong><\/p>\n\n\n\n\n<p>Young professional composers in higher education or with professional experience.<br>Participants formally undertake to complete the entire 15-day training course.<br>Have a good level of spoken English. <br>Access conditions are communicated during training.<\/p>\n\n\n\n\n<p> <\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Targeted competencies \/ operational objectives<\/h3>\n\n\n\n\n<p>At the end of the training the beneficiary will be able to :<\/p>\n\n\n\n\n<p><strong>For singers \/ pianists<\/strong><\/p>\n\n\n\n\n<p><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Performing<\/strong> a contemporary opera<\/li>\n\n\n\n\n<li><strong>Understanding<\/strong> the specifics of working on stage with a director  <\/li>\n\n\n\n\n<li><strong>Work <\/strong>with a conductor on the vocal characteristics of contemporary writing  <\/li>\n\n\n\n\n<li><strong>Learn <\/strong>how to place the singer on stage<\/li>\n\n\n\n\n<li><strong>Preparing for<\/strong> opera productions in a professional context<\/li>\n\n<\/ul>\n\n\n\n\n<p><strong>For composers :<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Compose a lyrical scene for a vocal and instrumental ensemble in a given time;<\/li>\n\n\n\n\n<li>Conceive a project collectively, and know how to take part in a common reflection while feeding it with proposals;<\/li>\n\n\n\n\n<li>Communicate about his\/her career, his\/her approach, his\/her work ;<\/li>\n\n\n\n\n<li>Communicate his\/her artistic intentions to the performers of his\/her work ;<\/li>\n\n\n\n\n<li>Receive suggestions for the dramatic part from the director and librettist;<\/li>\n\n\n\n\n<li>Integrate the technical limits of interpretation expressed by performers and teachers.<\/li>\n\n<\/ul>\n\n\n\n\n<p><strong>For the assistant director<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Understanding<\/strong> the specifics of working on stage with a director  <\/li>\n\n\n\n\n<li><strong>Work <\/strong>on the particularities of contemporary opera staging  <\/li>\n\n\n\n\n<li><strong>Preparing for<\/strong> opera productions in a professional context<\/li>\n\n<\/ul>\n\n\n\n\n<p><strong>For set design assistants<\/strong><\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Educational objectives<br>For singers \/ pianists<\/h3>\n\n\n\n\n<h4 class=\"wp-block-heading\">Knowledge<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Analyze<\/strong> a work (form, rhythm, harmony&hellip;)<\/li>\n\n\n\n\n<li><strong>Acquire <\/strong>the technical tools needed to interpret a repertoire, and know when and how to use them.<\/li>\n\n\n\n\n<li><strong>Understand<\/strong> a sung text in its literal meaning as well as its subtext<\/li>\n\n\n\n\n<li><strong>Integrate<\/strong> the pronunciation of sung texts in one&rsquo;s mother tongue as well as in foreign languages<\/li>\n\n\n\n\n<li><strong>Defining <\/strong>the dramaturgical content of a work<\/li>\n\n\n\n\n<li><strong>Memorize <\/strong>musical works to detach oneself from the score<\/li>\n\n<\/ul>\n\n\n\n\n<p><\/p>\n\n\n\n\n<p><\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Expertise<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Efficiently <strong>repeat<\/strong> a program in a limited amount of time <\/li>\n\n\n\n\n<li><strong>Find<\/strong> your musical and human place in a band <\/li>\n\n\n\n\n<li><strong>Acquire<\/strong> the technical tools needed to interpret a repertoire, and know when and how to use them.<\/li>\n\n\n\n\n<li><strong>Define <\/strong>one&rsquo;s own interpretation of a work, based on advice from supervisorsMake one&rsquo;s work<strong>known <\/strong>to the public, the press and professionals<\/li>\n\n<\/ul>\n\n\n\n\n<h4 class=\"wp-block-heading\">soft skills<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Hearing<\/strong> and understanding managers&rsquo; requests and musical suggestions<\/li>\n\n\n\n\n<li>Clearly <strong>express<\/strong> musical intentions and justify them <\/li>\n\n\n\n\n<li><strong>Communicating<\/strong> with kindness to the artists with whom we play the difficulties we may encounter in our relationships.