{"id":93907,"date":"2024-10-31T14:29:45","date_gmt":"2024-10-31T13:29:45","guid":{"rendered":"https:\/\/www.royaumont.com\/professional-training\/dido-and-aeneas-by-henry-purcell\/"},"modified":"2024-10-31T14:29:46","modified_gmt":"2024-10-31T13:29:46","slug":"dido-and-aeneas-by-henry-purcell","status":"publish","type":"page","link":"https:\/\/www.royaumont.com\/en\/the-cultural-project\/training-courses\/dido-and-aeneas-by-henry-purcell\/","title":{"rendered":"Dido and Aeneas by Henry Purcell"},"content":{"rendered":"<h2 class=\"wp-block-heading\">Scenic unit<\/h2><div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><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:\/\/concours.clermont-auvergne-opera.com\/formulaire-dinscription\/\" style=\"border-radius:50px\" target=\"_blank\" rel=\"noreferrer noopener\">Sign up<\/a><\/div>\n\n<\/div><div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><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\/content\/uploads\/2021\/12\/reglement-interieur-2024-recadre.pdf\" style=\"border-radius:50px\" target=\"_blank\" rel=\"noreferrer noopener\">Internal regulations<\/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\/C3-I-2-LIVRET-DACCUEIL-Fondation-Royaumont-Nouvelle-version.pdf\" style=\"border-radius:50px\" target=\"_blank\" rel=\"noreferrer noopener\">welcome booklet<\/a><\/div>\n\n<\/div><div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><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 has-ryt-grey-background-color has-background wp-element-button\" href=\"https:\/\/www.royaumont.com\/centre-pour-les-artistes\/les-formations-professionnelles\/pole-voix-et-repertoire\/conditions-tarifaires\/\" style=\"border-radius:50px\" 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 has-ryt-grey-background-color has-background wp-element-button\" href=\"https:\/\/www.royaumont.com\/content\/uploads\/2021\/12\/CGV_Fondation-Royaumont-2025.pdf\" style=\"border-radius:50px\" target=\"_blank\" rel=\"noreferrer noopener\">General terms and conditions<\/a><\/div>\n\n\n\n\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-ryt-grey-background-color has-background wp-element-button\" href=\"https:\/\/www.royaumont.com\/content\/uploads\/2021\/12\/C3-I-9-CGU-Fondation-Royaumont.pdf\" style=\"border-radius:50px\" target=\"_blank\" rel=\"noreferrer noopener\">Conditions of use<\/a><\/div>\n\n<\/div><div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><h3 class=\"wp-block-heading\">Period<\/h3><p class=\"has-large-font-size\">July 15 to August 3, 2025<\/p><h3 class=\"wp-block-heading\">Presentation <\/h3><p>Dido and Aeneas is staged in the manner of the English &ldquo;masques&rdquo;, shows combining music, dance theater and machine effects that London audiences loved in the second half of the <sup>17th<\/sup> century. Purcell&rsquo;s music is linked to selected spoken pieces from Shakespeare&rsquo;s repertoire, a master of fantastic plots using language as the gods play with human destiny. A prologue and interludes are thus recreated in the form of scenes with spoken texts, arias, choruses and dances, blending the arts into a single track. All the artists on stage, in a true troupe spirit, participate in the same gesture, being in turn singer-actor, singer in ensemble, actor and dancer. The sea is the main character within which human feelings grotesquely and magnificently struggle. It is both music, movement and setting.     <\/p><h3 class=\"wp-block-heading\">Teachers<\/h3><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\"><button id=\"at-935200\" class=\"c-accordion__title js-accordion-controller c-accordion__title--button\" role=\"button\"><strong>Louis No&euml;l Bestion de Camboulas<\/strong> chef d&rsquo;orchestre de l&rsquo;ensemble Les Surprises<\/button><div id=\"ac-935200\" class=\"c-accordion__content\">\n<p class=\"has-small-font-size\">* 2015-2018: organist in residence<\/p>\n\n\n\n\n<p>Louis-No&euml;l Bestion de Camboulas studied organ, harpsichord, chamber music and conducting at the Lyon and Paris Conservatoires. His teachers included Louis Robilliard, Jan-Willem Jansen, Michel Bourcier, Nicolas Brochot, Fran&ccedil;ois Espinasse, Yves Rechsteiner, Olivier Baumont, Blandine Rannou&hellip; <\/p>\n\n\n\n\n<p>As a soloist, he recorded &ldquo;Bach and Friends&rdquo; on organ and harpsichord (Ambronay Editions label), and &ldquo;Visages impressionnistes&rdquo; on the LigiaDigital label, which was awarded a Choc de Classica. 