top of page


Artistes: Image

Helmut Lachenmann grew up in Stuttgart, where he studied piano with Jürgen Uhde, theory and composition with  Johann Nepomuk David  from 1955 to 1958. He continued his studies in Venice with  Luigi Nono  who welcomes him into his home and whose influence will be decisive. He returned to Germany in 1961.  From 1963 to 1965, he took courses in  Karlheinz Stockhausen  for new music in Cologne. After an internship at the Electronic Studio in Ghent and winning the first prize from the city of Munich in 1965, he taught at the Musikhochschule in Stuttgart (1966-1970) then in Ludwigsburg (1970-1976). He was then appointed professor of composition in Hanover (1976-1981) then in Stuttgart (1981-1999). In 2010, he was a visiting professor at the  Musikhochschule Basel.

Among the many invitations to give composition seminars are Darmstadt (several times since 1972), Basel (1972-1973), Brazil (1978 and 1982), Toronto (1982), Buenos Aires, Santiago de Chile and Tokyo ( 1984), Blonay, (1988), Akyoshida (Japan, 1993), Viitasaari (Finland, 1998), Acanthes (1999), New York (Juilliard School, 2001), the Fromm Foundation (Harvard, 2008).

Helmut Lachenmann's music, which he calls "  Klang Komposition  (the composition of sound),  come "  both an aesthetic purification and a profound rejection of any form of pre-codified order. Composed of squeaks, frictions and squeals, it mainly leads to a reflection on sound and noise.  »

After his first piano and composition studies (with Johann Nepomuk David), Lachenmann spent two years (1958-1960) in Venice, with  Luigi Nono , whose teaching then focused on a critical relationship to musical material; for Nono, at that time, a trill already took on a citational, even reactionary character. At the end of the 1960s Lachenmann would develop what he would call an “instrumental concrete music”, that is to say made up of sounds that were largely “noise” but produced on traditional instruments. It will be a question of highlighting and making felt the "concrete" mode of production of a sound and not of using the abstract result: "What resonates does not resonate according to the sound or its use structural, but indicates the concrete use of energy when the gestures of the musicians are made, making us feel, hear, suspect the mechanical conditions of these actions and the resistances they encounter", he writes, or even, about Air  : “  The instrumental action undoubtedly serves a precisely noted sound idea, but it does not disappear behind it; the sound result, on the contrary, wants to draw attention, through a particular corporeity, to the gesture that underlies it, by making us aware of the mechanical and energetic conditions that produced this result. The sound of a violin does not signal consonance or dissonance, but indicates what is taking place - how, under a certain degree of pressure, the hairs become taut, while one rubs in such and such a way and at such a precise location between the bridge and the tailpiece. »

Artistes: Text


Originally from Lyon, Julien Behr was named ADAMI's “lyrical artist” revelation in 2009 and was one of the three nominated in the “lyrical artist revelation” category at the Victoires de la musique Classique in 2013.

At the age of 6, he entered the Master's degree at the Primatiale Saint Jean de Lyon, where he followed musical training in flexible hours. Holder of a Master's degree in business law from the University of Lyon III, he abandoned his plans for a career as a lawyer to devote himself full-time to music. In 2010, he completed his studies in opera at the National Conservatory of Music in Lyon with a First Prize.

Along with music, he nurtures a passion that he has practiced since a very young age, the theatre, which quite naturally leads him to opera. 2009 marked his debut at the Festival international d'Aix-en-Provence in the title role of Orpheus in the Underworld. Tamino (The Magic Flute) quickly became his favorite role, which he performed at the Opéra de Rouen, the Opéra de St Gall, the Opéra de Bern, the Opéra national de Bordeaux, the Paris Opera and at the Minnesota Opera for its debut in the United States.  In 2019, he returned to the United States with Tamino as part of the Mostly Mozart festival in New York.  He also performs on stages such as the Festival d'Aix-en-Provence and La Fenice in Venice (Aci in Aci and Galatea),  the Paris Opera (Arsace in  Bérénice, world premiere by Michael Jarrell),  the Champs-Elysées Theater,  the Grand Théâtre de Luxembourg, the National Opera of Lorraine  (Don Ottavio in Don Giovanni), the Opéra Comique (Antonin in Ciboulette, Laërte in  Hamlet), the Lyon Opera (Arbace in Idomeneo, Admeto in Alceste), the Avignon Opera (Camille de Rossillon in The Merry Widow), the Lorraine National Opera (Ferrando in Così fan tutte), the Opéra national du Rhin (world premiere of Quai Ouest by Régis Campo, then Narraboth in Salomé), the Opéra de Rennes (Ernesto in Don Pasquale),  Nice Opera (Tom Rakewell in  The Rake's Progress), the Bordeaux Opera (Edgardo in  Lucia di Lammermoor), the Flanders Opera (Fenton in  Falstaff), the Cologne Opera (Don Ottavio in Don Giovanni and Gonzalve in The Spanish Hour), the Wiener Festwochen (Jaquino in Fidelio), the Mozartwoche in Salzburg, the Theater an der Wien and Mostly Mozart in New York (Arbace in Idomeneo) as well as the Barbican Center (Gonzalve in The Spanish Hour).