<\/li>\n\n\n\n\n<li><strong>Share<\/strong> your interpretation with an audience during the final performance <\/li>\n\n\n\n\n<li><strong>Adapt<\/strong> to the demands of a repertoire (pronunciation, musicality of a language&hellip;)<\/li>\n\n\n\n\n<li><strong>Benefit<\/strong> from the learning of other training participants<\/li>\n\n\n\n\n<li><strong>Identify<\/strong> all the people present at the training session and their roles: supervising artists, artistic director, administrator, production manager, receptionist&hellip;<\/li>\n\n<\/ul>\n\n\n\n\n<h3 class=\"wp-block-heading\">For composers :<\/h3>\n\n\n\n\n<h4 class=\"wp-block-heading\">Knowledge<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Deepen theoretical knowledge of a specific repertoire<\/li>\n\n<\/ul>\n\n\n\n\n<h4 class=\"wp-block-heading\">soft skills<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Use technical specificities to create a new work and present the fruit of this work in public during the final performance.<\/li>\n\n<\/ul>\n\n\n\n\n<h4 class=\"wp-block-heading\">soft skills<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Find the best ways to share your artistic intentions and integrate the technical limitations of the performers into your writing process.<\/li>\n\n\n\n\n<li>Share your project with an audience at the final presentation<\/li>\n\n<\/ul>\n\n\n\n\n<p><\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">For the assistant director and set design assistants<\/h3>\n\n\n\n\n<h4 class=\"wp-block-heading\">Knowledge<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Analyzing<\/strong> a work of art  <\/li>\n\n\n\n\n<li><strong>Acquire <\/strong>the technical tools needed to stage a repertoire and know when and how to use them<\/li>\n\n\n\n\n<li><strong>Understand<\/strong> a sung text in its literal meaning as well as its subtext <\/li>\n\n\n\n\n<li><strong>Defining<\/strong> the dramaturgical content of a work <\/li>\n\n\n\n\n<li><strong>Identify<\/strong> the specific characteristics of the professional network in which the beneficiary wishes to pursue a career <\/li>\n\n<\/ul>\n\n\n\n\n<h4 class=\"wp-block-heading\">Expertise<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Efficiently <strong>rehearse<\/strong> a scene with the director within a limited timeframe <\/li>\n\n\n\n\n<li><strong>Finding<\/strong>your place in a group <\/li>\n\n\n\n\n<li><strong>Acquire<\/strong> the technical tools needed to stage a work, and know when and how to use them.<\/li>\n\n\n\n\n<li><strong>Publicize<\/strong> your work to the public, the press and professionals <\/li>\n\n<\/ul>\n\n\n\n\n<h4 class=\"wp-block-heading\">soft skills<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Hearing and understanding<\/strong> managers&rsquo; requests and musical suggestions<\/li>\n\n\n\n\n<li><strong>Communicating<\/strong> with kindness to the artists you work with<\/li>\n\n\n\n\n<li><strong>Exchanging <\/strong>ideas with artists with whom we play <\/li>\n\n\n\n\n<li><strong>Benefit<\/strong> from the learning of other training participants<\/li>\n\n\n\n\n<li><strong>Identify<\/strong> all the people present at the training session and their roles: supervising artists, artistic director, administrator, production manager, receptionist, etc.<strong>Identify <\/strong>the different contacts in a professional sector and know how to approach them to develop your artistic projects.<\/li>\n\n<\/ul>\n\n\n\n\n<h3 class=\"wp-block-heading\">Course description\/content of the training<\/h3>\n\n\n\n\n<p>The entire program is designed around an immersive, co-constructed pedagogy. This new one-session program will combine theoretical and practical approaches, in the form of experimental workshops, creative phases, seminars, meetings, lectures and role-playing.