Co-artistic directors and performers: Fabienne Seveillac & Andreas Halling
Performers
CURRENT & FUTURE PRODUCTIONS
Elise Chauvin [Ted Hearne, A-RONNE, RELICS]
Céline Laly [Sinfonia, WORK SONGS]
Naomi Beeldens [Sinfonia, A-RONNE, RELICS, Wastories]
Ellen Wils [Sinfonia, A-RONNE, Ted Hearne]
Els Mondelaers [A History of the Voice, The Mirror Stage, newpolyphonies]
Tiemo Wang [A History of the Voice, The Mirror Stage, Ted Hearne, Sinfonia, RELICS, A-RONNE]
Gunther Vandeven [newpolyphonies, WORK SONGS, Ted Hearne, Wastories]
Arnout Leems [A-RONNE]
Pascal Zurek [A-RONNE]
Florent Baffi [Sinfonia]
Pieter Stas [RELICS]
PAST PRODUCTIONS
Lore Binon, soprano ['Sinfonia', Berio: spring 2020]
Julie Calbete ['horizontal chorus', Ula Sickle, April 2019; 'Sinfonia', Berio: spring 2020]
Jean-Manuel Candenot, baryton-basse ['horizontal chorus', Ula Sickle, April 2019; 'Sinfonia', Berio: spring 2020]
Kevin Skelton, tenor ['Sinfonia', Berio: spring 2020 & 2022]
Jean-Baptiste Vereyt-Logerias, baryton [participation in WIELS residency with Ula Sickle and Stine Jarvin, fall 2018]
Christie Finn, soprano (Loopstation, spring 2018)
Pauline Claes, mezzo-soprano (Loopstation, spring 2018)
Laurence Servaes, soprano (Loopstation, spring 2018)
Performers
CURRENT & FUTURE PRODUCTIONS
Elise Chauvin [Ted Hearne, A-RONNE, RELICS]
Céline Laly [Sinfonia, WORK SONGS]
Naomi Beeldens [Sinfonia, A-RONNE, RELICS, Wastories]
Ellen Wils [Sinfonia, A-RONNE, Ted Hearne]
Els Mondelaers [A History of the Voice, The Mirror Stage, newpolyphonies]
Tiemo Wang [A History of the Voice, The Mirror Stage, Ted Hearne, Sinfonia, RELICS, A-RONNE]
Gunther Vandeven [newpolyphonies, WORK SONGS, Ted Hearne, Wastories]
Arnout Leems [A-RONNE]
Pascal Zurek [A-RONNE]
Florent Baffi [Sinfonia]
Pieter Stas [RELICS]
PAST PRODUCTIONS
Lore Binon, soprano ['Sinfonia', Berio: spring 2020]
Julie Calbete ['horizontal chorus', Ula Sickle, April 2019; 'Sinfonia', Berio: spring 2020]
Jean-Manuel Candenot, baryton-basse ['horizontal chorus', Ula Sickle, April 2019; 'Sinfonia', Berio: spring 2020]
Kevin Skelton, tenor ['Sinfonia', Berio: spring 2020 & 2022]
Jean-Baptiste Vereyt-Logerias, baryton [participation in WIELS residency with Ula Sickle and Stine Jarvin, fall 2018]
Christie Finn, soprano (Loopstation, spring 2018)
Pauline Claes, mezzo-soprano (Loopstation, spring 2018)
Laurence Servaes, soprano (Loopstation, spring 2018)
Fabienne Seveillac, mezzo-soprano & co-artistic director
French mezzo-soprano Fabienne Seveillac returned to Europe in 2011 after having spent five years in New York where she obtained a Masters in Performance/Voice at the Brooklyn College Conservatory. During her studies there she performed the lead role in L’enfant et les sortilèges, Arnalta in L’incoronazione di Poppea, Pierrot lunaire, and she premiered numerous pieces by young composers. In 2009 she received the Robert Starr Award for the best interpretation of a living composer. She has since devoted herself mainly to the interpretation and teaching of music of the 20th and 21st centuries.
After a Masters in Musicology focusing on Kurtág and Beckett, she focuses on singing at the Centre de Formation pour Jeunes Chanteurs du Jeune Chœur de Paris, where she sang with Laurence Equilbey and other conductors such as John Nelson and Pierre Boulez. Since returning from New York she has been singer and co-artistic director of soundinitiative and co-director of HYOID contemporary voices. She has performed solo and chamber music at festivals and artist residencies in France, Belgium, Netherlands, United Kingdom, Italy, Germany, Switzerland, Austria, United States, Canada, Singapore, Australia and New-Zealand.
She has been invited by Mesostics, Contrechamps (Geneva), Insolitus, Muziektheater Transparant (Antwerp); premiered Santiago Diez Fischer's opera La Nuit Aveugle with Le Balcon and Jean-Pascal Chaigne’s cycle Mezza Voce with Les Musiciens du Parnasse, and of course performed with soundinitiative and HYOID in various festivals including the Darmstadt Summer Festival, Klara festival (BE), Blurred Edges, Hamburg (DE), Sons d’automne in Annecy (FR), What's Next, Brussels, Transit, Leuven (BE), the Impuls Akademie, Graz (AU), November Music and Sounds of Music (NL), Huddersfield Contemporary Music Festival (UK), or BIFEM (Australia).
Fabienne has been established since 2014 in Brussels, where is based HYOID contemporary voices. Passionate about pedagogy, she has taught or given workshops in multiple contexts, from CRR de Reims to Monash University (Australia). She now teaches singing at the international school P.A.R.T.S. (A.T. de Keersmaeker) and regularly works as a vocal coach on contemporary dance and theatre & film productions (Eric Arnal Burtschy, Eleanor Bauer & Chris Peck, David Williamson, Ula Sickle, Alexander Vantournhout).
After a Masters in Musicology focusing on Kurtág and Beckett, she focuses on singing at the Centre de Formation pour Jeunes Chanteurs du Jeune Chœur de Paris, where she sang with Laurence Equilbey and other conductors such as John Nelson and Pierre Boulez. Since returning from New York she has been singer and co-artistic director of soundinitiative and co-director of HYOID contemporary voices. She has performed solo and chamber music at festivals and artist residencies in France, Belgium, Netherlands, United Kingdom, Italy, Germany, Switzerland, Austria, United States, Canada, Singapore, Australia and New-Zealand.
