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Edition 2020



Philippe Manoury began music at the age of nine. Very quickly, he composes as an autodidact. He studied piano with Pierre Sancan, harmony and counterpoint at the Normal School of Music in Paris. At the start of the 1970s, he decided to take up the path of composition on the advice of Gérard Condé, who introduced him to Max Deutsch at the École Normale de Musique in Paris. He then studied composition also with Michel Philippot and Ivo Malec at the National Conservatory of Music and Dance in Paris, where he also followed Claude Ballif's analysis class. In 1975, he began studying computer-aided musical composition with Pierre Barbaud.

The works of Karlheinz Stockhausen, Pierre Boulez and Iannis Xenakis form the first references of Philippe Manoury. For him, the act of composition consists in implementing capacities for the transformation of both musical material and perception. Some works can be organized into a vast cycle in which each piece feeds, by metamorphosing it, on the material of the preceding ones, like the confrontation with the computer, the instrument alone at first (Jupiter, Prix de the best musical achievement of SACEM in 1988,  Pluton), then the percussion ensemble (Neptune) and finally the soloists and the orchestra (La Partition du ciel et de l'enfer) in the vast cycle "Sonvs ex machina".

Present in the main contemporary music festivals and concerts from the age of nineteen, it was with the creation of  Cryptophonos, by the pianist Claude Helffer at the Metz Festival in 1974, that he really made himself known to the public. In 1978, he moved to Brazil and gave courses and lectures on contemporary music at various universities there. In 1981, back in France, he was invited to Ircam as a researcher. Since that time, he has continued to participate, as a composer or teacher, in the activities of the Institute. From the research undertaken at this time, will be born  Zeitlauf, for mixed choir, instrumental ensemble, synthesizers and magnetic tape created in 1982. In close collaboration with Miller Puckette, he then worked more specifically in the field of instrument-machine interaction, with the main goal of developing systems allowing the simulation and real-time monitoring of instrumental behavior, and therefore the integration of interpretation phenomena into the musical composition itself and into electroacoustics. The cycle of interactive pieces "Sonvs ex machina", for different instruments and electronics, remains as one of the important milestones of this history, just like  In echo, for soprano and electronics.

From 1983 to 1987, Philippe Manoury was in charge of pedagogy within the Ensemble intercontemporain. He then taught composition and electronic music at the National Conservatory of Music and Dance in Lyon (1987-1997). From 1998 to 2000, he was responsible for the European Music Academy of the Aix-en-Provence festival. He also leads numerous composition seminars in France and abroad. From 1995 to 2001, he was composer in residence at the Orchester de Paris and, from 2001 to 2003, at the Scène Nationale in Orléans. Between 2004 and 2012, he taught composition at the University of California San Diego (UCSD). In 2013,  he was appointed professor of composition at the Strasbourg Conservatory and was in residence at the Paris Chamber Orchestra. In 2017, he was a visiting professor at the Annual Chair of Artistic Creation at the Collège de France.

His work covers all genres: solo pieces, mixed electronic music (in 2006,  On-Iron  for choir, video and electronics and  Partita I  for viola and electronics) chamber music, works for choir and for large orchestra. Among these, we can cite  Sound and Fury  which was created by Pierre Boulez with the orchestras of Chicago and Cleveland. Philippe Manoury also composed four operas:  60e Parallèle, created in 1998 at the Théâtre du Châtelet,  K…, after The Trial of Kafka, premiered in 2001 at the Opéra-Bastille (SACD Grand Prize, Music Critics Prize in 2001 and Pierre I of Monaco Prize in 2002)  The border  in 2003, as part of his residency at the Scène Nationale in Orléans and  Gutenberg's Night  created at the Opéra du Rhin in Strasbourg as part of the 2011 Musica Festival. For this last opera, Philippe Manoury was named Composer of the Year at the Victoires de la Musique 2012.

Among the last works of Philippe Manoury we can note  Terra Ignota  for piano and orchestra conducted from the piano (2007),  Abgrund  for large orchestra (2007),  Gesänge-Gedanken, song cycle on texts by Nietzsche for contralto and small ensemble (2009),  Plural instants  for two instrumental groups (2008),  Synapse  for violin and orchestra (2010), the two string quartets from 2010,  blood pressure  with electronics and  Stringendo, and  Sextet Assumptions  created by the Accroche Note ensemble at the 2011 Musica Festival. In June 2012 a concerto for piano, electronics and orchestra,  Echo-daimónon, commissioned by the Orchester de Paris, was premiered during the 2012 Ircam ManiFeste and, in July 2012,  Partita II  for violin and electronics, during the Messiaen Festival in the Pays de la Meije. In  2017 he works  so on  Kein Licht, a lyrical and theatrical work in collaboration with the director Nicolas Stemann (created at the Rurhtriennale and at the Opéra Comique in 2017). Philippe Manoury  currently continuing to compose  the Köln Trilogy, the first part of which  Ring  was premiered by the Gürzenich Orchestra in Cologne in May 2016, as well as  the development of  L'Échelle, an electronic installation in real time based on the hours, days and months of the year for the Théâtre La Scala in Paris (September 2018).