His operatic season in 2021/22 will lead him in particular to the Paris Opera (taking the role of Pylades in Iphigénie en Tauride by Gluck), to the Opéra Royal de Wallonie (Edgardo in Lucia di Lammermoor by Donizetti), to the Opéra de Anger-Nantes (role of Tom in Thé Rake's progress by Stravinsky), at the Opéra de Lyon (role of Kosrow in the creation "Shirine" by Thierry Escaich), at the Liceu in Barcelona (role of Tamino in the Magic Flute ) under the direction of Gustavo Dudamel.  

Julien Behr has performed in concert with ensembles such as Les Musiciens du Louvre, Les Siècles,  The Concert Spirituel, the Ensemble Matheus, the National Orchestra of Lyon, the National Orchestra of Lille, the National Orchestra of Pays de la Loire, the Philharmonic Orchestra of Radio France, the National Orchestra of France, the BBC Symphony Orchestra and the London Symphony Orchestra in London, the Mozarteum Orchestra in Salzburg, the Akademie für Alte Musik in Berlin, the Freiburger Barockorchester, the Bavarian Radio Orchestra, the Orchester de la Suisse Romande and he is produced  under the direction of conductors such as Alain Altinoglu, Jean-Claude Casadesus, Charles Dutoit, Laurence Equilbey, Asher Fisch, René Jacobs, Louis Langrée, Marc Minkowski, Raphaël Pichon, Josep Pons, Jérémie Rhorer, François-Xavier Roth, Sebastien Rouland, Leonard Slatkin,  Jean-Christophe Spinosi, Nathalie Stutzmann.

His discography includes Septem verba a Christo by Pergolesi (Harmonia Mundi, 2012) as well as Melodies by Charles Koechlin (Timpani records, 2015) and L'Heure Español (BR Media 2017). The production of Ciboulette at the Opéra Comique is available on DVD. His first solo album, "Confidence", recorded with the Orchester de l'Opéra de Lyon (musical direction: Pierre Bleuse), was released in 2018 under the Alpha Classics label and was awarded a Diapason d'or and a Qobuzissime.

Julien Behr is the sponsor in France of the “El Sistema” association, which has set itself the task of helping children in difficulty through intensive music practice.

027 col small - Yamaha, C Tiberghien, 16_edited.jpg


Cédric Tiberghien is a French pianist who has established a truly international career. He was particularly applauded for his versatility, as evidenced by  its varied repertoire, its interesting programming, its openness to exploring innovative concert formats and its dynamic partnerships in chamber music.

Concerts in the 2020-21 season include Les Siècles, Kammerakademie Potsdam and Orchester Philharmonie de Strasbourg. Cédric has a very strong relationship with the Wigmore Hall in London, where he performs a complete cycle of Beethoven Variations. Other recitals include ongoing collaborations with Antoine Tamestit and Alina Ibragimova with concerts in Berlin and Dresden. Recent musical theater projects include the premiere of Zauberland (Magic Land). In this musical theater project directed by Katie Mitchell, Schumann's Dichterliebe rubs shoulders with a new work by Bernard Foccroulle, with text by Martin Crimp. Cédric has collaborated on this project with soprano Julia Bullock and other engagements have included New York, Moscow, London and Brussels.

Last season, Cédric made his debuts with the Berliner Philharmoniker, the San Francisco Symphony, the Deutsche Symphonie-Orchester Berlin and the NDR Elbphilharmonie Orchestra. Other recent collaborations have included the Boston Symphony, Cleveland, Czech Philharmonic, BBC Scottish Symphony, Tokyo Philharmonic Orchestras and at the BBC Proms with Les Siècles. His conducting collaborations include Karina Canellakis, Nicholas Collon, Stéphane Denève, Edward Gardner, Enrique Mazzola, Ludovic Morlot, Matthias Pintscher, François-Xavier Roth and Simone Young.