She has been invited by Mesostics, Contrechamps (Geneva), Insolitus, Muziektheater Transparant (Antwerp); premiered Santiago Diez Fischer's opera La Nuit Aveugle with Le Balcon and Jean-Pascal Chaigne’s cycle Mezza Voce with Les Musiciens du Parnasse, and of course performed with soundinitiative and HYOID in various festivals including the Darmstadt Summer Festival, Klara festival (BE), Blurred Edges, Hamburg (DE), Sons d’automne in Annecy (FR), What's Next, Brussels, Transit, Leuven (BE), the Impuls Akademie, Graz (AU), November Music and Sounds of Music (NL), Huddersfield Contemporary Music Festival (UK), or BIFEM (Australia).
Fabienne has been established since 2014 in Brussels, where is based HYOID contemporary voices. Passionate about pedagogy, she has taught or given workshops in multiple contexts, from CRR de Reims to Monash University (Australia). She now teaches singing at the international school P.A.R.T.S. (A.T. de Keersmaeker) and regularly works as a vocal coach on contemporary dance and theatre & film productions (Eric Arnal Burtschy, Eleanor Bauer & Chris Peck, David Williamson, Ula Sickle, Alexander Vantournhout).
Andreas Halling, tenor & co-artistic director
Swedish tenor Andreas Halling divides his time between solo, chamber music and ensemble engagements around Europe. His career has been largely shaped by his upbringing amidst the Swedish choral tradition, where contemporary composers such as Lidholm, Sandström and Jennefelt are a natural part of the repertoire and where a capella singing is the norm.
After relocating to Paris, Andreas begun studies at Centre de Musique Baroque de Versailles, specialising in French Baroque and participating in master classes with Howard Crook, Noelle Barker, and Alain Buet. With CMBV, he performed extensively in concerts throughout France and the rest of Europe, both as soloist and ensemble singer. He later pursued studies at the Royal Conservatoire in The Hague where he followed courses in singing and music recording (tonmeister), and took part in master classes with guest teachers Paul Hillier and Sigrid T’Hooft.
Andreas currently resides in Brussels. He is frequently engaged as a soloist in the European early music scene, but is also returning to his roots in contemporary vocal music. In recent collaborations with groups Blindman [VOX] and Ensemble 21, and under conductors Marc Collet and Georges-Elie Octors, he has performed repertoire of Glass, Saariaho and Fafchamps among others.
He is also still active in the European choral scene and has worked with many of the world’s most important baroque and contemporary ensembles, including Eric Ericson Chamber Choir, Cappella Amsterdam and the Dutch Bach Society, and conductors Daniel Reuss, René Jacobs and Eric Ericson. He is a member of the emerging ensemble Mogens Dahl Chamber Choir, based in Copenhagen, with whom he performed the world premiere of Sven-David Sandström’s St. John’s Passion in Berlin in March 2016.
Swedish tenor Andreas Halling divides his time between solo, chamber music and ensemble engagements around Europe. His career has been largely shaped by his upbringing amidst the Swedish choral tradition, where contemporary composers such as Lidholm, Sandström and Jennefelt are a natural part of the repertoire and where a capella singing is the norm.
After relocating to Paris, Andreas begun studies at Centre de Musique Baroque de Versailles, specialising in French Baroque and participating in master classes with Howard Crook, Noelle Barker, and Alain Buet. With CMBV, he performed extensively in concerts throughout France and the rest of Europe, both as soloist and ensemble singer. He later pursued studies at the Royal Conservatoire in The Hague where he followed courses in singing and music recording (tonmeister), and took part in master classes with guest teachers Paul Hillier and Sigrid T’Hooft.
Andreas currently resides in Brussels. He is frequently engaged as a soloist in the European early music scene, but is also returning to his roots in contemporary vocal music. In recent collaborations with groups Blindman [VOX] and Ensemble 21, and under conductors Marc Collet and Georges-Elie Octors, he has performed repertoire of Glass, Saariaho and Fafchamps among others.
He is also still active in the European choral scene and has worked with many of the world’s most important baroque and contemporary ensembles, including Eric Ericson Chamber Choir, Cappella Amsterdam and the Dutch Bach Society, and conductors Daniel Reuss, René Jacobs and Eric Ericson. He is a member of the emerging ensemble Mogens Dahl Chamber Choir, based in Copenhagen, with whom he performed the world premiere of Sven-David Sandström’s St. John’s Passion in Berlin in March 2016.
Céline Laly, soprano
After studying in Italy (Opera Studio - Accademia Santa Cecilia) and Vienna (Universität für Musik und Darstellende Kunst), Céline Laly is conferred the Prix of Singing and Chamber Music from the Conservatoire National Supérieur de Musique de Paris, and a Master in musicology from the Sorbonne – Paris IV. She also received artistic advise from Thomas Quasthoff, Renata Scotto, Ann Murray, and is awarded in the 2011 Concurso Internacional de Canto Montserrat Caballé.
As an eclectic artist, Celine Laly particularly likes a theatral and dramatic approach of singing, which leads her to the recital and many intimist productions (Erwartung - Schoenberg, Le Martyre de Saint-Sébastien & Pelléas et Mélisande -Debussy, Peer Gynt / Solveig -Grieg or Kátia Kabanová / Varvara -Janacek). This last Janacek’s performance, firstly staged in Paris at the Theatre des Bouffes du Nord by André Engel (musical direction by Irène Kudela), was awarded the Grand Prix du Syndicat de la critique 2012, for best Opera production of the year.
Carrying this quest in many repertoires, she performs as a soloist with the Ensemble baroque de Limoges (C. Coin), the ensemble Pulcinella (O. Gaillard), La Risonanza (F. Bonizzoni), La Clique des Lunaisiens (A. Marzorati), Les Frivolités Parisiennes... She also works together with famous dancer Mallika Sarabhai for special projects mixing indian and european musicians and dancers (Darpana Academy of Performing Arts – India).