Philippe Manoury was appointed Officier des Arts et des Lettres in 2014 and has been a member of the Berlin Academy of Arts since 2015.

© Philippe Stirnweiss



Tenor Michael Spyres was born in Mansfield, Missouri.

In 2009, he made his debut at  La Scala  where he takes the role of Belfiore in  The Trip to Reims  by Rossini then New York in the role of Raoul in  The Huguenots  of  Meyerbeer  .

He therefore established himself as one of the major interpreters of French Grand Opera. The same year, he made his debut in the title role of  Candid  of  Bernstein  at the Flanders Opera. He interprets  Tybalt in  Romeo and Juliet  of  Gounod  to  Salzburg Festival  , the title role of  The Damnation of Faust  of  Berlioz  at the Flanders Opera in 2012, the title role of  Tales of Hoffmann  of Offenbach  for his debut at  License  and Rodrigo in  The Lady of the Lake  for his debut at  London ROH  in 2013, as well as the title role of  Benvenuto Cellini  of  Berlioz  at the English National Opera  in 2014. That year, he also made his debut as Alfred in  The bat  of  John Strauss  at  Chicago.  In 2015, he went to the Royal Festival Hall in London in Alim in  The King of Lahore  of  Massenet.

In 2016, he sang the title role of  Mitridate  to  Champs-Élysées Theater  Dijon  and to  The Mint  and that of Time in  The Triumph of Time and Disillusion  at  Aix en Provence.  He returned to the TCE in 2017 for his first Don José in  Carmen  of  Bizet  in concert version, while he started at  Munich  in  The Tales of Hoffmann,  at the Paris Opera  in  The Mercy of Titus  and  at  Zürich  with the title role of Orlando Paladino.  In 2018, he played Vasco de Gama in  The African  of  Meyerbeer  for his debut at  Frankfurt,  participates in the acclaimed rediscovery of  The Bloody Nun  by Gounod at the Opéra Comique, takes the role of Fernand in  The Favorite  at the Liceu and that of Florestan in  Fidelio  at TCE. Then, in 2019, He started at  Vienna Theater  in Lucinius in  The Vestal Virgin  of  Spontini  and at the Vienna Opera  thanks to La Cenerentola.  

In 2020/2021,  Michael Spyres will sing Arnold in William Tell  in September in Dresden, where he will return in March as Duke of Mantua in  Rigoletto. He will sing the title role of La Damnation de Faust in Florence in January, just before taking on the role of Ferrando in  Cosi fan tutte  in concert at the TCE.

© Marco Borrelli / OnP



Chamber musician, Jean-François Heisser  has obviously covered the entire repertoire with partners such as the Ysaye, Lindsay and Pražák Quartets. If his recording of Bartok's sonatas with Peter Csaba (Praga) remains essential today, he also strongly defended the repertoire for 4 hands and 2 pianos. He remains one of the most requested partners both by established artists and by the younger generation.

Musical director, he has been developing since 2001 the project of  the New Aquitaine Chamber Orchestra  which he raised to the highest level of French chamber formations, as evidenced by the recordings made for the label  Mirara  : the primitive version of  Sorcerer's Love  de Falla and the  Kammerkonzerte  of  Berg, unanimously hailed by the press, are now references. At the end of 2017, the complete Piano Concertos by Beethoven (Jean-François Heisser piano and direction) were published, the fruit of a long work and a long maturation with the musicians of the orchestra.

Artistic director, his complicity with Editions Actes-Sud led him to ensure the programming of  Arles Musical Evenings. From 2015, he is artistic advisor to the  Orangery Festival of Sceaux. Finally, to perpetuate the work and the memory of his master Vlado Perlemuter, "historical" interpreter of the great French composers,  Jean-Francois Heisser  is President of the Maurice Ravel International Academy, a top training ground for young talent. He is also the artistic director of the Ravel Festival in New Aquitaine since August 2017.