Cédric recently presented a major focus on the music of Bartok, culminating in a three-volume exploration of his solo piano works for the Hyperion label which received huge critical acclaim. His solo discography also includes Chopin, Liszt, Szymanowksi, Franck's Symphonic Variations and Les Djinns (Liège Philharmonic/François-Xavier Roth), Brahms' Concerto No. 1 (BBC Symphony/Bělohlávek), and numerous recital discs on Harmonia Mundi including the repertoire of Bach, Beethoven, Brahms and Debussy. Cédric received five Diapason d'Or, for his solo and duo recordings on Hyperion.

He is a devoted chamber musician, with regular partners including violinist Alina Ibragimova, violist Antoine Tamestit and baritone Stéphane Degout. Cédric's passion for chamber music is reflected in numerous recordings: his discography with Alina includes complete cycles of music by Schubert, Szymanowski and Mozart (Hyperion) and a cycle of Beethoven Sonatas (Wigmore Live).

JF Heisser4 © Lydia Kasparian.jpeg


A 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, since 2001 he has been developing the project for the Nouvelle-Aquitaine Chamber Orchestra, which he has raised to the highest level of French chamber ensembles, as evidenced by the recordings made for the Mirare label: the primitive version of L'Amour Sorcier by Falla and Kammerkonzerte by Berg, unanimously acclaimed 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 the Musical Evenings of Arles. From 2015, he is artistic advisor of the Festival de l'Orangerie de Sceaux. Finally, to perpetuate the work and the memory of his master Vlado Perlemuter, “historic” interpreter of the great French composers, Jean-François Heisser is President of the Maurice Ravel International Academy, a top training ground for young talents. He is also the artistic director of the Ravel Festival in New Aquitaine since August 2017.

©Lydia Kasparian

L1660721-2 copie.tiff


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

Quatuor Diabelli Paysage.jpg


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



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.

Quatuor Diabelli Ariane.jpg


  1. Hailed by the New York Times as “a superb artist”, nominated for

Grammy Awards and Chamber America Award winner with the Contrasts Quartet,

Ariane Lallemand is a multifaceted cellist. In fifteen years

spent in the United States, she performed as a soloist and chamber musician at

Carnegie Weill Hall, Alice Tully Hall, Avery Fisher Hall, as well as in many festivals of

international contemporary and baroque music.

Laureate of the Lavoisier scholarship and the competitions of Cologne, Barcelona,

Mendelssohn, Five Towns, Mannes College and Epernay, Ariane Lallemand has

commissioned, created and recorded several contemporary works, performed

abundantly with choreographers Mark Morris, Benjamin Millepied, etc...

In France, she plays with the Talens Lyriques, the Concert d'Astrée, at the Opéra de

Paris, the Orchester de Paris, the Ensemble Intercontemporain, the ECYO and the Centuries.

Within the Quartem agency, she is in duet with the harpsichordist Violaine Cochard

on baroque cello. Ariane regularly plays in duo with pianist Alan

Kenneth and harpsichordist Yvon Reperant. She is a founding member of the Quartet

Diabelli since 2019, on period instruments.

Graduated from the CNSM of Paris,

Mannes and Freiburg, she has  studied with Timothy Eddy, Christoph Henkel, Xavier

Gagnepain, Philippe Muller and followed by master classes with Natalia Gutman,

Anner Bylsma, Paul Tortelier and Janos Starker. Cello teacher at the CRR

of Mont Pellier since 2015, and has  been in residence at many American universities.