On stage she sang Mélisande (Pelléas et Mélisande - C. Debussy), Varvara (Kàtia Kabanovà - L. Janacek), Solveig (Peer Gynt – E. Grieg), Alcina (Alcina - G.F. Haendel), Rosina (Il Barbiere di Siviglia - G. Rossini), Zerlina (Don Giovanni - W.A. Mozart), Micaela (Carmen - G. Bizet), Colette (Le Devin du Village – J-J Rousseau), Marguerite (Le Petit Faust - Hervé), Stella (Le Dernier Sorcier - P. Viardot) in the production by J-L. Pichon, O. Achard, R. Préchac, M. Reichler, P. Thirion- Vallet, E. Cordoliani (Opéra de Marseille, Opéra d’Avignon, Cité de la Musique, Théâtre Dejazet...).
She also sang in the creation of two contemporary operas, Pierre-la-Tignasse of B. Bianchi and Les Aventures de Tyo of F. Bou, and also explores the very particular fields of music theatre and melodrama (K. Maratka, G. Asperghis, JP. Drouet, T. Johnson, JR. Guédon...).
Her recording of the Opera Der Kaiser von Atlantis of Victor Ullmann (Bubikopf) was released on 2015, and a DVD of Kátia Kabanová (recording in Théâtre des Bouffes du Nord) will be published in the near future.
After studying in Italy (Opera Studio - Accademia Santa Cecilia) and Vienna (Universität für Musik und Darstellende Kunst), Céline Laly is conferred the Prix of Singing and Chamber Music from the Conservatoire National Supérieur de Musique de Paris, and a Master in musicology from the Sorbonne – Paris IV. She also received artistic advise from Thomas Quasthoff, Renata Scotto, Ann Murray, and is awarded in the 2011 Concurso Internacional de Canto Montserrat Caballé.
As an eclectic artist, Celine Laly particularly likes a theatral and dramatic approach of singing, which leads her to the recital and many intimist productions (Erwartung - Schoenberg, Le Martyre de Saint-Sébastien & Pelléas et Mélisande -Debussy, Peer Gynt / Solveig -Grieg or Kátia Kabanová / Varvara -Janacek). This last Janacek’s performance, firstly staged in Paris at the Theatre des Bouffes du Nord by André Engel (musical direction by Irène Kudela), was awarded the Grand Prix du Syndicat de la critique 2012, for best Opera production of the year.
Carrying this quest in many repertoires, she performs as a soloist with the Ensemble baroque de Limoges (C. Coin), the ensemble Pulcinella (O. Gaillard), La Risonanza (F. Bonizzoni), La Clique des Lunaisiens (A. Marzorati), Les Frivolités Parisiennes... She also works together with famous dancer Mallika Sarabhai for special projects mixing indian and european musicians and dancers (Darpana Academy of Performing Arts – India).
On stage she sang Mélisande (Pelléas et Mélisande - C. Debussy), Varvara (Kàtia Kabanovà - L. Janacek), Solveig (Peer Gynt – E. Grieg), Alcina (Alcina - G.F. Haendel), Rosina (Il Barbiere di Siviglia - G. Rossini), Zerlina (Don Giovanni - W.A. Mozart), Micaela (Carmen - G. Bizet), Colette (Le Devin du Village – J-J Rousseau), Marguerite (Le Petit Faust - Hervé), Stella (Le Dernier Sorcier - P. Viardot) in the production by J-L. Pichon, O. Achard, R. Préchac, M. Reichler, P. Thirion- Vallet, E. Cordoliani (Opéra de Marseille, Opéra d’Avignon, Cité de la Musique, Théâtre Dejazet...).
She also sang in the creation of two contemporary operas, Pierre-la-Tignasse of B. Bianchi and Les Aventures de Tyo of F. Bou, and also explores the very particular fields of music theatre and melodrama (K. Maratka, G. Asperghis, JP. Drouet, T. Johnson, JR. Guédon...).
Her recording of the Opera Der Kaiser von Atlantis of Victor Ullmann (Bubikopf) was released on 2015, and a DVD of Kátia Kabanová (recording in Théâtre des Bouffes du Nord) will be published in the near future.
Naomi Beeldens, soprano
As a versatile performer, soprano Naomi Beeldens (°1988) has a predilection for music theatre, contemporary music and all things experimental. She likes to seek for boundaries – between genres, genders, disciplines, high & low culture – and is at all times on the look-out for invigorating musical experiences.
After completing her degree in Modern Literature at the University of Antwerp, Naomi started her classical singing studies at the Royal Conservatory of Antwerp. She graduated with great distinction with her production of Poulenc’s La Voix humaine, with Wouter Van Looy and Muziektheater Transparant. Meanwhile, Naomi was artist in residence at Transparant: she participated numerous times in their Youth Operas and sang in Porselein, a production that was named 2nd best of the year 2010 by De Standaard. She sang in several Transparant productions like Het Kanaal, Diary of One Who Disappeared and, with soprano Claron McFadden, Harriet, a contemporary opera by Hilda Paredes about the life of Harriet Tubman. In 2019, Naomi was nominated for the Schaunard Opera Award for her role as “Alice” in Harriet. Naomi has also been a regular guest in productions by ChampdAction, One Trick Pony, HERMESensemble, Zonzo Compagnie and Post Uit Hessdalen.
With Isaak Duerinck and Ewout Lehoucq, Naomi is part of music theatre collective LES ÂMES PERDUES. After their debut Les Âmes Perdues, a deep dive into early 20th century Cabaret, they flanked theatre collective deRoovers in Het Bezoek by Friedrich Dürrenmatt and created a wayward music-theatrical arrangement of Heiner Müllers’ Quartett in Every Ending/Quartett. In 2020, they created Eurovisionary, an ode to 65 years of the ESC, and in August 2021 How Do You Sleep at Night, a late capitalist trip through the world of melatonine, premiered. Naomi forms a lied duo with Isaak Duerinck – they have traveled through many concert halls and living rooms with their recital Cabaret Songs.
Naomi has performed in productions with i.a. Manoj Kamps, Philippe Herreweghe, Liesa Van der Aa, Frank Agsteribbe, Ewald Demeyere and Guy Joosten, and enjoys collaborating with contemporary composers such as Annelies Van Parys, Szymon Brzoska, Maarten Buyl, Hilda Paredes and Jan Van Outryve.