© Thomas Chapuzot

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The Diotima Quartet, which is today one of the most sought after throughout the world, was born in 1996 under the impetus of laureates of the National Conservatory of Music in Paris.

His name illustrates a double musical identity: Diotima is both an allegory of German romanticism – Friederich Hölderlin thus names the love of his life in his novel  Hyperion- and a standard of the music of our time, held up by  Luigi Nono  in  Fragmente-Stille, an Diotima.

The Diotima Quartet has worked closely with some of the greatest masters of the second half of the twentieth century, foremost among them  Pierre Boulez (who revised for him the  Book for Quartet) and  Helmut Lachenmann. He commissioned or encouraged the creations of the most brilliant composers of our time, such as Toshio Hosokawa, Miroslav Srnka, Alberto Posadas, Mauro Lanza, Gérard Pesson, Rebecca Saunders or even  Tristan Murail.

Mirroring today's music,  the Diotima Quartet sheds new light on the great romantic and modern works, in particular Beethoven, Schubert, the Viennese triad with Schoenberg, Berg and Webern, or even Janáček, Debussy, Ravel and Bartók.

His rich discography, in which stand out his interpretations of Bartok's quartets as well as those of the Vienna School and the definitive version of the  Book for Quartet by Pierre Boulez  (at Megadisc) is regularly hailed by the most prestigious awards from the international press  : Diapason d'Or (five times, including two Diapason d'Or of the year), Choc de l'année Classica, ffff Télérama, Editor Choice de Grammophone, Séléction de Strad, etc.

© Francois Rousseau



At the origin of the Diabelli Quartet is a requirement for authenticity combined with a desire to broaden the concept of the concert.
The four concert performers who recently founded it come from a wide variety of experiences and backgrounds – both in terms of their professional career (studies and artistic lives in Vienna, Utrecht, Krakow, New York, Sidney, etc.) and their choices. (Baroque Orchestra of the European Community, Ensemble Intercontemporain, Les Siècles, Vienna Chamber Orchestra, LSO, Le Concert d'Astrée, Paris Opera, Montpellier, etc.) – and share the same impetus for creation and performance of risk.
After a debut at the Comédie de Montpellier, the Quatuor Diabelli is scheduled for the first edition of the Festival des Volques, at the Musée de la Romanité and at the Hôtel de Bernis in Nîmes.
Thanks to the Montpellier CRR and the Théâtre de Nîmes, the Diabellis are already known in the region for their cultural activities (Ehpad, Maison de l'Abbé Pierre, etc.).
They play on period instruments.



Matthew  Pordoy is a French pianist and vocal coach. In demand internationally, he has been invited to the greatest theatres, notably the Wiener Staatsoper (for the complete version of Don Carlos), the Opéra National de Paris (for the Huguenots and the child and the Sortilèges) and the Zurich Opera (for The Tales of Hoffmann).
Very interested in teaching, he was invited to mentor young singers by Joan Dornemann at the International Vocal Art Institute Tel-Aviv and Montreal, as well as at the academies of the Mariinsky Theater in Saint Petersburg, the Opera of Paris, and the Festival d'Aix.
Last season, Mathieu made his double debut at Carnegie Hall in New York in Berlioz's Lélio under the direction of Sir John Eliot Gardiner, and in recital with Sabine Devieilhe, then noticed by the New York Times as "a superb partner, whose artistic talent has contributed to making this recital a privileged moment of chamber music”.
He also gave a series of recitals with his accomplice the tenor Michael Spyres at the Operas of Bordeaux and Frankfurt, as well as at the Festival de Lanaudière in Quebec, and at La Coruña in Spain.
Specialist of the French repertoire, the Opéra Comique, La Monnaie de Bruxelles, the Opéra de Monte-Carlo, the Théâtre des Champs-Elysées, the Chorégies d'Orange, the London Symphony Orchestra, the Opéra de Cologne, regularly seek him out. to take part in their productions.
Mathieu Pordoy has worked under the direction of conductors such as: Sir John Eliot Gardiner, Daniele Gatti, François-Xavier Roth, Alain Altinoglu, Fabio Luisi, Evelino Pido, Gianandrea Noseda, Mikko Franck…



Laetitia began the violin at the age of 5 at the CNR in Douai. It was with Maurice Moulin that she followed her course in Paris before joining the class of Gérard Jarry in 2000, then Ami Flammer and Frédéric Laroque. at the National Conservatory of Music in Paris. Meetings with renowned conductors such as MWChung, EPSalonen, G.Dudamel, E.Krivine or even P.Boulez confirmed his love for orchestral music.