© Masha Mosconi



Holder of the Doctorate in viola from the CNSM of Lyon and the Certificate of Aptitude for teaching in 1996, his life
as a performer led her to play with the Paris Opera, the Orchester de Paris, the Orchester Philharmonique,
the Opéra de Lyon, the Ensemble Intercontemporain.
Passionate about teaching, she was national pedagogical coordinator of the Demos project for the
Philharmonie de Paris from 2016 to 2019 and professor of viola and collective practices at the CRR de Paris from 1996
to 2020.
Member of the orchestra Les Siècles directed by François-Xavier Roth since 2004 with which she performs in
the whole world.
Within this orchestra, she founded with her colleagues the sextet Les Pléiades, as well as the Journal Romantique
(trio with narrator) with whom she develops many projects for children and audiences
far away as in the great festivals of Europe.
She is now a member of the Diabelli quartet on period instruments.
Invested in the social field, she leads musical workshops with residents of the "
  Pension of
Family” by Abbé Pierre de Nimes and the group
"Pêle-méle" born from these workshops performed at the festival "
  it's not luxury" from Avignon in September 2021.
In 2020, she created the first edition of the Festival de Musique(s) Les Volques in Nimes, within which
a vast musical, educational and social project.
It invests the social centers of the districts far from the center by organizing participative concerts, open
for families: Les Ateliers des Volques.

© Masha Mosconi



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.



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 advanced cycle.  

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 Opéra Eclaté Lyric Company  and second violin of the ensemble Les Pléiades.



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

Quatuor Diabelli Aude.jpg


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 has founded the Diabelli string quartet on instruments
of time.

© Masha Mosconi

Amaryllis Jarczyk Cello.jpg


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



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

© Masha Mosconi



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.



In search of authenticity and passionate about instrumental craftsmanship, Rémi Gormand is sensitive to historically informed interpretations. His in-depth work on ancient and modern instruments with David Guerrier and Claude Maury in particular, led him to become solo horn of the Orchestra "  Centuries  under the baton of François-Xavier Roth. Within this internationally renowned ensemble, he performs in the biggest halls and records many symphonic records on period instruments.
Also appreciated by the great modern symphonic formations, he is regularly invited to orchestras such as the Orchester Philharmonique de Radio France, the Orchester Philharmonique de Strasbourg or the Orchester National de Lyon.
A seasoned chamber musician, he has also been a member of the Altra Quintet since its creation in 2013, which allows him to express himself differently thanks to the talent and friendship of his early musical partners.

Yi-Hsuan site.jpg


Born in Taiwan in 1993, Yi-Hsuan began music with the piano at the age of 5 and
percussion at 9 years old.
After obtaining a Bachelor's degree from Taipei National University of the Arts in 2015, she continued her
studies by entering the class of Ève PAYEUR at the CRR in Rueil-Malmaison where she obtained the
DEM, the EXCELLENCE award and the VIRTUOSITY award in 2016-2018. She then joined the CNSMD
of Lyon in the class of Jean GEOFFROY where she obtained her Master's degree in 2020.
Alongside his musical studies, Yi-Hsuan performs in several orchestras
Taiwanese in China and Japan. It also integrates various training courses such as the JU
Percussion Group 2, the female vocal ensemble LE MIROIR and the Nâgara ensemble.
Attracted by compositions combining music and gesture, she participated in the creation Laps de Basile
Chassaing (several dates in France and presentation at the Gaudeamus festival in 2020 – Netherlands)
She is currently studying at the CNSMDL in Artist Diplôma.

Trio Catch 2.jpg


catch! Attracting the public through music is the ambition of the Trio Catch! Appreciating the particular timbre of the instruments of this trio thanks to the virtuosity of the game while seeking a common and unique sound, this is what makes the Trio Catch so special.
Boglárka Pecze (clarinet), Eva Boesch (cello) and Sun-Young Nam (piano) met at the International Ensemble Modern Academy (IEMA) in Frankfurt. They then founded the Trio Catch whose name comes from the opus 4 “Catch” by composer Thomas Adès, where the clarinet is captured in a charming childish ritual by the other instruments. The three young musicians emphasize the interpretation of contemporary and classical repertoire.
The trio based today in Hamburg has collaborated for nine years already, with many composers - including Mark Andre, Georges Aperghis, Beat Furrer and Helmut Lachenmann - for various disc and radio recordings. Their first CD "In Between" was released in 2014 on the Col Legno label, followed by the second CD "Sanh" in March 2016. Their new album "As if", published in 2019 by the Bastille Musique label, received the German record critic (Preis der deutschen Schallplattenkritik).
In 2012 the Trio won the Hermann and Milena Ebel Prize and in 2014 the Berenberg Cultural Prize, in 2018 it received the Dwight and Ursula Mamlok Prize for the interpretation of contemporary chamber music.
The Trio Catch performs in South America, Asia and Europe, in halls such as the Philharmonie de Cologne, Elbphilharmonie Hamburg, Philharmonie du Luxembourg, the Pierre Boulez hall in Berlin and in festivals such as Musica Strasbourg, the festival  Ultraschall  Berlin, Heidelberger Frühling, Schleswig-Holstein Musik Festival, Klangspuren Schwaz and the  Wittener  Tagus for new Kammermusik.  During the 2015/16 season the trio performed in some of the finest concert halls as part of the series  Rising Stars  of the European Concert Hall Organization (ECHO).
The trio also engages in the field of artistic mediation and pedagogy - residency 2014 - 18 at the University of Music in Hamburg with a professorship for the interpretation of contemporary music. He also teaches in various primary schools in the Hamburg region on the model of the JeKi educational project -  Jedem Kind ein Instrument  : to each child his own instrument - and to the festival  Klangspuren  (Austria) as part of the workshops for young composers. Since 2016 the Trio Catch has created its own series of concert-workshops "Ohrknacker" - "Cracking ears" - in Berlin and Hamburg which each time presents a contemporary work specially composed for it.
© Lennard Ruehle