As of September 2021, Naomi is affiliated to the Conservatory of Antwerp as coach of Artistic Graduation Projects.
As a versatile performer, soprano Naomi Beeldens (°1988) has a predilection for music theatre, contemporary music and all things experimental. She likes to seek for boundaries – between genres, genders, disciplines, high & low culture – and is at all times on the look-out for invigorating musical experiences.
After completing her degree in Modern Literature at the University of Antwerp, Naomi started her classical singing studies at the Royal Conservatory of Antwerp. She graduated with great distinction with her production of Poulenc’s La Voix humaine, with Wouter Van Looy and Muziektheater Transparant. Meanwhile, Naomi was artist in residence at Transparant: she participated numerous times in their Youth Operas and sang in Porselein, a production that was named 2nd best of the year 2010 by De Standaard. She sang in several Transparant productions like Het Kanaal, Diary of One Who Disappeared and, with soprano Claron McFadden, Harriet, a contemporary opera by Hilda Paredes about the life of Harriet Tubman. In 2019, Naomi was nominated for the Schaunard Opera Award for her role as “Alice” in Harriet. Naomi has also been a regular guest in productions by ChampdAction, One Trick Pony, HERMESensemble, Zonzo Compagnie and Post Uit Hessdalen.
With Isaak Duerinck and Ewout Lehoucq, Naomi is part of music theatre collective LES ÂMES PERDUES. After their debut Les Âmes Perdues, a deep dive into early 20th century Cabaret, they flanked theatre collective deRoovers in Het Bezoek by Friedrich Dürrenmatt and created a wayward music-theatrical arrangement of Heiner Müllers’ Quartett in Every Ending/Quartett. In 2020, they created Eurovisionary, an ode to 65 years of the ESC, and in August 2021 How Do You Sleep at Night, a late capitalist trip through the world of melatonine, premiered. Naomi forms a lied duo with Isaak Duerinck – they have traveled through many concert halls and living rooms with their recital Cabaret Songs.
Naomi has performed in productions with i.a. Manoj Kamps, Philippe Herreweghe, Liesa Van der Aa, Frank Agsteribbe, Ewald Demeyere and Guy Joosten, and enjoys collaborating with contemporary composers such as Annelies Van Parys, Szymon Brzoska, Maarten Buyl, Hilda Paredes and Jan Van Outryve.
As of September 2021, Naomi is affiliated to the Conservatory of Antwerp as coach of Artistic Graduation Projects.
Élise Chauvin, soprano
The French soprano Élise Chauvin studied at CNR de Paris, Maîtrise de Paris, Ecole Normale de Musique de Paris. She won 1st prize at the UFAM in 2007.
Her repertoire includes: Noémie in Cendrillon by J. Massenet at the Opéra de Massy, Nursing Sister in Suor Angelica by G. Puccini and Pauline in La Vie parisienne by J. Offenbach with the Collectif Lyrique at Théâtre du Marsoulan, Jury in The Review by K.H. Stockhausen with Ensemble Le Balcon and Maxime Pascal, Despina in W.A. Mozart's Così fan tutte as part of the Dessous de l’Opéra conducted by Dominique Rouits at the Salle Cortot and at the Théâtre de Longjumeau, Paneolito in Création by Thierry Fourié, Rita Garcia in Avenida de los Incas 3518 , creation of Fernando Fiszbein;
Élise Chauvin joined the Studio de l’Opéra de Lyon (2011-2013) and sang in Vous qui savez... Ou ce qu’est l’amour (after W.A. Mozart); participation at the world premiere of Espèces d’Espaces by Philippe Hurel at the Biennale Musiques en scène de Lyon. Projects: creation of the opera I/(I)/I Femmes de Marco Suarez at the Festival Paris Quartier d’été.
The French soprano Élise Chauvin studied at CNR de Paris, Maîtrise de Paris, Ecole Normale de Musique de Paris. She won 1st prize at the UFAM in 2007.
Her repertoire includes: Noémie in Cendrillon by J. Massenet at the Opéra de Massy, Nursing Sister in Suor Angelica by G. Puccini and Pauline in La Vie parisienne by J. Offenbach with the Collectif Lyrique at Théâtre du Marsoulan, Jury in The Review by K.H. Stockhausen with Ensemble Le Balcon and Maxime Pascal, Despina in W.A. Mozart's Così fan tutte as part of the Dessous de l’Opéra conducted by Dominique Rouits at the Salle Cortot and at the Théâtre de Longjumeau, Paneolito in Création by Thierry Fourié, Rita Garcia in Avenida de los Incas 3518 , creation of Fernando Fiszbein;
Élise Chauvin joined the Studio de l’Opéra de Lyon (2011-2013) and sang in Vous qui savez... Ou ce qu’est l’amour (after W.A. Mozart); participation at the world premiere of Espèces d’Espaces by Philippe Hurel at the Biennale Musiques en scène de Lyon. Projects: creation of the opera I/(I)/I Femmes de Marco Suarez at the Festival Paris Quartier d’été.
Ellen Wils, mezzo-soprano
Ellen Wils studied at the Royal Conservatory of Ghent with Mireille Capelle and Christianne Stotijn. She takes a special interest in musical theatre and interdisciplinary performance.
In 2016 she sung and acted in the solo performance Ahimè created by Tom Goossens, founder of DESCHONECOMPAGNIE. Ahimè was then selected by the festival Theater Aan Zee for Young Work. She has worked with HERMESensemble and has sung solos in Nils Lindberg’s Requiem and Monteverdi’s Vespro della Beata Vergine.
In 2018 she co-created and directed the musical theatre piece AVANTI! for the Vooruit, which was selected for Theater Aan Zee summer 2019. She has performed Orlofsky in Die Fledermaus and has toured with theatre company Ontroerend Goed, in which she sang music composed by Joris Blanckaert.
She has worked as a musical coach at Victoria Deluxe and is set to perform in Benjamin Abel Meirhaeghes A Revue, a production by d e t h e a t e r m a k e r with Opera Ballet Vlaanderen.
Ellen Wils studied at the Royal Conservatory of Ghent with Mireille Capelle and Christianne Stotijn. She takes a special interest in musical theatre and interdisciplinary performance.