It is with the ensemble Les Pléiades that she brings together these musical loves.

Coming from the Les Siècles orchestra (direction FX Roth) of which it has been a member since its creation, Les Pléiades is a sextet playing on historical instruments.

Laetitia loves researching the colors of the past as much as transmitting and sharing with young people for the music of tomorrow; She is particularly active with the younger generations, working in particular with the Philharmonie de Paris on numerous educational projects. Very committed to the discovery and practice of music by as many people as possible and like Les Siècles, a citizen orchestra, it regularly intervenes in schools, hospitals, associations and other communities around fun and participatory educational programs. .

She is also  invited by many French orchestras as a soloist and co-soloist (Orchestre Philharmonique de Radio France, Orchester National d'Ile de France, Orchester Victor Hugo Franche Comté, Orchester de chambre Nouvelle Aquitaine).

© Julien Durancer



Recognized as one of the most promising violists of her generation, Léa is a partner of

sought-after chamber music. She collaborates with artists such as Quatuor Modigliani, Eric

Le Sage, Emmanuel Pahud, Paul Meyer, Nicolas Dautricourt, Adam Laloum, Francois Salque,

David Kadoush, Edgar Moreau, Alina Pogotskina, Alena Baeva, Nicholas Angelich, Gauthier

Capuçon, Yan Levionnois, Nelson Goerner, Marc Coppey, Anne Queffelec, Itamar Golan, Denis

Pascal...on major international stages and festivals.

In 2014, she notably took part in a European tour of the complete quintets of

Mozart alongside Gérard Caussé, Clemens Hagen, Alina Ibragimova and Renaud Capuçon, who

regularly invites him to the Easter Festival in Aix en Provence.

In 2016, she made her debut with the Philharmonic Orchestra of Hradec Kralové in the Republic

Czech in Martinü's Concerto Rhapsody and plays Mozart's Symphony Concertante with the

violinist Gilles Colliard and the Toulouse Chamber Orchestra in 2018. In 2019, the Orchester de

Picardie invites him to take the solo alto part of the symphonic poem of Don Quixote by Strauss, at the

alongside cellist Sébastien Hurtaud and conducted by Arie Van Beck. This season, she is invited to

play Wranitzky's double concerto with violist Jonathan Nazet of the Opéra National de Paris,

the Senza Sordini orchestra and conductor Alain Gourdeau.

Since 2016, Léa has also been an associate artist of i gardini, a collective of committed artists, brought together by the

pianist David Violi and cellist Pauline Buet around a common sensibility. Space of

freedom and exploration, i giardini is inspired by the variety of sounds and personalities of the ensemble

to reveal a unique romantic universe combining musical rigor and openness to all forms

of expression. Their latest recording Nuits in collaboration with singer Véronique Gens

published in the spring of 2020.

She is also a regular guest at the Paris Chamber Music Center, Salle Cortot. The

troupe reinvents the concert in the form of a show where the musicians play from memory and

enhance the repertoire with a staging directed by cellist Jérome Pernoo.

Léa is a popular musician with the ensemble Les Dissonances, created by violinist David

Grimal and pursuing a cycle of artistic research devoted to the great chamber repertoire and

symphonic, freeing itself from the direction of a conductor. The musicians are driven by the common desire for a collegial collaboration based on listening and sharing.

© Isivierti Photography



Christian Laborie began his musical studies in Le Havre, his hometown, and the
continues at the CNSMD of Lyon in the class of Jacques Di Donato. Since 1997 he
divides his time between the practice of improvised music and music
music to which he devotes a particular affection, as well as to the music of
chamber and orchestra.
These multiple experiences and the curiosity that animates him then led him to approach
the interpretation of the great symphonic repertoire on historical instruments, within
in particular of the orchestra Les Siècles of which he is the solo clarinettist.
Attentive to amateur practices and fervent support since the childhood of orchestras
of harmony from which he comes, he teaches at the conservatory of Rive de Gier (Loire)
since 2003.

photo Ariane sept noir blanc  (1)_page-0


  1. Saluted  through  the  New  york  Times  like  "a  superb  artist",  nominated  to

grammys  Awards  and  winner  from  Price  Chamber  America  with the  Contrasts  Quartet,

Ariadne  Lallemand  is  a  cellist  to  multiple  facets.  In  fifteen  year

past  to  United States,  she  its  produced  in  so much  than  soloist  and  chamber musician at

Carnegie  Weill  Lobby,  Alice  tully  Lobby,  Avery  Fisher  Lobby,  so  than  in  of  numerous  festivals  of

music  contemporary  and  baroque  internationally.