Born in 1982, Antoine Sobczak studied double bass at the CNR in Strasbourg with Richard Bianco and Stephan Werner. First prize in double bass (1999) and chamber music (2001, class of Denis Dercourt), he joined the CNSM in Paris in 2001-2002 in the class of Jean-Paul Celea. Very attracted by the orchestra, he was a member between 2001 and 2005 of the Orchester Français des Jeunes then of the European Union Youth Orchestra. In 2004, he participated in the first academy of the Orchester de Paris in partnership with the conservatory. In 2005, he finally became a member of the Orchester de Paris where he spent seven seasons. In 2011, he was named solo double bass of the Orchester du Capitole de Toulouse before winning the solo double bass competition of the Orchester de Paris the following year. Finally established as third soloist and eager to pursue variable geometry projects, he left the Parisian phalanx in January 2016. He is now a member of François-Xavier Roth's Orchester Les Siècles as solo double bass and plays regularly within David Grimal's Dissonances.



Emmanuel Bénèche developed a passion for the theater very early on, and as a child, played Mr Pierre in "La Sorcière du Placard à Balais" by Marcel Landowski under the gaze of the composer, before recording the role of the narrator in the opera-cantata "Le Ugly Duckling” by Jean Gauffriau. Holder of a first prize in modern horn from the CNSM in Lyon and a first prize in natural horn from the CNSM in Paris, he also studied drama with Georges Werler and Annette Barthélémy at the CNSMDP, then with Laurent Rey at the Conservatoire de Vincennes. This dual course led him to take a particular interest in musical theatre. In 2016, he played Thésée in "Ariane à Naxos" by Georg Benda with the Quatuor Byron in Evian and at the Toûno Festival in Switzerland, as well as the Duke in "Louison" by Alfred de Musset at the Espace Sorano in Vincennes. In 2017, he accompanied the Psophos Quartet at the Folles Journées de Nantes for "Le Masque de la Mort Rouge" by André Caplet, played "Le Rossignol" by Lionel Bord at the Philharmonie de Paris and a "Histoire du Soldat" by Igor Stravinsky at Vincennes auditorium. In 2018/2019 he was a reciter alongside the soloists of Les Siècles and Grégoire Pont in "Le Carnaval des Animaux" at the Théâtre de Nîmes and the Philharmonie de Paris. He also plays at the Théâtre Les Quinconces in Le Mans the "Pygmalion" by Georg Benda with Claire Gibault and the musicians of the Paris Mozart Orchestra, as well as a "Soldier's Story" with Cécile Pruvot and the musicians of the Centuries. In 2021, he creates at the Théâtre de Nîmes with the sextet Les Pléiades "L'Affaire Ludwig", a musical show for children and plays "Les Trois Brigands" with the wind quintet of the Orchester de Paris. During the 21/22 season, he will create “Le voyage de Mr Schubert” with Les Pléiades and will be a speaker at the Philharmonie de Paris in “How I was born”, the new show by composer Julien Joubert.



Guillaume LE PICARD obtained a first prize in percussion, unanimously from the jury, in 2006, at the CRR in Paris, as well as the higher diploma "orchestra training department", in 2009.

He has participated in several international competitions: 4th prize at the PASIC International Percussion Competition in Indianapolis (2011), Winner of the PASIC International Percussion Ensemble Competition in the United States (2009), winner of the FNAPEC with the “Argillos Percussion” ensemble (2009), finalist in the young classical music talent competition. He obtained the 3rd prize of the international composition competition of PASIC, in the United States, with "ABACA" piece for solo marimba (2007), winner of the international competition of timpani of PASIC, in the United States (2006), as well as than three 2nd prizes in international marimba and timpani competitions in Italy and Paris (2006).