In 2016 she sung and acted in the solo performance Ahimè created by Tom Goossens, founder of DESCHONECOMPAGNIE. Ahimè was then selected by the festival Theater Aan Zee for Young Work. She has worked with HERMESensemble and has sung solos in Nils Lindberg’s Requiem and Monteverdi’s Vespro della Beata Vergine.
In 2018 she co-created and directed the musical theatre piece AVANTI! for the Vooruit, which was selected for Theater Aan Zee summer 2019. She has performed Orlofsky in Die Fledermaus and has toured with theatre company Ontroerend Goed, in which she sang music composed by Joris Blanckaert.
She has worked as a musical coach at Victoria Deluxe and is set to perform in Benjamin Abel Meirhaeghes A Revue, a production by d e t h e a t e r m a k e r with Opera Ballet Vlaanderen.
Els Mondelaers, mezzo-soprano
The Belgian mezzo Els Mondelaers received a master degree in Classical Singing with great distinction at the Ghent Conservatory, where she has specialized as a soloist in Contemporary Music as well. Preliminary she obtained her master’s in Music Theory and Music Pedagogy at the Lemmens Institute in Leuven.
Gradually, she expanded her career as a specialist interpreter of classical contemporary music to that of all-round performer. New challenges such as music and / or physical improvisation, music creation, acting and moving presented themselves. The world of music theater, contemporary dance and performance in addition to the contemporary concert venues became her second habitat.
She is appreciated for her personal involvement in projects and her enthusiasm to be challenged in an artistic way.
She has performed as a soloist with various music theatre companies, ensembles and orchestras including Folkoperan Stockholm (SE), Muziektheater Transparant (BE), Silbersee (NL), LOD (BE), Per Ignem (BE), Muziektheater Hollands Diep (NL), Theaterproductiehuis Zeelandia (NL), Spectra ensemble (BE), ChampdAction (BE), HERMESensemble (BE), Contempoartensemble (IT), Nadar Ensemble (BE), Vlaams Symfonisch Orkest (BE), DoelenEnsemble (NL), Asko | Schönberg ensemble (NL), Slagwerk Den Haag (NL), Strijbos|Van Rijswijk (NL), Ensemble Klang (NL), Atlas ensemble (NL), Nieuw Ensemble (NL) and in september 2009 she was invited by the Lucerne Festival Academy (CH) to perform Berio’s Sinfonia conducted by Boulez.
The Belgian mezzo Els Mondelaers received a master degree in Classical Singing with great distinction at the Ghent Conservatory, where she has specialized as a soloist in Contemporary Music as well. Preliminary she obtained her master’s in Music Theory and Music Pedagogy at the Lemmens Institute in Leuven.
Gradually, she expanded her career as a specialist interpreter of classical contemporary music to that of all-round performer. New challenges such as music and / or physical improvisation, music creation, acting and moving presented themselves. The world of music theater, contemporary dance and performance in addition to the contemporary concert venues became her second habitat.
She is appreciated for her personal involvement in projects and her enthusiasm to be challenged in an artistic way.
She has performed as a soloist with various music theatre companies, ensembles and orchestras including Folkoperan Stockholm (SE), Muziektheater Transparant (BE), Silbersee (NL), LOD (BE), Per Ignem (BE), Muziektheater Hollands Diep (NL), Theaterproductiehuis Zeelandia (NL), Spectra ensemble (BE), ChampdAction (BE), HERMESensemble (BE), Contempoartensemble (IT), Nadar Ensemble (BE), Vlaams Symfonisch Orkest (BE), DoelenEnsemble (NL), Asko | Schönberg ensemble (NL), Slagwerk Den Haag (NL), Strijbos|Van Rijswijk (NL), Ensemble Klang (NL), Atlas ensemble (NL), Nieuw Ensemble (NL) and in september 2009 she was invited by the Lucerne Festival Academy (CH) to perform Berio’s Sinfonia conducted by Boulez.
Kevin Skelton, tenor
Kavin Skelton has a multifaceted career as a performer, director, choreographer, teacher, and scholar. Equally at home on the concert and operatic stage Kevin specializes in seventeenth-century music, and the Bach Evangelist roles. Alongside his concert work, Kevin works extensively in experimental music theatre with a particular interest in combining classical singing and contemporary dance. He has created several videos and performances under the auspices of his own company ātmā and performed with such renowned companies as Opera Atelier, Boston Early Music Festival, LOD, Muziektheater Transparant, ISH, Nederlandse Reisopera, SPAC (Japan), and Sasha Waltz & Guests.
The recipient of numerous awards and scholarships, including grants from the Canada Council for the Arts, Social Sciences and Humanities Research Council of Canada, and Ontario Arts Council, Kevin holds graduate degrees in voice, conducting, and musicology, having studied at the University of Toronto, Indiana University, and Oxford University. www.kevinskelton.com
Kavin Skelton has a multifaceted career as a performer, director, choreographer, teacher, and scholar. Equally at home on the concert and operatic stage Kevin specializes in seventeenth-century music, and the Bach Evangelist roles. Alongside his concert work, Kevin works extensively in experimental music theatre with a particular interest in combining classical singing and contemporary dance. He has created several videos and performances under the auspices of his own company ātmā and performed with such renowned companies as Opera Atelier, Boston Early Music Festival, LOD, Muziektheater Transparant, ISH, Nederlandse Reisopera, SPAC (Japan), and Sasha Waltz & Guests.
The recipient of numerous awards and scholarships, including grants from the Canada Council for the Arts, Social Sciences and Humanities Research Council of Canada, and Ontario Arts Council, Kevin holds graduate degrees in voice, conducting, and musicology, having studied at the University of Toronto, Indiana University, and Oxford University. www.kevinskelton.com
Gunter Vandeven, baritone
Belgian baritone Gunther Vandeven regularly performs at home and abroad with several well-known ensembles including Capilla Flamenca, Collegium Vocale Gent, Blindman, La Petite Bande, L’Arpeggiata, Ensemble Jacques Moderne, and Currende. He is a founding member of R•E•V•E, a vocal quartet specializing in Renaissance polyphony and contemporary music. Furthermore, he has been heard on radio broadcasts across Europe, and been seen on TV channels such as Arte (with Les Ballets C de la B and Capilla Flamenca) and Mezzo (with L’Arpeggiata).