<\/p>\n\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td><strong>DAY 1 <\/strong><\/td><td><strong>10:00 a<\/strong>.m.: Reception of beneficiaries\/ morning<br>In the company of Fran&ccedil;ois Naulot (artistic director of the P&ocirc;le  <em>Voice and Repertoire<\/em>), Jean-Philippe Wurtz (artistic director of the P&ocirc;le  <em>Musical creation<\/em>), Catherine Huet (administrator of the P&ocirc;le  <em>Voices and repertoire<\/em>), Samuel Agard (P&ocirc;le  <em>Musical creation<\/em>) Armelle Mousset (production manager), Antoine Gindt (stage director) and Yoan H&eacute;reau (vocal coach), tour of the beneficiaries, presentation of their backgrounds and training expectations.  <br>The production manager explains how life at Royaumont is organized (life rules, meal times, internal regulations), presents the sign-in sheet, and reminds us of the tools available: individual rehearsal rooms, a drive for sharing resources, a welcome booklet, photocopiers, and a Whatsapp group for contacting the production manager and exchanging information.<br><strong>11am: <\/strong>start of the training session with the instructor. Interpretation of one or two works to define the focus of the session<br><strong>3pm-6pm: <\/strong>group lessons, detailed work on each work, definition of aesthetic and technical specificities<br><\/td><td>Face-to-face reception, with all the participants in the training.<br>A collective meeting with the beneficiaries, the facilitators and the educational manager.<br>Sessions facilitated by the speakers.<\/td><\/tr><tr><td><strong>DAYS 2 TO 5<\/strong><\/td><td>Group lessons, detailed work on each work, definition of aesthetic and technical specificities<\/td><td>Sessions facilitated by the speakers.<\/td><\/tr><tr><td><strong>DAY 6<\/strong><\/td><td>Group lessons, detailed work on each work, definition of aesthetic and technical specificities<br><strong>6pm-7.30pm: <\/strong>Fen&ecirc;tre sur cour(s) (Window on the courtyard): rehearsals open to the public, presentation of the group and the work carried out during training.<\/td><td>Sessions facilitated by the speakers.<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><strong><em>This sample schedule can be adapted to suit the needs of the course and its participants.<\/em><\/strong><\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Methods used<\/h3>\n\n\n\n\n<h4 class=\"wp-block-heading\">Teaching aids :<\/h4>\n\n\n\n\n<p><strong>For singers \/ pianists<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Individual courses  <\/li>\n\n\n\n\n<li>Group courses<\/li>\n\n\n\n\n<li>Collective videoconference exchange sessions with the composers, before the works are handed over;<\/li>\n\n\n\n\n<li>One-on-one videoconferencing sessions with the composers, before the works are handed over;<\/li>\n\n\n\n\n<li>Rehearsals in the form of workshops ;<\/li>\n\n\n\n\n<li>Public concerts presenting the final works, with audiovisual recording<\/li>\n\n<\/ul>\n\n\n\n\n<p><strong>For composers :<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Individual lessons (2 with each composer) ;<\/li>\n\n\n\n\n<li>Group lessons (2 with each composer) ;<\/li>\n\n\n\n\n<li>Collective videoconference exchange sessions between the ensemble, the invited professional soloists and the composers, before the works are handed over;<\/li>\n\n\n\n\n<li>One-on-one videoconferencing sessions between the ensemble&rsquo;s musicians, guest professional soloists and composers, before the works are handed over;<\/li>\n\n\n\n\n<li>Presentation by each composer of his or her career and work ;<\/li>\n\n\n\n\n<li>Collective management sessions (creation of an ensemble, contemporary music network&hellip;) ;<\/li>\n\n\n\n\n<li>Rehearsals in the form of workshops ;<\/li>\n\n\n\n\n<li>Public concerts presenting the final works, with audiovisual recording<\/li>\n\n<\/ul>\n\n\n\n\n<p><strong>For the assistant director and set design assistants<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Individual and group discussion sessions during the session  <\/li>\n\n\n\n\n<li>Video-conferencing sessions with the supervisory team and composers, prior to handover of the works;<\/li>\n\n\n\n\n<li>Public concerts presenting the final works, with audiovisual recording<\/li>\n\n<\/ul>\n\n\n\n\n<h4 class=\"wp-block-heading\">Technical resources available :<\/h4>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Workrooms, equipped with desks and chairs.