The artistic-direction of the Saint-Etienne Opera, at all times in search of new talents, perceived in Alexandra Marcellier’s voice a promising spinto-soprano and consequently offered her the role of Cio-Cio-San in Puccini’s Madama Butterfly. For the young French singer the challenge is all the more exciting, as she is performing a title-role on an opera-stage for the very first time. Performances on November 5, 7 and 9, 2021.
Even in pandemic times pleasant encounters can occur! Just as it happened to stage-director Émilie Rault and me. Initially she recounted with enthusiasm her diploma thesis with the title „The area of sound: Staging Richard Wagner’s Der Ring des Nibelungen“ which gives an exciting overview on the Ring-interpretation from 1950 through 2010. I got right away intensely thrilled by Émilie Rault’s openness of spirit, her endeavour to refrain from any kind of precondition and inherent aesthetics as well as her general curiosity for all kinds of performing arts and for new magic in particular.
Émilie has already staged Gluck’s Orphée et Euridice, Paisiello’s Il barbiere di Siviglia, Gounod’s Faust and Roméo et Juliette, Berlioz’ La Damnation de Faust and Debussy’s Pelléas et Mélisande. She has also joined numerous other opera-productions assisting stage-directors such as Kirsten Dehlholm, Philippe Arlaud, Ralf Pleger, Alexander Polzin, Galin Stoev and Sommer Ulrickson.
Welcome, dear Émilie and for a long-lasting teamwork!
After having suffered badly from an extremely high number of performance-cancellations due to the covid-situation, a wonderful season – possibly his most beautiful so far – is starting for Reinoud Van Mechelen. Beforehand: Alpha Classics just released the second part of his trilogy dedicated to the legendary French hautes-contres (high tenors) of the 18th century with the title Jéliote, haute-contre de Rameau. Reinoud returns to the Berlin State-Opera for another series of Hippolyte et Aricie (Hippolyte) right before making his role-debut as Ferrando (Così fan tutte) at De Vlaamse Opera. He appears as „artist in residence“ with the Klara Festival in Brussels, takes the part of the evangelist in Saint Matthew’s Passion with the Collegium Vocale and Philippe Herreweghe on tour throughout Europe before making his debut with the Paris Opera (Mercure in Platée). The end of the season sees him within a staged production of Mondonville’s Titon et l’Aurore at the Opéra Royal de Versailles.
Marie-Claude Chappuis is entering the new season with a festive upbeat when joining the Orchestre de la Suisse Romande and its principal-conductor Jonathan Nott within the opening-concert of the Festival Septembre Musical in Montreux singing orchestra-melodies by Henri Duparc. Subsequently she will be part of the gala-concert celebrating the 20th anniversary of the Concert d’Astrée at the Paris Théâtre des Champs-Elysées under the baton of Emmanuelle Haïm. Later on to follow her interpretation of Dido in Purcell’s Dido and Aeneas within two different productions: first at the Lille Opera and then at the Berlin State Opera.
Margot Genet proceeds determinedly her own way, drifted ashore by favourable winds as well as significant recognition. In June she was awarded the scholarship "Malvina et Denise Menda" from the Opéra Comique in Paris, followed by the invitation as an awardee of the Royaumont Foundation to sing the role of Poppea in a production of Haendel's Agrippina. As from this season 2021/22 she is a member of the NRW opera-studio which offers her the opportunity to join numerous stage-productions of four different German Opera Companies: Dortmund, Essen, Gelsenkirchen and Wuppertal. Starting in Gelsenkirchen with Eurydice in Orpheus in the Underworld and followed by one of the title-roles in The Sultan’s Children in Dortmund, a world-premiere by Avner Dorman.
Hugo von Hofmannsthal and Richard Strauss eternalized within their Rosenkavalier apt quotations for almost any and every circumstance. It is self-evident to avail oneself of these, especially when needing to say good-bye to the artists’ world. After 30 years as an artists’ manager (23 of these self-employed) it is time for me to leave this profession behind me. I undergo this change to retirement with a mixture of happiness and sadness.
Most of all I will miss my office-partner Laurent; the regular information exchange with him since more than 10 years has generated an occupational, however also supremely human constant value for me. Following the motto which we had set for ourselves, I can say, classical music remains our world and Laurent will, of course, carry on as an artists’ manager. I wish him for his professional as for his personal future all the very best.
Throughout the many years of profession I managed to work for numerous artists, for some as their general-manager, for others on a project-related basis. The memory of outstanding performances, of perfectly happy as well as distressing moments continues to have an effect on me and will persist. I would like to thank all artists who had confidence in me and who cherished my career counselling. I wish them luck and success for all their projects especially in such difficult time, however also health and contentedness, of course.
With kind regards