2019 sees the release of his album &ldquo;Soleils Couchants&rdquo; on the Harmonia Mundi label, recorded on <a href=\"\">the Cavaill&eacute;-Coll organ at Royaumont<\/a>. <\/p>\n\n\n\n\n<p>He directs the ensemble Les Surprises, specializing in the vocal and instrumental repertoire of the <sup>17th<\/sup> and <sup>18th<\/sup> centuries. Les Surprises&rsquo; work is rooted in musicological and historical research, and Louis-No&euml;l is committed to rediscovering and showcasing scores that have never left the musical collections of the Biblioth&egrave;que Nationale de France since the <sup>18th<\/sup> century (such as Destouches&rsquo; <em>Iss&eacute; <\/em>and <em>Les &Eacute;l&eacute;ments<\/em> ).   <\/p>\n\n\n\n\n<p><a href=\"https:\/\/www.les-surprises.fr\/\" target=\"_blank\" rel=\"noreferrer noopener\">les-surprises.fr<\/a><\/p>\n\n\n\n\n<p class=\"has-small-font-size\">* previous collaborations with Royaumont<\/p>\n\n<\/div><\/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\"><button id=\"at-935201\" class=\"c-accordion__title js-accordion-controller c-accordion__title--button\" role=\"button\"><strong>Pierre Lebon<\/strong> metteur en sc&egrave;ne, d&eacute;cors, costumes<\/button><div id=\"ac-935201\" class=\"c-accordion__content\">\n<p>Pierre Lebon made his stage debut at the age of eight, performing solo roles at the Paris Opera and on international stages. He is a graduate of the &Eacute;cole nationale des beaux-arts de Lyon and the &Eacute;cole Sup&eacute;rieure des Arts D&eacute;coratifs de Strasbourg. He has assisted numerous directors and set designers (Rodolfo Natale, Jean Guy Lecat, Pierre-Andr&eacute; Weitz, Olivier Py&hellip;) in the United States, Europe and on many French national stages. He directed<em> Le docteur Miracle<\/em> by Lecocq, produced by the Palazzetto de Bru Zane at the Tours opera, for which he also designed the sets and costumes. He staged<em> M&eacute;d&eacute;e et Jason<\/em> at the Radio France festival in Montpellier, and at the Limoges opera with the baroque ensemble Les Surprises, for which he also designed the sets and costumes. He designed the sets for the Moli&egrave;re trilogy for the Nouveau Th&eacute;&acirc;tre Populaire at the Festival d&rsquo;Avignon 2021. He sings in <em>L&rsquo;Amour vainqueur<\/em>, a sung play written and directed by Olivier Py, premiering at the 2019 Avignon Festival and touring internationally for several years.      <\/p>\n\n<\/div><\/div><p><strong>Iris Florentini<\/strong> body coach<br><strong>Juliette Guignard<\/strong> mediation coach<br><strong>NN<\/strong> language coach<\/p><h3 class=\"wp-block-heading\">Terms and conditions<\/h3><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<h4 class=\"wp-block-heading\">Target audience<\/h4>\n\n\n\n\n<h5 class=\"wp-block-heading\">7 singers<\/h5>\n\n\n\n\n<p><strong>Soprano or mezzo-soprano &ndash; 3 roles to be cast<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Didon<\/li>\n\n\n\n\n<li>Belinda and the Second Witch<\/li>\n\n\n\n\n<li>The second next and the first witch<\/li>\n\n<\/ul>\n\n\n\n\n<p><strong>Baritone &ndash; 2 roles to be cast<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Aeneas<\/li>\n\n\n\n\n<li>The Enchantress<\/li>\n\n<\/ul>\n\n\n\n\n<p><strong>Tenor &ndash; 1 role to cast<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>A Sailor and roles in the Prologue and interludes<\/li>\n\n<\/ul>\n\n\n\n\n<p><strong>Countertenor &ndash; 1 role to be cast<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>A spirit and roles in the Prologue and interludes<\/li>\n\n<\/ul>\n\n\n\n\n<h4 class=\"wp-block-heading\">Prerequisites and conditions of access to training<\/h4>\n\n\n\n\n<p>Pre-selection on the basis of a portfolio, followed by a competition organized by Clermont Ferrand Auvergne Op&eacute;ra.