He performs regularly as a percussionist, in groups such as the Orchester les Siècles, the Musiciens du Louvre, the Orchester Philharmonique de Radio France, the Orchester National de France, the Orchester de Paris, the Orchester National d'Ile de France, Secession Orchestra, Paris Mozart Orchestra, ...

At the same time, he has devoted himself to composition for several years, he is published by Alfonse Production, Klarthe and Alan Publications. It also responds to artistic commissions such as for the Musica Nigella festival, the upper Poitou-Charentes pole. Recently he composed the music for Stéphane Rolland's fashion show which took place at studio 104 of Radio France.



Tara Stafford-Spyres is from Rogersville, Missouri, USA and received her BM from Drury University and MM from Peabody Conservatory at Johns Hopkins University.  Roles with Springfield Regional Opera include Gilda in Rigoletto, Mimi in La Bohème, Violetta in La Traviata, Norina in Don Pasquale and The Queen of the Night in Mozart's Magic Flute.  She also played Laurie in The Tenderland, Cunegunde in Candide, Mrs. Nordstrom in A Little Night Music, Madeline/Isabelle in The Face On the Barroom Floor, Della in The Gift of the Magi by David Conte, Jenny in Roman by Robert Ward  Fever and Beatrice at the world premiere of Kevin Clark's chamber opera Some Ado.


  Tara has recently given recitals in Vienna, Austria and in Missouri and Arkansas in the United States.  In March 2022, she will sing the role of Nedda in the Ozarks Lyric Opera production Pagliacci.


  Tara has sung opera and recitals in the United States and Europe with Festival Lanaudière in Montreal, Canada, Utah Symphony Orchestra, Asheville Symphony, Asheville Lyric Opera, Springfield Symphony, Fairbanks Summer Arts Festival, Bad Urach Festival in Germany, Rossini festival in Wildbad  in Germany, in Pesaro, Italy, at the Boyne Music Festival in Ireland, at the Dartington International Festival in England and with the Moscow Chamber Orchestra in Moscow and St. Petersburg, Russia.



  In addition to her opera career, she has participated in numerous productions ranging from oratorio, chamber ensembles, concerts to musicals.

Sans titre.png


Robin Michael studied at the Royal Academy of Music with David Strange and Colin Carr and later with Ferenc Rados. He is principal cellist of the Orchester Révolutionnaire et Romantique, principal cellist of the Orchester Les Siecles (Paris) as well as regular guest principal cellist of the Australian Chamber Orchestra, the Scottish Chamber Orchestra, the BBC National Orchestra of Wales, the Royal Northern Sinfonia, Irish Chamber Orchestra, Britten Sinfonia, RTE Concert Orchestra, English Baroque Soloists, English National Opera and Orchestra of the Age of Enlightenment.

Robin was the cellist of the Fidelio trio for more than 10 years with whom he toured in Europe, North America, Asia and South Africa. He has also performed in collaboration with the Dante and Eroica quartets. Highlights of his discography include the first recording of Joe Cutler's Cello Concerto with the BBC CO (NMC), the first recording of the original version of Mendelssohn's Octet on period instruments (Resonus) and recordings in trio of Fidelio on Naxos, NMC, Métier and Delphian records.

Recent concert highlights include the complete Bach and Britten suite cycles in France and London, the South Korean premiere of 'Advaya' for cello and electronics by Jonathan Harvey, the two Haydn concertos at Spier festival in South Africa as well as appearances at festivals in Buenos Aires, Library of Congress, Washington and European festivals including Cheltenham, Aldeburgh and St. Magnus.

Upcoming projects include a recording of Brahms sonatas with Daniel Tong for Resonus Classics to be released in spring 2017, a cycle of Bach suites at the St. Magnus festival, a cycle of Britten suites at the 'Phil Grobi' festival in Auvergne and Kinnordy's first chamber music festival in Scotland where he is co-artistic director with Daniel Tong.
Robin plays a cello made for him by German luthier Stephan von Behr, 2010.

