Hailed as the “the new voice of opera” with “silky high notes and a voluptuous middle voice”, soprano Julie Fuchs has established herself as one the most versatile musical artists of our time; dazzling audiences across the world’s premiere opera houses and concert halls.
She began her musical and theatrical training in Avignon and graduated with honors from the Conservatoire National Supérieur in Paris. She was second prize winner at Operalia in 2013 and was awarded two Victoires de Musique prizes in 2012 and 2014.
Her 2019/20 season begins in Paris with the roles of Fatima and Emilie in the new production of Rameau’s Les Indes Galantes, followed by a return to Opernhaus Zürich for her role debut as Norina in a new production of Don Pasquale.
She remains in Zürich for another role debut as Zdenka as she ventures into German repertoire in Strauss’s Arabella. Yet another role debut comes next, this time at the Wiener Staatsoper as Despina in Mozart’s Cosi fan tutte. Julie’s season ends at the Opéra national de Paris as Musetta in Puccini’s La bohème.
Operatic highlights of previous seasons include Marie in La fille du regiment at the Wiener Staatsoper, Leïla in Les pêcheurs de perles at the Théâtre des Champs-Elysées (a recording of which was released on the Pentatone label in early 2018), Comtesse Adèle in Le Comte Ory at Opéra Comique, Guinia in Lucio Silla at Teatro Real Madrid, Zerlina in Don Giovanni at the Festival d’Aix-en-Provence, Musetta in La boheme at the Bayerische Staatsoper, la Folie in Rameau’s Platée and Esther in Trompe-la-mort at Opéra de Paris, the title role in L’incoronazione di Poppea, Fiorilla in Il turco in Italia, Countess of Folleville in Il viaggio à Reims, and Angelica in Orlando at Opernhaus Zurich.
On the concert platform, Julie’s engagements include an American concert at Choregies d’Orange, Mozart’s Great Mass in C Minor and La morte d’Abel at Salzburg Festivals, her debut at the BBC Proms 2016 with the BBC Symphony Orchestra, and a concert at the Philharmonie Berlin with the Deutsches Symphonie-Orchester.
Julie’s discography includes a recording of early songs by Mahler and Debussy with Alphonse Cemin, and a disc of Songs for Piano and Voice by Poulenc (Atma Classique).
In 2014, Julie signed an exclusive contract with Deutsche Grammophon, with her first solo album ‘Yes !’ released in 2015.
Her latest album, Mademoiselle, featuring Orchestre national d'Île-de-France was released in February 2019 to critical acclaim.
Hailed as a “pioneer” (France Musique) for her use of social media, she can be found @juliefuchssoprano on instagram, facebook and twitter.
From the outset of his career, bass-baritone Edwin Crossley-Mercer proved himself an outstanding talent amongst the rising generation of French singers and he continues to make his mark, performing on the most prestigious international stages. After studying in Versailles and Berlin, he made his opera debut as Mozart’s Don Giovanni in Berlin in 2006, reprising the eponymous role in 2013 in Dijon.
In 2009 he sang in Cosi fan tutte at the Festival d’Aix-en-Provence as Guglielmo, while 2010 marked his Opéra Bastille debut as the Harlekin in Ariadne auf Naxos, which he reprised in 2015. He also performed La Juive in Amsterdam as Albert, Amadis at the Opéra d’Avignon (Florestan), La Cenerentola at the Opéra National du Rhin (Dandini), Hippolyte et Aricie at the Beaune Festival and Opéra Royale de Versailles (Thésée), and at the Theatre de Champs-Elysées in Castor et Pollux (Pollux). At the Berlin operas he has performed La Bohème (Schaunard), Der Freischütz, and Doktor Faustus under Daniel Barenboim.
Edwin made his US debut in 2012 as Figaro with the LA Philharmonic under Gustavo Dudamel.
He also appeared as Jupiter in Platée at the Lincoln Centre, Theater an der Wien, and the Opéra Comique, and as the title role in Fénelon’s biographical opera of Jean-Jacques Rousseau in Geneva. Leporello at the 2014 Glyndebourne Festival marked his UK debut.
Returning to the Bastille Opera, he made a highly successful debut as Papageno (Die Zauberflöte), before appearing with the Berliner Philharmoniker in La Damnation de Faust in Baden-Baden. He also debuted in Japan at the Saito Kinen festival as Claudio in Béatrice et Bénédicte.