<\/p>\n\n\n\n\n<p>Be a professional singer in their final year of higher education.<br>Participants formally undertake to follow the entire course.<br>Have a good level of spoken English and French.  <\/p>\n\n\n\n\n<p><strong>Clermont-Ferrand competition dates<\/strong> April 8 to 12, 2025<\/p>\n\n\n\n\n<p>Playoffs: Tuesday, April 8 and Wednesday, April 9, 2025 | 2 &ndash; 5 pm and 8 &ndash; 11 pm<br>Semifinals: Thurs. April 10, 2025 | 2 &ndash; 5 pm and 8 &ndash; 11 pm<br>Final: Sat. April 12, 2025 | 3 pm   <\/p>\n\n\n\n\n<p><strong>Course of the project<\/strong><\/p>\n\n\n\n\n<p>&gt;  July 15 to August 3, 2025: Royaumont Campus<br>&gt; January 2 to 15, 2026: Rehearsals in Clermont-Ferrand<br>&gt; 2025-2026 season: Performances<\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>January 17 and 18, 2026: Op&eacute;ra-Th&eacute;&acirc;tre de Clermont-Ferrand  <\/li>\n\n\n\n\n<li>January 22 and 23, 2026: Limoges Opera House  <\/li>\n\n\n\n\n<li>Tour Jan-Feb 2026 (in progress) and repeat season 26\/27 (planned)<\/li>\n\n<\/ul>\n\n<\/div>\n\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Duration<\/h4>\n\n\n\n\n<p>July 15 to August 3, 2025<br>3 weeks or 20 days (including 2 days off) &ndash; 126 hours<\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Rates (excluding competitions and production)<\/h4>\n\n\n\n\n<p>Cost of training residency at Royaumont: <br>&euro;1,000 incl. VAT. <br>Winners of the Clermont-Ferrand competition will automatically receive a grant from the Royaumont Foundation amounting to <br>750 &euro; incl. VAT. They will be required to pay only the registration fee of &euro;250 (incl. VAT) and travel expenses from their home to Viarmes. <\/p>\n\n\n\n\n<p><a href=\"https:\/\/www.royaumont.com\/en\/professional-training\/pricing-conditions\/\" target=\"_blank\" rel=\"noreferrer noopener\">See all pricing conditions<\/a><\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\">Application<\/h4>\n\n\n\n\n<p>Registration only on the <a href=\"https:\/\/concours.clermont-auvergne-opera.com\/formulaire-dinscription\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Clermont-Auvergne Opera Competition<\/a> website.<\/p>\n\n\n\n\n<h4 class=\"wp-block-heading\" id=\"clos\">Calendar<\/h4>\n\n\n\n\n<p>Application deadline: December<sup>1,<\/sup> 2024, midnight<\/p>\n\n\n\n\n<div style=\"height:65px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n\n<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:\/\/concours.clermont-auvergne-opera.com\/formulaire-dinscription\/\" target=\"_blank\" rel=\"noreferrer noopener\">access the registration form<\/a><\/div>\n\n<\/div>\n\n<\/div>\n\n<\/div><div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div><p><em>All Royaumont Foundation training programs have a minimum lead 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 starting on June 29.<\/em><\/p><div style=\"height:42px\" 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\"><h3 id=\"at-935202\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Fiche programme<\/h3><div id=\"ac-935202\" 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 dated 27\/09\/2024<br>Validity of version n&deg;1: 1 year renewable<\/p>\n\n\n\n\n<p class=\"has-large-font-size\"><strong>Course description\/content of the training<\/strong><\/p>\n\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td><strong>Prior to training<\/strong><\/td><td>&gt;  Clermont Auvergne Op&eacute;ra competition<br>&gt; Videoconference meeting between course participants.<br>&gt; Personal self-study prior to the course: analysis and work on the works in the course program for performers.<\/td><td>&gt;  A group meeting with the beneficiaries, some of the instructors and the training manager.<br>&gt;  Several group meetings between beneficiaries and practitioners.<\/td><\/tr><tr><td><strong>Week 1  <\/strong><\/td><td><strong>July 15 &ndash; Reception of beneficiaries<\/strong><br>&gt;  Presentation of beneficiaries, contributors, referents (educational, administrative, logistical)<br>&gt;  Site presentation<br>&gt;  Course outline<br>&gt;  Reminder of target skills and operational objectives<br><br><strong>July 16-20 &ndash; rehearsals <br><\/strong>&gt; Reading of the collective work<br>&gt;  Individual and ensemble vocal work<br>&gt;  Scenic work, theater<\/td><td>&gt;  Face-to-face meeting with all training beneficiaries.