Winner  of  the  stock Exchange  Lavoisier  and  from  competition  of  cologne,  Barcelona,

Mendelssohn,  Five  towns,  Mannes  College  and  Epernay,  Ariadne  Lallemand  at

order,  created  and  checked in  many  works  contemporary,  its  produced

abundantly  with  the  choreographers  mark  Morris,  Benjamin  Millipede, etc.

In  France,  she  play  to  breast  talents  Lyric,  from  Concert  of Astree,  at  the Opera  of

Paris,  the Orchestra  of  Paris,  all  Intercontemporary,  ECYO  and  the  Centuries.

At  breast  of  the agency  Quarter,  she  is  in  duo  with  the  harpsichordist  violaine  naughty

on  cello  baroque.  Ariadne  play  regularly  in  duo  with  the  pianist  Alan

Kenneth  and  the  harpsichordist  yvon  Spotting.She  is  member  founder  from  Quartet

Diabelli  since  2019, on period instruments.

Graduated from  CNSM of Paris,

Mannes  and  Freiburg,  she  at  studied  with  Timothy  Eddie,  Christopher  Henkel,  xavier

breadwinner,  Philip  Muller  and  followed  from  Master  classes  with  Natalia  Gutman,

Anner  Bylsma,  Paul  Tortelier  and  Janos  Starker.  Professor  of  cello  to  CRR

of  mount pellier  since  2015,  and  at  summer  in  residence  in  of  many  universities  Americans.

© Karine Peron

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Holder of a doctorate in viola from the CNSM de Lyon and a teaching aptitude certificate in 1996, her life as a performer led her to play with the Paris Opera, the Orchester de Paris, the Philharmonic Orchestra, the Opera de Lyon and the Ensemble Intercontemporain.

Very involved in the most diverse educational actions, she is currently national educational coordinator of the Demos project for the Philharmonie de Paris and professor of viola and collective practices at the CRR of Paris since 1996.

A member of the Les Siècles orchestra conducted by FX Roth since 2004, she leads a career as an orchestral musician and chamber musician throughout the world.

Within this orchestra, she founded with her colleagues the String sextet Les Pléiades, as well as the trio with narrator Journal Romantique, with which she regularly performs in festivals such as Berlioz Festival, Musicales de Normandie, Amuz d'Anvers, Musica Nigella, Aldeburgh in Great Britain, as well as on the national stages: Grand Théâtre de Nîmes, National Theater of Sénart, City of Music of Soissons, theater of Versailles, Lorient, Auditorium of the Musée d'Orsay, etc...

With Les Pléiades, Carole Dauphin likes to develop educational programs for schools, hospitals and prisons in order to bring music to life for all audiences.

Since 2019, she has been working in musical creation workshops at the Abbé Pierre family pension in Nîmes, in partnership with the Bernadette Lafont theater.

She is a member of the Diabelli quartet on period instruments.

In 2020, she founded with her husband François-Xavier Roth and the pianist Pascale Berthelot the Festival de Musique(s) Les Volques in Nimes.

© Jean Radel



Pascale Berthelot develops her piano and sound research based on her interpretation of major works of classical and contemporary music, her encounters with numerous composers, artists of  different disciplines and his recording experience. His very open and adventurous repertoire draws over the years a sensibility tinged with baroque eclecticism.
Graduated from the Conservatoire National Supérieur de Musique et de Danse de Lyon in piano classes, interpretation and analysis of the 20th-21st century repertoire and pedagogy as well as from the institute of training and
research in art therapy Profac, Pascale Berthelot is a concert pianist, improviser, professor of artistic education and certified art therapist, member of the French Society of Psychopathology of Expression and Art Therapy (SFPEAT).
She mainly studied music with Bernard Flavigny (disciple of Alfred Cortot and Serge Koussevitzky), Eric
Heidsieck and Claude Helffer. With a grant from the Acanthes center and laureate of the Venice Cini Foundation – Archivio Luigi Nono, she has also benefited from the valuable advice of renowned musicians and teachers such as Dominique Merlet, Yvonne Loriod, Roger Muraro, Pierre-Laurent Aymard and composers such as Brian Ferneyhough, Toshio Hosokawa, Tristan Murail, Ivan Fedele, Klaus Huber, Philippe Manoury, Marco Stroppa, MA Dalbavie, Gilbert Amy,
Betsy Jolas, Peter Ablinger, Gérard Pesson and Alvin Lucier.
Invited to perform as a soloist or in chamber ensembles, she has, among other things, created works for
solo piano or piano and ensemble by Ivan Fedele, Roger Reynolds, Tim Hodgkinson, Daniel D'Adamo, Chris Newmann, Michael Pinter, Klaus Huber, Jennifer Walshe, Michaël Maierhoff, Hauke Harder, Daniele Venturi, Loïc Guénin, Gérard Pesson. She has collaborated with the dance company of Benjamin Millepieds LA Dance project and Laurent Pichaud (X-Sud), with visual artists Marie Denis, Jean-luc Moulène, Isa Melsheimer and has performed in hybrid installations by the Berlin collective LOSE COMBO, mixing performance, concert, sound, light and video in singularly delimited time spaces.
She has recorded for Sony, Mode Records and has been collaborating since 2008 with Gérard de Haro's La Buissonne label published in France and internationally by ECM, as a musician and artistic director of the Cuicatl collection dedicated to contemporary music, awarded by the Charles Cros Academy and hailed
internationally by critics.