<\/li>\n\n\n\n\n<li>Outside of class time, during the training period, work spaces can be made available free of charge, upon request and subject to availability.<\/li>\n\n\n\n\n<li>Documentation via a private google drive.<\/li>\n\n\n\n\n<li>The composers will have access to a photocopier and will have the material to print their complete score and the separate parts (paper, bindings, cover).<\/li>\n\n<\/ul>\n\n\n\n\n<h3 class=\"wp-block-heading\">Monitoring and evaluation methods<\/h3>\n\n\n\n\n<h4 class=\"wp-block-heading\">Before training :<\/h4>\n\n\n\n\n<p><strong>Singers, pianist, assistant director<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Pre-selection on the basis of an application file, via a dedicated platform, by the training manager, using a questionnaire to identify the needs of the beneficiary.<\/li>\n\n\n\n\n<li>Assessment of professional level through biography, copies of awards and diplomas, and audio and\/or video file.<\/li>\n\n\n\n\n<li>Final selection by face-to-face audition with educational director and lecturer(s)<\/li>\n\n<\/ul>\n\n\n\n\n<p><strong>Composers<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Final selection on the basis of an enrolment file, via a dedicated platform, by the training manager, using a questionnaire to identify the beneficiary&rsquo;s needs.<\/li>\n\n\n\n\n<li>Assessment of professional level through biography, CV, requested scores and recordings, and remote audition.<\/li>\n\n<\/ul>\n\n\n\n\n<h4 class=\"wp-block-heading\">During the course, face-to-face<\/h4>\n\n\n\n\n<p><strong>Singers, pianist, assistant director, set design assistants<\/strong><\/p>\n\n\n\n\n<p>During face-to-face training: Evaluation of the beneficiary&rsquo;s reactivity and ability to quickly integrate the trainer&rsquo;s proposals.<br>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.<br>The interview is used to evaluate and guide career choices.<\/p>\n\n\n\n\n<p>In particular, the following are observed for the beneficiary :<\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>the quality of physical and gestural ease,<\/li>\n\n\n\n\n<li>the relevance of interpretation in relation to historical and musicological analysis,<\/li>\n\n\n\n\n<li>accuracy and coherence within the ensemble,<\/li>\n\n\n\n\n<li>the relevance of work techniques,<\/li>\n\n\n\n\n<li>taking into account the spatial and acoustic configuration of the site,<\/li>\n\n\n\n\n<li>the quality of the relationship with the public.<\/li>\n\n<\/ul>\n\n\n\n\n<p>The beneficiaries sign a sign-in sheet for each half-day.<\/p>\n\n\n\n\n<p><strong>Composers<\/strong><\/p>\n\n\n\n\n<p>During the classroom training: evaluation of the beneficiary&rsquo;s reactivity and ability to quickly integrate the proposals made by the trainers, as well as his\/her capacity to integrate into the group.<br>The individual interview between the training manager and the beneficiary enables assessment and career guidance.<\/p>\n\n\n\n\n<p>In particular, the following are observed for the beneficiary :<\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>the ability to conceive and produce a balanced, original work, using writing techniques or effects in a controlled and balanced manner ; <\/li>\n\n\n\n\n<li>the ability to communicate about their work, both during rehearsals and public presentations.<\/li>\n\n<\/ul>\n\n\n\n\n<p>The beneficiaries sign a sign-in sheet for each half-day.<\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">End course :<\/h4>\n\n\n\n\n<p><\/p>\n\n\n\n\n<p>A certificate at the end of the training, mentioning the objectives, the nature and the duration of the training and the results of the evaluation of the training, is given to the trainee as well as the certificate if necessary.<br>The trainee fills in a qualitative evaluation form in order to assess the training&rsquo;s achievements from an artistic, pedagogical, human and material point of view.