<br>&gt;  Group meeting with beneficiaries, instructors and training manager.<br>&gt;  Sessions led by the speakers<\/td><\/tr><tr><td><strong>Week 2<\/strong><\/td><td><strong>July 22 and 23 <\/strong><br>&gt; Dance workshop<br><br><strong>July 24 and 25 <\/strong><br>&gt; morning: dance in the morning<br>&gt; afternoon: work with the coach in English<br><br><strong>July 26 and 27<\/strong><br>&gt; Mediation sessions<\/td><td>&gt;  With participants, beneficiaries<br>&gt; With the training manager<\/td><\/tr><tr><td><strong>Week 3  <\/strong><\/td><td><strong>July 29 and 30<br><\/strong>&gt; Music and theater and English coach (individual work)<br><br><strong>July 31 to August 3<br><\/strong>&gt; Musical and theatrical work with the instrumental team<br><br>August 3 &ndash; Fen&ecirc;tre sur cour[s] (Window on the courtyard)<\/td><td>&gt;  With stakeholders and beneficiaries.<br>&gt;  With the training manager.<\/td><\/tr><\/tbody><\/table><figcaption class=\"wp-element-caption\"><em>This standard schedule can be adapted to suit the needs of the course and the participants.<\/em><\/figcaption><\/figure>\n\n\n\n<p class=\"has-large-font-size\"><strong>Number of traines minimum \/ maximum<\/strong><\/p>\n\n\n\n\n<p><strong>Minimum number of artists:<\/strong> 7<br><strong>Maximum number of artists:<\/strong> 8<\/p>\n\n\n\n\n<p class=\"has-large-font-size\"><strong>Educational objectives<\/strong><\/p>\n\n\n\n\n<p><strong>Knowledge<\/strong><\/p>\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 spoken or 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 and spoken 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\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<p><strong>Expertise<\/strong><\/p>\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> and put into practice the technical tools needed to interpret a repertoire<\/li>\n\n\n\n\n<li><strong>Work and search <\/strong>in the music library: <strong>find<\/strong> a specific work or search for lesser-known works to perform, <strong>identify <\/strong>an edition and its relevance to a composer&rsquo;s work.<\/li>\n\n\n\n\n<li>Take into account information provided by a musicologist specializing in a given repertoire to <strong>fine-tune your interpretation of a work.<\/strong><\/li>\n\n\n\n\n<li><strong>Define <\/strong>one&rsquo;s own interpretation of a work, based on advice from supervisors<\/li>\n\n\n\n\n<li><strong>Affirm <\/strong>your career plan by defining the various stages and a development strategy<\/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<p><strong>soft skills<\/strong><\/p>\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>Clearly <strong>express<\/strong> and justify musical and scenic intentions<\/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>Exchange<\/strong>musical, dramaturgical and choreographic ideas with artists with whom you perform, and define a common discourse.<\/li>\n\n\n\n\n<li><strong>Adapt <\/strong>to the demands of a repertoire (pronunciation, musicality of a language, acting&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\n\n\n<li><strong>Identify <\/strong>the various 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<p class=\"has-large-font-size\"><strong>Target skills  <\/strong><\/p>\n\n\n\n\n<p>At the end of the training the beneficiary will be able to :<\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Perform<\/strong> Henry Purcell&rsquo;s opera Dido and Aeneas<\/li>\n\n\n\n\n<li><strong>Explore<\/strong> the specifics of stage work with director Pierre Lebon and choreographer Iris Florentini<\/li>\n\n\n\n\n<li><strong>Working <\/strong>on the particularities of Purcell&rsquo;s music with Louis-No&euml;l Bestion de Camboulas<\/li>\n\n\n\n\n<li><strong>Confronting <\/strong>theater in Purcell&rsquo;s music<\/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 class=\"has-large-font-size\"><strong>Methods used<\/strong><\/p>\n\n\n\n\n<p><strong>Teaching aids :<\/strong><\/p>\n\n\n\n\n<p>Individual and group courses, given face-to-face.