Eriko Minami studied piano with Keiko Matsubara and Yukari Nabata at the Lycée Musical de
Yuhigaoka. It was after graduating that she decided to complete her
training in France. She studied with Germaine Devèze and joined the CRRs of
Versailles (with Edda Erlendsdottir and Jean-François Gonzales) and Paris (with Brigitte
Bouthinon-Dumas). At 22, she chose to give a new direction to her career by
opting for percussion. She works percussion with Alain Bouchaux then Frédéric
Macarez and Éric Sammut for the marimba at the CNR in Paris.
Currently, she is a member of the orchestra Les Siècles and Ensemble Musica Nigella as
that percussionist and  pianist.
She collaborates regularly with other formations
such as the Orchestra of the Opéra National de Lyon, Les Musiciens du Louvre, Opéra de Rouen.
She has also been a speaker at La Philharmonie de Paris since 2015 and a Demos project since 2018.
She has been a pianist with the Trio Journal Romantique since 2016 and a guest at the Berlioz festival, Les
Musicales of Normandy and The  Festival  Musica Nigella.



Divided for a long time between her love for dance and that for the violin, it is  in  1991 Caroline decides to devote herself entirely to music.

  She joined the Paris Conservatory in 1996 in the class of Suzanne Guessner where she  obtains a gold medal for violin, as well as his state diploma as a teacher.

  That same year she decided to leave Paris to enrich her musical knowledge and went to the Guildhall School Of Music And Drama in London where she joined the class of Professor Yfrah Neaman in the cycle of  improvement.  

Falling in love with this city and its cultural ferment, she  finally stays three years during which she teaches chamber music at the Junior School of the Guildhall, performs in sonata and as a soloist before returning to France, in Paris at the end of 2002. She is today co-director of the Orchestra  Centuries  directed by François Xavier Roth,  co-soloist of the Compagnie lyrique  Exploded Opera  and second violin of the ensemble  The Pleiades.



Marion Ralincourt is a versatile and curious flautist: eager for encounters and strong projects, her musical life is divided between her activities as an orchestral musician, chamber musician and soloist, with an equal appetite for all repertoires.

A passionate orchestral musician, she is principal flute of the essential Les Siècles orchestra (dir. François-Xavier Roth), a unique formation in the world bringing together musicians capable of using the instruments specific to each era, thus putting several centuries into perspective. of musical creation. Within the Centuries, Marion participated in many recordings, including, recently, Daphnis and Chloé (Ravel) and the Prelude to the Afternoon of a Faun (Debussy), both critically acclaimed.

Passionate about chamber music, in 2005 she created the Duo Harpéole with harpist Lucie Garnier (solo harp of the ONBA). In 2011, she joined the prestigious Aquilon Wind Quintet (1st prize ARD Munich 2006) in which she recorded several albums, including the last "Saisons": CD designed in the most ecological way possible which militates for a greener world and encourages in a playful way the listeners to take care of the bees. Within the orchestra Les Siècles, Marion initiated the Quintette à vent des Siècles, one of the few wind quintets to perform on period instruments.

Marion has appeared as a soloist with the Berliner Philharmoniker (...Explosante fixe...dir. Pierre Boulez), Les Siècles, the Ensemble Intercontemporain, the Gulbenkian Foundation Orchestra, the Navarra Symphony Orchestra, the Orchester Lyric Avignon Provence and the symphony orchestras of Timisoara and Krakow.