Gunther is regularly invited to participate in opera and music theatre productions. In 2012 and 2013 he participated in the Barokopera Amsterdam production William & Mary in The Netherlands and France. In 2010 he was heard in Britten’s Canticle II during the opening production of the Operadagen Rotterdam, and in Purcell’s King Arthur in Brittany, a production of Barokopera Amsterdam, with whom he also did a tour of the semi-staged Purcell-Gala in The Netherlands (including a performance at the Concertgebouw Amsterdam) in 2009. In 2008 he sang the role of Second Witch in Purcell’s Dido & Aeneas conducted by Richard Egarr, and was heard in Waar is mijn ziel?, a staged performance of Monteverdi madrigals with the Belgian baroque orchestra B’Rock conducted by Skip Sempé, with revivals in 2009, 2010 and 2011. Further operatic appearances include Orfeo in Gluck’s Orfeo ed Euridice, Sorceress in Dido & Aeneas, and Oberon in Britten’s A Midsummer Night’s Dream for which he was praised by the British magazine Opera as “an unusually dignified Oberon”.
As a concert singer Gunther has been heard as a soloist in such works as La Maddalena a’ piedi di Cristo of Bononcini, Bach’s Magnificat, Matthäus-Passion, Johannes-Passion, Weihnachts-Oratorium, and H-moll Messe, the Matthäus-Passion of Homilius, Mozart’s Requiem, Handel’s Messiah and Utrecht Te Deum, the Stabat mater and Salve regina of Pergolesi, Buxtehude’s Membra Jesu Nostri, Vivaldi’s Gloria and Stabat mater, and the Stabat mater of Haydn.
Gunther completed a master’s degree and a post-graduate diploma in singing and chamber music at the Lemmens Institute in Leuven studying with Lieve Vanhaverbeke. Subsequently he studied with Margreet Honig at the Dutch National Opera Academy of Amsterdam. He has followed several master classes, with persons including Andreas Scholl, Michael Chance and Ann Murray. Currently he is being coached by Neil Baker (London) and Margreet Honig (Amsterdam).
Belgian baritone Gunther Vandeven regularly performs at home and abroad with several well-known ensembles including Capilla Flamenca, Collegium Vocale Gent, Blindman, La Petite Bande, L’Arpeggiata, Ensemble Jacques Moderne, and Currende. He is a founding member of R•E•V•E, a vocal quartet specializing in Renaissance polyphony and contemporary music. Furthermore, he has been heard on radio broadcasts across Europe, and been seen on TV channels such as Arte (with Les Ballets C de la B and Capilla Flamenca) and Mezzo (with L’Arpeggiata).
Gunther is regularly invited to participate in opera and music theatre productions. In 2012 and 2013 he participated in the Barokopera Amsterdam production William & Mary in The Netherlands and France. In 2010 he was heard in Britten’s Canticle II during the opening production of the Operadagen Rotterdam, and in Purcell’s King Arthur in Brittany, a production of Barokopera Amsterdam, with whom he also did a tour of the semi-staged Purcell-Gala in The Netherlands (including a performance at the Concertgebouw Amsterdam) in 2009. In 2008 he sang the role of Second Witch in Purcell’s Dido & Aeneas conducted by Richard Egarr, and was heard in Waar is mijn ziel?, a staged performance of Monteverdi madrigals with the Belgian baroque orchestra B’Rock conducted by Skip Sempé, with revivals in 2009, 2010 and 2011. Further operatic appearances include Orfeo in Gluck’s Orfeo ed Euridice, Sorceress in Dido & Aeneas, and Oberon in Britten’s A Midsummer Night’s Dream for which he was praised by the British magazine Opera as “an unusually dignified Oberon”.
As a concert singer Gunther has been heard as a soloist in such works as La Maddalena a’ piedi di Cristo of Bononcini, Bach’s Magnificat, Matthäus-Passion, Johannes-Passion, Weihnachts-Oratorium, and H-moll Messe, the Matthäus-Passion of Homilius, Mozart’s Requiem, Handel’s Messiah and Utrecht Te Deum, the Stabat mater and Salve regina of Pergolesi, Buxtehude’s Membra Jesu Nostri, Vivaldi’s Gloria and Stabat mater, and the Stabat mater of Haydn.
Gunther completed a master’s degree and a post-graduate diploma in singing and chamber music at the Lemmens Institute in Leuven studying with Lieve Vanhaverbeke. Subsequently he studied with Margreet Honig at the Dutch National Opera Academy of Amsterdam. He has followed several master classes, with persons including Andreas Scholl, Michael Chance and Ann Murray. Currently he is being coached by Neil Baker (London) and Margreet Honig (Amsterdam).
Tiemo Wang, baritone
Baritone Tiemo Wang began his musical career as a professional violinist working with various ensembles such as the Arnhem Philharmonic Orchestra and the Dutch Radio Orchestras. As a singer Tiemo specialises in baroque and contemporary music having studied previously with Jose Scholte, Joost van der Linden and Frans Fiselier, and currently being coached by Henny Diemer.
Tiemo regularly performs J.S. Bach's passions in the Netherlands and abroad and he is often involved in productions that combine early and contemporary music with visual and sound arts. He was recently involved with a staged production of Bach motets for solo voices with the Dutch production house Hollands Diep, and is a fixed member of the Belgian-based ensemble Bl!ndman. Tiemo's recent operatic roles include Mr. Gobineau and Ben in respectively The Medium and The Telephone by Menotti, Uberto in Pergolesi's La Serva Padrona, and Aeneas in Dido and Aeneas (Purcell). In the R.A.P. program of the Nationale Reisopera he sang William in Robinson Crusoe by Jacques Offenbach (directed by Marcel Sijm).
Since 2007 Tiemo has worked with the Dutch group Silbersee which specializes in contemporary music. With them he has performed Wolfgang Rihm's Séraphin with the Doelen Ensemble, directed by Neil Wallace, Pascal Dusapin's Passion, directed by Pierre Audi, and Cadenza by Bob Zimmerman with the Radio Chamber Orchestra conducted by Micha Hamel. At the Dutch Opera he has performed the role of proletarian in the world premiere of Alexander Raskatov's A Dog's Heart and was in the cast of The Soldiers by Bernd Alois Zimmerman. Tiemo performed Kassandra in Oresteia by Xenakis, a co-production of Transparant (Belgium), Asko | Schönberg ensemble, and VocaalLAB Netherlands. With LOD he participated in the creation of Les Aveugles, a production based on Maeterlinck's play, and he performed the role of Veled in the opera Mevlana by Michael Ellison in a coproduction of Silbersee and the Hezarfen-ensemble from Istanbul.