Joel Soichez.jpg


Supported by the Bleustein Blanchet Foundation for Vocation, Joël Soichez studied orchestral conducting at the Conservatoire National Supérieur de Musique et de Danse de Paris with Zsolt Nagy where he had the opportunity to receive advice from conductors such as Pierre Boulez, Peter Eötvös, Pierre-André Valade, Arie Van Beek…

At the same time, he cultivated his passion for historical pianos with Patrick Cohen, François Verry and Jorg Demus. For ten years, he took part in numerous training courses organized by the Royaumont Foundation, thus opening up to an extensive repertoire from the 11th century to the present day.

       Appreciated for its stylistic and technical versatility, it  works as a conductor, vocal coach, choirmaster or continuo player with the orchestras Les Siècles, Les Arts Florissants, the Orchester National de France, the Orchester de Chambre de Paris, the Ensemble Intercontemporain, the Ensemble Aleph as well as various productions of operas for the Théâtre des Champs-Elysées, the Opéra Comique, the Philharmonie de Paris, the operas of Lille, Dijon, Marseille, Lausanne...

       In 2014, the Philharmonie de Paris engaged him in many activities related to collective practices. In particular, he will lead several orchestras of the Demos project.

Since 2017, he has regularly assisted François-Xavier Roth on various projects with the Les Siècles orchestra, as well as at the Cologne Opera for the 2022 productions of Béatrice et Bénédict by Berlioz and Die Soldaten by Zimmerman.

Soon, Joël Soichez will conduct the Ensemble Nomos in works by Kagel and Xenakis at the Pote de Besançon festival. He will then perform in chamber music on historical instruments with cellist Christophe Coin in Courtenay and violist Carole Roth-Dauphin at the Les Volques festival in Nîmes.



Tenor Michael Spyres was born in Mansfield, Missouri.

In 2009, he made his debut at La Scala where he took on the role of Belfiore in Le Voyage à Reims by Rossini then New York in the role of Raoul in Les Huguenots by 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 Bernstein's Candide at the Flanders Opera. He performed Tybalt in Roméo et Juliette by Gounod at the Salzburg Festival, the title role in La Damnation de Faust by Berlioz at the Opéra de Flandre in 2012, the title role in Les Contes d'Hoffmann by Offenbach for his debut at the Liceu and Rodrigo in La Dame du Lac for his London ROH debut in 2013, as well as the title role of Berlioz's Benvenuto Cellini at the English National Opera in 2014. That year he also made his debut as 'Alfred in Johan Strauss' The Bat in Chicago. In 2015, he went to the Royal Festival Hall in London as Alim in Le Roi de Lahore by Massenet.

In 2016, he sang the title role of Mitridate at the Théâtre des Champs-Élysées, in Dijon and at La Monnaie and that of Time in Le Triomphe du Temps et de la Désillusion in Aix-en-Provence. He returned to the TCE in 2017 for his first Don José in Carmen by Bizet in concert version, while he made his debut in Munich in Les Contes d'Hoffmann, at the Paris Opera in La Clémence de Titus and in Zurich with the role -Orlando Paladino title. In 2018, he played Vasco de Gama in L'Africaine by Meyerbeer for his debut in Frankfurt, participated in the acclaimed rediscovery of La Nonne sanglante by Gounod at the Opéra Comique, took the role of Fernand in La Favorite at the Liceu and that of Florestan in Fidelio at TCE. Then, in 2019, he made his debut at the Théâtre de la Vienne as Lucinius in La Vestale by Spontini and at the Vienna Opera with 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



Michael Rolland  trained in bassoon at the CNR in Rouen. A graduate in this discipline and also in chamber music,  he perfected his skills with the soloists Ludovic TISSUS and Jean-François DUQUESNOY.

His meeting with the young conductor François-Xavier ROTH, in 2003, directs his musical practice towards period instruments: he becomes  principal bassoon of the orchestra “Les Siècles”, in which he plays baroque, classical, romantic, early 20th century and modern bassoons.

Michael  balances his professional life between his activity as a concert performer and teaching, which he lavishes in Normandy, at the CRD of Grand-Couronne and the CRC of Louviers, and within the framework of academies and advanced training courses in which he supervises students.