Marion has won numerous international competitions: 1st prize at the Krakow International Competition and special prize for the best interpretation of the Penderecki Concerto (2005), 3rd prize at the Carl Nielsen International Competition (2006), special mention at the Jean-Pierre Rampal Competition, winner of the Autumn Musical Festival of Young Interpreters. Alain Duault devoted his television program "All the music they love" to him on France3.

She graduated from the CNSM in Paris in 2004 (First Prize unanimously first nominated), and then completed two Advanced Cycles (Soloist and Chamber Music) in the classes of Sophie Cherrier and David Walter.

In his future projects is the release of a solo album around the works of JS Bach and S. Reich interpreted on double instrumentarium (modern and baroque).

© Michel Nguyen

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Principal violin of the Orchester National de Montpellier since 2002, Aude Périn-
Dureau has since performed as Konzertmeister with orchestras
such as the Chamber Orchestra of Auvergne, the Opera of Rouen, the Royal
Liverpool Philharmonic Orchestra, Western Australia Symphony Orchestra,
the Adelaide Symphony Orchestra, the Malaysian Philharmonic Orchestra, the
Hong Kong Philharmonic Orchestra, the Royal Scottish Symphony Orchestra and
the BBC Ulster Symphony Orchestra, under conductors such as Emmanuel Krivine, Mickael Schonwandt and Lawrence Foster.
In 1992, she obtained a First Prize in violin and chamber music at the
National Superior Conservatory of Music in Paris, then in 1996 a
postgraduate degree from the University of Utrecht, the Netherlands. She then studied at the Hochschule in Vienna until 2002.
Aude Périn-Dureau is laureate of the International Music Competition of
Chambre d'Illzach, the Musical Patronage of Société Générale, as well as the
T. Wronsky International Competition in Warsaw. In 2004 she founded the
George Sand String Quartet and performed in Chamber Music with
musicians such as Auréle Nicolet, Tabor Takacs, Colin Carr. She was
the guest of many festivals, Budapest, Portogruaro, Pressia Cove,
Schleswig-Holstein Musik Festival, and gave numerous concerts, recitals
or chamber music concerts in Europe, Australia, Kuwait,
Russia, Israel and the United States.
Since 2004 she teaches violin at the Conservatoire à Rayonnement Régional
from Montpelier. As part of the Orchester National de
Montpellier, she performs regularly as a chamber musician and soloist, in repertoires ranging from Bach to Mendelssohn, Berio, Dusapin and Segerstam.
Since 2020  she founded the  Diabelli string quartet  on instruments
of time.

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Amaryllis Jarczyk was born into a family of musicians and lives music above all as a moment of exchange and creator of links. It is in this spirit that she now plays the cello in several chamber music ensembles, including the Hexaméron Ensemble, with which she performs the repertoire of 19th century salon music. Since 2016, she  is also part of the string sextet Les Pléiades which is particularly involved in numerous cultural activities with young people and recently recorded a CD for Nomad Music/Les Siècles. Finally, in 2017 she created the Trio Jarczyk-Orenstein which performed at the Festival de Saintes.

In addition, Amaryllis is regularly invited to the orchestra Les Siècles, La Grande Écurie and the Chambre du Roy, and the Orchester des Champs-Élysées. She participates with them in many tours in Europe, Asia and North America.

Originally from Montreal, she first trained at McGill University with Matt Haimovitz, then at the Conservatoire National Supérieur de Lyon with Yvan Chiffoleau. She then specialized in interpretation on period instruments at the Schola Cantorum in Basel with Christophe Coin and at the Abbaye aux Dames de Saintes with Hilary Metzger.

Amaryllis was nominated for a Grammy Award in 2011 with the Uccello ensemble and her teacher and colleague Matt Haimovitz, and has since recorded numerous records with Les Siècles and several other French ensembles and orchestras.