In 2014 Tiemo worked in the production ‘Naked Lunch’, a co-production of Silbersee and the dancecompany Club Guy&Roni and Slagwerk Den Haag.
Last season Tiemo worked in the Opera circassien ‘Daral Shaga’, a co-production of Feria Musica and Silbersee and sang in the music-theatre play ‘Dijkdrift’ at the Oerol Festival in Holland.
Arnout Lems, baritone
Arnout Lems (Delft, 1972) completed a master as a baritone at the Royal Conservatory in The Hague. After his studies, he first devoted himself to Renaissance music before he specialized in contemporary music theatre. He performed with Nicole Beutler Projects, Silbersee, Noord-Nederlands Orkest, Klangart Berlin, Neue Vocalsolisten Stuttgart, Slagwerk Den Haag en AskoSchönberg. He took part in many new operas and music theatre performances with Muziektheater Transparant, LOD, Hollands Diep, Holland Opera, World Opera Lab, de Toneelmakerij and Gouden Haas. In Ahmedabad, India, he sang the title role in a Dutch-Indian adaptation of Monteverdi’s l’Orfeo.
He made his debut as a director in 2011 with the widely acclaimed Monteverdish, a crossover of Monteverdi and urban dance. Operas he directed include Mozart’s Le Nozze di Figaro and Blow’s Venus and Adonis.
From 2016 to 2021, he was a member of the artistic team of dance collective ISH, for which he acted as artistic advisor and co-director.
Arnout’s voice is a high baritone. His aim as a performer is to combine and transform classical technique into contemporary theatre.
Arnout Lems (Delft, 1972) completed a master as a baritone at the Royal Conservatory in The Hague. After his studies, he first devoted himself to Renaissance music before he specialized in contemporary music theatre. He performed with Nicole Beutler Projects, Silbersee, Noord-Nederlands Orkest, Klangart Berlin, Neue Vocalsolisten Stuttgart, Slagwerk Den Haag en AskoSchönberg. He took part in many new operas and music theatre performances with Muziektheater Transparant, LOD, Hollands Diep, Holland Opera, World Opera Lab, de Toneelmakerij and Gouden Haas. In Ahmedabad, India, he sang the title role in a Dutch-Indian adaptation of Monteverdi’s l’Orfeo.
He made his debut as a director in 2011 with the widely acclaimed Monteverdish, a crossover of Monteverdi and urban dance. Operas he directed include Mozart’s Le Nozze di Figaro and Blow’s Venus and Adonis.
From 2016 to 2021, he was a member of the artistic team of dance collective ISH, for which he acted as artistic advisor and co-director.
Arnout’s voice is a high baritone. His aim as a performer is to combine and transform classical technique into contemporary theatre.
Pascal Zurek, basse
After an early start into professional musicianship, German bass-baritone Pascal Zurek first studied music pedagogy and physics in Rostock (Germany) and Piteå (Sweden) before finally turning completely towards the vocal arts. He is specialized in contemporary music, having been taught by Prof. Georg Nigl, Prof. Angelika Luz and Prof. Teru Yoshihara at the State Academy for Music in Stuttgart. World premieres include “Alice in Wonderland” by J. Harneit at the Staatsoper Stuttgart and the Opera “Clara” by V. Bond, premiering at the Festspiele Baden-Baden, as well as works at the Donauschinger Musiktage, Impuls Festival Graz and Veneto Contemporanea. In 2021 he was awarded the renowned scholarship of Vadstena-Akademien in Sweden and premiered the opera “Zebran” by Tebogo Monnakgotla, which was named by many to be “Swedens opera of the year” and won Scenkonstbiennalen’s prize.
Among his favourite works are the “Eight Songs for a Mad King” by Peter Maxwell Davies; a mad mono-opera in which Zurek unpacks the full extent of the human voice, reaching far beyond the boundaries of classical opera singing. He is a co-founder of the French-German interdisciplinary “ensemble avec!” which combines contemporary music with puppetry and visual art and his favorite way of voice art, vocal improvisation.
Masterclasses with Michael Volle, Margreet Honig, Andreas Fischer, Sarah-Maria Sun, Charlotte Hug, Yuri Vassiliev and many others helped him professionalise in contemporary music and voice improvisation and enabled him not only to be working in other fields of music like oratorios and the German and Swedish art song, but also made him a demanded reciter and voice teacher at the academies in Würzburg and Ludwigsburg.
During his studies, he received scholarships by the German Academic Scholarship Foundation (Studienstiftung des deutschen Volkes) and worked at the SWR Vokalensemble. His music theatre “Zurückbleiben, bitte!” won the Sonderpreis at the competition “HMT Rostock Interdisziplinär”.
Further information and pictures can be acquired through www.pascalzurek.de.
After an early start into professional musicianship, German bass-baritone Pascal Zurek first studied music pedagogy and physics in Rostock (Germany) and Piteå (Sweden) before finally turning completely towards the vocal arts. He is specialized in contemporary music, having been taught by Prof. Georg Nigl, Prof. Angelika Luz and Prof. Teru Yoshihara at the State Academy for Music in Stuttgart. World premieres include “Alice in Wonderland” by J. Harneit at the Staatsoper Stuttgart and the Opera “Clara” by V. Bond, premiering at the Festspiele Baden-Baden, as well as works at the Donauschinger Musiktage, Impuls Festival Graz and Veneto Contemporanea. In 2021 he was awarded the renowned scholarship of Vadstena-Akademien in Sweden and premiered the opera “Zebran” by Tebogo Monnakgotla, which was named by many to be “Swedens opera of the year” and won Scenkonstbiennalen’s prize.