<br>Courses are given in English or French.<br>Several public presentations at the end of the training course, in the form of a masterclass, a presentation of the entire body of work performed or other&hellip;<br>These are attended by all beneficiaries and do not give rise to remuneration.<\/p>\n\n\n\n\n<p><strong>Technical resources available :<\/strong><\/p>\n\n\n\n\n<p>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.<br>Beneficiaries bring their own instruments and sheet music, which is not provided.<br>Outside lesson times, rehearsal spaces can be made available free of charge, on request and subject to availability.<br>The abbey monument in its entirety (rooms and gardens)<br>Documentation via private drive.<\/p>\n\n\n\n\n<p class=\"has-large-font-size\"><strong>Monitoring and evaluation methods<\/strong><\/p>\n\n\n\n\n<p><strong>During the course, face-to-face<\/strong><\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Evaluation of the beneficiary&rsquo;s responsiveness and ability to integrate the suggestions made by the trainers, through practical work.<\/li>\n\n\n\n\n<li>During the performance at the end of the training course: interpretation of the work in front of an audience, to assess the development of the interpretation and the ability of the participant to present his or her work in a show.<\/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>At the end of training<\/strong><\/p>\n\n\n\n\n<p>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.<\/p>\n\n\n\n\n<p class=\"has-large-font-size\"><strong>Qualitative assessment methods<\/strong><\/p>\n\n\n\n\n<p>The beneficiary fills in a qualitative evaluation form to assess the artistic, pedagogical, human and material aspects of the training.<br>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.  <\/p>\n\n\n\n\n<p class=\"has-large-font-size\"><strong>Accessibility and consideration of disability situations<\/strong><\/p>\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, or get in touch with our disability advisors.<\/p>\n\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\n<p class=\"has-large-font-size\"><strong>Contact<\/strong><\/p>\n\n\n\n\n<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<p><strong>Pedagogical manager<\/strong><\/p>\n\n\n\n\n<p><strong>Jean-Paul Davois<\/strong> artistic director, scenic unit<br><a href=\"mailto:jp.davois@royaumont.com\" target=\"_blank\" rel=\"noreferrer noopener\">jp.davois@royaumont.com<\/a><\/p>\n\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n\n<p><strong>Administrative referent<\/strong><\/p>\n\n\n\n\n<p><strong>Catherine Huet<\/strong> stage manager <br><a href=\"mailto:huet.c@royaumont.com\">huet.c@royaumont.com<\/a><\/p>\n\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n\n<p><strong>Logistics referent<\/strong><\/p>\n\n\n\n\n<p><strong>Armelle Mousset<\/strong> scenic unit production manager<\/p>\n\n\n\n\n<p><a href=\"mailto:a.mousset@royaumont.com\">a.mousset@royaumont.com<\/a><\/p>\n\n<\/div>\n\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><strong>Disability referents<\/strong><\/p>\n\n\n\n\n<p>Samuel Agard and Doriane Trouboul<br><a href=\"mailto:referenthandicap@royaumont.com\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">referenthandicap@royaumont.com<\/a><\/p>\n\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n\n<p><strong>VHSS referent<\/strong><br><a href=\"mailto:vhss@royaumont.com\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">vhss@royaumont.com<\/a><\/p>\n\n<\/div>\n\n<\/div>\n\n<\/div><\/div><p>Coproduction: Les Surprises, Clermont Auvergne Op&eacute;ra, Op&eacute;ra de Limoges, Fondation Royaumont<\/p><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>Scenic unit Period July 15 to August 3, 2025 Presentation Dido and Aeneas is staged in the manner of the [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":93551,"parent":78986,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-93907","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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