© Elam Rotem



Composer, sound artist, performer and researcher at IRCAM. Gilbert Nouno lives and works in Paris. In 2011 he was awarded the Villa Médicis, Académie de France in Rome and the Villa Kujoyama in Kyoto in 2007. His music, linked to the visual arts and digital technologies, constantly crosses the borders of writing and improvisation. .
As a visual artist under the name Til Berg, he combines the synesthesia of sound art and other media. From music and sounds he generates abstract and minimalist visuals with traditional and digital mediums such as lithography and video. His work has been shown in Paris at the Ircam creative institute, in Rome and in Florence at the Fabbrica Europa 2012 foundation for contemporary arts.
Gilbert Nouno is professor of composition in London at the Royal College of Music, and guest professor by the DAAD in Detmold (Germany). He teaches digital sound arts at Goldsmiths University in London where he is also a visiting researcher, the  live electronics  &  computer music design  at Ircam and electronic composition at the international summer courses in Darmstadt in 2014.
Gilbert Nouno has collaborated with many artists of various styles and backgrounds such as Pierre Boulez and the Berlin Philharmonic Orchestra, Michael Barenboim at the BBC Proms/Royal Albert Hall in London, George Benjamin and the London Sinfonietta, Jonathan Harvey and the Quatuor Arditti, jazz saxophonist Steve Coleman, flutist Malik Mezzadri and choreographer Susan Buirge



Grégoire Pont is an illustrator / animator passionate about classical music, especially from the 20th century such as Debussy, Ravel and Stravinsky.

He is committed to making their music accessible to children through animated illustration. He has

thus created a new show concept called Cinesthetique where he draws and animates

live images on stage, an exceptional experience where music and video interact

measure close. Sold-out concerts around the world.

Ma mère l'oye (Ravel) at the Royal Festival Hall in London and at the Philharmonie de Paris, Gurrelieder

(Schönberg) in Göteborg, La Mer (Debussy) at Suntory Hall in Tokyo, Concerto for orchestra

(Bartók) with the SWR Symphony Orchestra, La Pastorale de Beethoven à Fayetteville aux

United States, the toy box at the Rouen Opera and the Philharmonie de Paris with André


He has worked with world-renowned chefs such as François-Xavier Roth, Kent Nagano,

Kazushi Ono, Marko Letonja...

The Louisiana Museum of Modern Art (Denmark) commissioned four short films from him

animation on contemporary music such as Disco Toccata and Petit Carnivore by

Guillaume Connesson, the flute concerto by Marc-André Dalbavie.

In 2016, he made his first foray into the field of opera with a staging with

magic projections of L'Enfant et les sortilèges (Ravel) at the Opéra de Lyon resumed in 2019 in San

Francisco, Limoges, Cincinatti, Muscat, Lyon... He created L'heure anglaise in 2018 with the same

technique and the same success, Carmen with the Lille orchestra, conducted by Alexandre Bloch and "La

moon" from the Brothers Grimm music by Carl Orff in March 2020.

Next projects: Enigma variations in Hong-Kong, A Midsummer Night's Dream at the

Rouen, Hansel and Gretel at the Cologne Opera and Abrahamsen's The Snow Queen at the Opéra du


©  Jerome Tripier Mondancin



Anne-Marie Regnault graduated from the National Conservatory of Music in Lyon in the class of Pavel Vernikov.
She also studied with Jean-Walter Audoli, Jacques Ghestem and Hortense Cartier-Bresson, and followed the teaching of Maya Glezarova during numerous masterclasses in France and Italy.
At the same time, she followed university studies until she obtained a master's degree in philosophy. She has been a violin teacher at the regional conservatory of Montpellier since 2003.
Passionate about chamber music, she plays regularly in various formations, and in particular the George Sand quartet, with Aude Périn-Dureau, Aurélie Souvignet and Yves Potrel since 2004.
In 2018 she founded with Aude Périn-Dureau, Carole Dauphin and Ariane Lallemand the Diabelli quartet on period instruments



Les Pléiades, an ensemble founded in 2011 by six musicians from the Les Siècles orchestra, offer a journey through the repertoire of the string sextet, through the ages on historical instruments.  Committed to projects as varied as their theaters  of performances, creator of new concert concepts with artists such as François Dumont, Isabelle Druet, Sandrine Piau, Les Cris de Paris, Dominique Brun's dance company 48, digital illustrator Grégoire Pont, musician-actor Emmanuel Bénèche , director Benjamin Lazar. The ensemble is invited to perform at the Théâtre de Nimes, Scène Nationale de  Beauvais, at the Sénart theatre, City of Music in Soissons, at the Musée d'Orsay, festival of  Méjan in Arles, as well as abroad (Shanghai, Guanajuato, Antwerp).  Les Pléiades have also developed an activity emblematic of the spirit that drives them by offering  various educational programs in schools and various social centres. This educational activity is  their image: a moment of intensity and exchange with the public. The proposed workshop is a pool of gestures related to the body which, with the help of an active and playful presentation, brings the public into the sound universe with no other tool than the senses.

Artistes: Prestations
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