<br>A post-training follow-up is established, for which the trainees are asked to inform during the six months following the end of the training of the contracts they have obtained.<br>Some of the composers will be awarded a professional commission, paid for and involving the Foundation&rsquo;s partners.<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Accessibility and consideration of disability situations<\/h3>\n\n\n\n\n<p>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.<\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Rooms accessible by elevator.<\/li>\n\n\n\n\n<li>Screen equipment and amplified speakers.<\/li>\n\n\n\n\n<li>Catering on the first floor.<\/li>\n\n<\/ul>\n\n\n\n\n<h3 class=\"wp-block-heading\">Pedagogical manager<\/h3>\n\n\n\n\n<p><strong>Fran&ccedil;ois Naulot<\/strong>, artistic director of the <em>Voix et R&eacute;pertoire<\/em> division<br><a href=\"mailto:f.naulot@royaumont.com\">f.naulot@royaumont.com<\/a><\/p>\n\n\n\n\n<p>Jean-Philippe Wurtz, Musical <strong>creation pole<\/strong> director<br><a href=\"mailto:jp.wurtz@royaumont.com\">jp.wurtz@royaumont.com<\/a><\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Administrative referent<\/h4>\n\n\n\n\n<p><strong>Catherine Huet<\/strong>, P&ocirc;le <em>Voix et R&eacute;pertoire<\/em> administrator<br><a href=\"mailto:Huet.c@royaumont.com\">Huet.c@royaumont.com<\/a><\/p>\n\n\n\n\n<p>Samuel Agard, administrator of the P&ocirc;le <em>Cr&eacute;ation musicale<\/em> \/ <a href=\"mailto:s.agard@royaumont.com\">s.agard@royaumont.com<\/a><\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Disability referents<\/h4>\n\n\n\n\n<p>Samuel Agard and Doriane Trouboul<br><a href=\"mailto:referenthandicap@royaumont.com\">referenthandicap@royaumont.com<\/a> <\/p>\n\n<\/div><\/div><div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><div style=\"height:29px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><p class=\"has-small-font-size\">This training workshop is supported by Daniel et Nina Carasso Foundation, the SACEM, ADP group, Art Mentor Foundation Lucerne, Christine Jolivet Erlih, Mich&egrave;le Gagliano and les Amis de Royaumont. <br>With the generous support of Aline Foriel-Destezet.<br>The Bettencourt Schueller Foundation is the main sponsor of the <em>Voice and Repertoire<\/em> Center of the Royaumont Foundation.<br>The Royaumont Foundation is a member of the ULYSSES Network, co-financed <a href=\"https:\/\/www.ulysses-network.eu\/\">by the European Union&rsquo;s Creative Europe<\/a> program. <\/p><div style=\"height:29px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.royaumont.com\/content\/uploads\/2021\/07\/fondationbettencourtschueller-edited.png\" alt=\"\" class=\"wp-image-65646\" style=\"width:151px;height:95px\" width=\"151\" height=\"95\"><\/figure>\n<\/div><p><\/p><p><em>La Fondation Bettencourt Schueller est le m&eacute;c&egrave;ne principal du p&ocirc;le <\/em>Voix et r&eacute;pertoire<em> de la Fondation Royaumont.<\/em><\/p><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.royaumont.com\/content\/uploads\/2023\/09\/royaumont_formation-AVN24_bandeau_logos-1-2000x495.jpg\" alt=\"\" class=\"wp-image-84435\" style=\"width:1288px;height:305px\" width=\"1288\" height=\"305\"><\/figure>\n<\/div><div style=\"height:21px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" src=\"https:\/\/www.royaumont.com\/content\/uploads\/2022\/01\/LogoQualiopi-150dpi-AvecMarianne.png\" alt=\"\" class=\"wp-image-70144\" style=\"width:280px\"><\/figure><p><a href=\"https:\/\/www.royaumont.com\/content\/uploads\/2025\/02\/Certificat-Qualiopi-ABBAYE-DE-ROYAUMONT.pdf\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Certificat Qualiopi Royaumont <br>(en t&eacute;l&eacute;chargement)<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>Butterfly room service Presentation To mark the centenary of Giacomo Puccini&rsquo;s death, eight young composers, five singers, a pianist, a [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":84439,"parent":68938,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-85074","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - 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