Corinne Schneider Site.jpg


Musicologist and producer on France-Musique


Doctor in musicology (University of Tours), Corinne Schneider obtained the first prizes
in Music History and Aesthetics at the Paris Conservatory. Alongside his
musicological research and writings that focus on musical exchanges between France and
Germany in the 19th century, she is interested in contemporary musical creation in France.
Professor of Music History in Conservatories, she is regularly invited to give
lectures and works with festivals, orchestras and concert institutions such as
music consultant. Author of a biography of Carl Maria von Weber (Gisserot,
1998), a study of the reception of Franz Schubert (Reflets schubertiens, Fayard, 2007) and
an essay on the Music of Travels (Fayard, 2019), since 2008 she has produced several
broadcasts for France-Musique (Morning of the musicians, Postcards, Portraits
contemporaries, Great Interviews, Crossroads of creation, Grand Large, Classic summer…)
including Sunday Bach since September 2017.


Photo: France Music ©Christophe Abramowitz

Barrard 2_Portrait Harcourt pour Presse et Programme uniquement.jpeg


After the Nîmes Conservatory, Marc Barrard perfected his skills with Gabriel Bacquier. From 1984 he won
many prizes including the Special Prize of the Chambre Syndicale des directors de Théâtres en France and is
immediately invited by the CHORÉGIES D'ORANGE for Hérault/Macbeth.
Since then he has been invited to the French and international operatic stages of the TEATRO COMUNALE DE BOLOGNE, SCALA DE
roles of the Italian and French repertoires, with a prominent place for the latter.
Recently, we have been able to hear him notably in Le Bailli/Werther (ROME, NANCY); the title role of Saint-François
d'Assise & Flambeau/L'Aiglon (recorded CD - ORCHESTRE SYMPHONIQUE DE MONTRÉAL); the title role of Ariadne and Bluebeard

(STRASBOURG); Agamemnon/La Belle Hélène (PARIS-CHÂTELET); The Clock – The Cat/The Child and the Spells (SWR-
ORCHESTER STUTTGART, enr. CDs); Golaud/Pelléas et Mélisande & Le Marquis/Dialogues des Carmélites (STAATSOPER

HAMBURG); The Count of Nevers/The Huguenots (NICE OPERA, DEUTSCHE OPER BERLIN); Don Alfonso/Cosi fan Tutte,
Claudius/Hamlet & Bartolo/Le Nozze di Figaro (MARSEILLE); Sharpless/Madame Butterfly (ORANGE CHOREGIES);
Comte Des Grieux/Manon (MONTE-CARLO), Golaud (SYDNEY), Le Baron/La Vie Parisienne (BORDEAUX); Dulcamara/Elisir
Offenbach for the Köln Akademie (Enr CD); Baron Douphol/La Traviata & Lord Guglielmo Cecil/Maria Stuarda
concert for LES GRANDES VOICES (THÉÂTRE DES CHAMPS-ELYSÉES); Pandolfe/Cinderella (NANCY); Sancho/Don Quixote
(SAINT ETIENNE) ; Dulcamara/Elisir d'Amore (TOULOUSE) etc.
Marc Barrard also performs under the direction of conductors such as Michel Plasson, John Nelson, Christoph
Eschenbach, John Eliot Gardiner, Lorenzo Viotti, Stéphane Denève, Kent Nagano etc.
In 2020 the performances of Michonnet/Adrienne Lecouvreur (MARSEILLE), her masterclasses and recital (THÉÂTRE
CHRISTIAN LIGIER NÎMES) and Le Bailli/Werther (Théâtre des Champs-Elysées) are canceled due to the COVID-19 pandemic.
In 2020-21, he can be found in Le Bailli/Werther (Auditorium Maurice Ravel Lyon), Wurm/Luisa Miller (Opéra de
Marseille) and Agamemnon/La Belle Hélène (Théâtre des Champs-Elysées, New Century Lille) etc.
Among his projects in 2021-22: Werther in Monte-Carlo and Marseille; Dialogues of the Carmelites at the Staatsoper
Hamburg etc



Patrick Hahn is a playwright, author and music manager. Born in Zurich, she studied Musicology, German Literature and Philosophy at the University of Cologne. As an author and presenter he worked for WDR 3 as well as for institutions such as the Goethe-Institut, the Beethovenhaus Bonn, the Wittener Tage für neue Kammermusik, Musik der Zeit or the Bayreuther Festspiele. Since 2011-15 he has been dramaturge for opera and concerts at the Staatsoper Stuttgart, since 2015 he has been artistic delegate of the Gürzenich-Orchester Köln. Besides, he participated in the writing and conception of several symphonic and lyrical works.  in collaboration with composers such as Mark Andre, Stefano Gervasoni, Cathy Milliken oder Vito Žuraj.

Artistes: Prestations
bottom of page