Among his favourite works are the “Eight Songs for a Mad King” by Peter Maxwell Davies; a mad mono-opera in which Zurek unpacks the full extent of the human voice, reaching far beyond the boundaries of classical opera singing. He is a co-founder of the French-German interdisciplinary “ensemble avec!” which combines contemporary music with puppetry and visual art and his favorite way of voice art, vocal improvisation.
Masterclasses with Michael Volle, Margreet Honig, Andreas Fischer, Sarah-Maria Sun, Charlotte Hug, Yuri Vassiliev and many others helped him professionalise in contemporary music and voice improvisation and enabled him not only to be working in other fields of music like oratorios and the German and Swedish art song, but also made him a demanded reciter and voice teacher at the academies in Würzburg and Ludwigsburg.
During his studies, he received scholarships by the German Academic Scholarship Foundation (Studienstiftung des deutschen Volkes) and worked at the SWR Vokalensemble. His music theatre “Zurückbleiben, bitte!” won the Sonderpreis at the competition “HMT Rostock Interdisziplinär”.
Further information and pictures can be acquired through www.pascalzurek.de.
Pieter Stas, basse
The Belgian cellist and basse-baritone singer, Pieter Stas, stated his musical career as a boy in the choir In Dulci Jubilo. Cello also followed at the Muziekacademie van Sint-Niklaas with Jan Pas and then with Jan Bontinck. He subsequently received his cello training at the Conservatories of Ghent and Antwerp with France Springuel and Ilya Laporev. He obtained his Master of Music degree in Cello from AP Hogeschool Antwerpen in 1997; and his Master of Arts degree from De Hogeschool Gent. He also received the coveted mention “Finality Chamber Music”. He attended master-classes with Anner Bylsma, Pieter Wispelwey, Sigiswald Kuijken and the European Baroque Orchestra, among others. He also took singing lessons with Lucienne Van Deyck. He received prizes for chamber music in the master-class of the Italian piano trio Voces Intimae (Zumaia-Spain).
Pieter Stas is regularly active as a cellist with Spectra Ensemble and the theater company Bronstig Veulen. In 1997, he became a founding member of the Goeyvaerts String Trio, which since its foundation has focused exclusively on the 20th and 21st century repertoire. The Trio regularly collaborates with Stef van Bellingen (art historian) in the 'Sound Colors' project, in which they investigate the relationships between music and the visual arts on the basis of comparative parameters. The Goeyvaerts String Trio was laureate of the 'Trofee Fugue 2003', a trophy awarded annually by the Union of Belgian Composers, for their constant commitment to the national repertoire. Pavane Records recently released a CD with work by Joseph Jongen, Eugène Ysaÿe and Louis De Meester. The Trio strives for authenticity in its performances and for this it consults eminent musicians and composers such as Alexander Ivashkin, Giya Kancheli and Henk Guittart (Schoenberg Quartet). Several CD's have been released by the Trio. Well-known is the CD String Trios by Arnold Schoenberg, Anton Webern and Alfred Schnittke. Their latest CD with Arvo Pärt's Stabat mater was awarded an Edison.
In addition to being a cellist, Pieter Stas is also active as a singer, as a member of the European Youth Choir, World Youth Choir, Vlaams Radiokoor, Huelgas Ensemble and is also conductor of the women's choir Ariante te Puurs. Currently, he is baritone singer in Cappella Pratensis (Director: Stratton Bull; since 2000) and La Capella Reial de Catalunya (Director: Jordi Savall).
As a teacher he is currently affiliated with the Koninklijk Conservatorium Gent, Academie voor Muziek, Woord en Dans Bornem (since 1999) and Academie Muziek & Woord Willebroek. He teaches cello, chamber music and string ensemble. He plays a copy of the 'Servais' Stradivarius, made by Frans Stas.
The Belgian cellist and basse-baritone singer, Pieter Stas, stated his musical career as a boy in the choir In Dulci Jubilo. Cello also followed at the Muziekacademie van Sint-Niklaas with Jan Pas and then with Jan Bontinck. He subsequently received his cello training at the Conservatories of Ghent and Antwerp with France Springuel and Ilya Laporev. He obtained his Master of Music degree in Cello from AP Hogeschool Antwerpen in 1997; and his Master of Arts degree from De Hogeschool Gent. He also received the coveted mention “Finality Chamber Music”. He attended master-classes with Anner Bylsma, Pieter Wispelwey, Sigiswald Kuijken and the European Baroque Orchestra, among others. He also took singing lessons with Lucienne Van Deyck. He received prizes for chamber music in the master-class of the Italian piano trio Voces Intimae (Zumaia-Spain).
Pieter Stas is regularly active as a cellist with Spectra Ensemble and the theater company Bronstig Veulen. In 1997, he became a founding member of the Goeyvaerts String Trio, which since its foundation has focused exclusively on the 20th and 21st century repertoire. The Trio regularly collaborates with Stef van Bellingen (art historian) in the 'Sound Colors' project, in which they investigate the relationships between music and the visual arts on the basis of comparative parameters. The Goeyvaerts String Trio was laureate of the 'Trofee Fugue 2003', a trophy awarded annually by the Union of Belgian Composers, for their constant commitment to the national repertoire. Pavane Records recently released a CD with work by Joseph Jongen, Eugène Ysaÿe and Louis De Meester. The Trio strives for authenticity in its performances and for this it consults eminent musicians and composers such as Alexander Ivashkin, Giya Kancheli and Henk Guittart (Schoenberg Quartet). Several CD's have been released by the Trio. Well-known is the CD String Trios by Arnold Schoenberg, Anton Webern and Alfred Schnittke. Their latest CD with Arvo Pärt's Stabat mater was awarded an Edison.
In addition to being a cellist, Pieter Stas is also active as a singer, as a member of the European Youth Choir, World Youth Choir, Vlaams Radiokoor, Huelgas Ensemble and is also conductor of the women's choir Ariante te Puurs. Currently, he is baritone singer in Cappella Pratensis (Director: Stratton Bull; since 2000) and La Capella Reial de Catalunya (Director: Jordi Savall).
As a teacher he is currently affiliated with the Koninklijk Conservatorium Gent, Academie voor Muziek, Woord en Dans Bornem (since 1999) and Academie Muziek & Woord Willebroek. He teaches cello, chamber music and string ensemble. He plays a copy of the 'Servais' Stradivarius, made by Frans Stas.