Highlights of the 2014-2015 season included Massenet’s Manon at The Dallas Opera (Lescaut), the creation ‘Mauerschau’, at the Bayerische Staatsoper, and La Damnation de Faust (Brander) at the Paris Opera.
As an experienced recitalist, he has performed at Moscow’s Dom Musiki, Carnegie Hall, Aix-en-Provence, Opéra de Lille, Musée d’Orsay (Die Winterreise, Die Schöne Magelone), and St Petersburg, as well as Bayreuth, the Louvre, Bad Kissingen and the Festival de Colmar. Concerts include the Bayerischer Rundfunkorchester (Deutsches Requiem), the Orchestre Nationale de France (Fauré, Requiem), Handel’s Messiah in Vienna, L’Enfance du Christ with the Scottish Chamber Orchestra and Mozart’s Requiem in Perm and Moscow.
Recipient of the 2007 HSBC Foundation Award and the Lili and Nadia Boulanger Voice Prize, his recordings include Les Motets by Charpentier, Arias and Opera Extracts by Lully, and Carmina Catulli, which was composed especially for his voice by Michael Linton, and released by the label Refinersfire. He has also collaborated in recordings of Amadis and Alceste (Lully) and Hercule Mourant with les Talens Lyriques (dir. Christophe Rousset).
Edwin has also collaborated with several other artists to produce a CD presenting the ‘Unknown Music of Nadia Boulanger’, which was released in March 2017.
Returning in 2017 to the Opera Garnier in Così Fan Tutte, he also performed numerous concerts and recitals around Europe and in the USA. Other projects included Belfast for Beethoven’s 9th Symphony, Perm, Dortmund and Baden-Baden for La Bohème, Santiago de Chile for Don Giovanni, and Dresden, Amsterdam, Hamburg and Malmö for La Damnation de Faust and Munich for Orlando Paladino (Haydn).
The 2018/19 season saw Edwin return to the Theater an der Wein for Guillame Tell (Walter Fürst) and appear as Apollon and Adamas (Les Boreades) at the Dijon Opera, and as Thésée (Hippolyte et Aricie) in Zurich as well as joining the Orchestre National de France under Emmanuel Krivine for L’Enfance du Christ in concert and for La Damnation de Faust.
Next season begins with his return to l’Opéra Bastille for Les Indes Galantes (Osman) under Leonardo Garcia Alarcon, directed by Clément Cogitore, quickly followed by Fidelio (Don Fernando) at the Bayerische Staatsoper; he will then return to Paris for L’Enfant et les Sortilèges as Fauteuil and Arbre before returning again to the Bayerische Staatsoper for a Reprise of Cenerentola as Dandini, taking the title role in Castor and Pollux and appearing as Rodomonte in Orlando Paladino.
Born in 1986, Alphonse Cemin studied piano and flute at the CNR Boulogne-Billancourt before attending the Conservatoire de Paris. He is one of the founders of Le Balcon.
In 2015 Cemin directed Michaël Levinas’ opera La Métamorphose at the Musica festival in Strasbourg and, in 2016, the premiere of Tomas Bordalejo’s opera, Bureau 470.
In 2017 he became Assistant Conductor at the Bolshoi Theater in Moscow for George Benjamin’s opera Written on Skin. This season he will direct Into the Little Hill, at the Théâtre de l’Athénée in Paris.
In recital Cemin performs regularly with soprano Julie Fuchs, Damien Pass, Marianne Crebassa, Léa Trommenschlager and Manuel Nuñez-Camelino.
As a chamber music partner he has performed with, amiong others, Jean-Guihen Queyras, Tabea Zimmermann, Santiago Cañon-Valencia, Emmanuel Pahud, Paul Meyer and the Zaïde Quartet.
As a soloist, he has performed under the direction of Pierre Boulez (Pierrot Lunaire), Peter Eötvös, David Robertson and Mathias Pintscher.
In 2010, he was HSBC Pianist of the Aix- en-Provence Festival Academy and in 2013 he received the Stockhausen Kurse Kürten Performance Award. In 2017 he won the Gabriel Dussurget prize at the Aix-en-Provence festival.