Marc MAUILLON

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Marc MAUILLON

Baritone

SPECIALITIES

  • Ancient music (Middle Ages, Renaissance, Baroque)
  • French opera/opera
  • French melody, Lied
  • Contemporary music

BIOGRAPHY

“An exceptional singer, how can we better define Marc Mauillon? (Michel Parouty, Opéra Magazine 02/2017)

Through the extent and singularity of his repertoire, his recognisable timbre and his chiselled diction, Marc Mauillon occupies a very personal place on today’s lyric scene. Sometimes baritone, sometimes tenor, this chameleon deploys and adapts his colours to the music and characters he meets.

At the opera he is sometimes zany (Papageno, Bobinet de la Vie Parisienne, Mercure d’Orphée aux enfers, monk in King Arthur by Shirley & Dino, Le Mari des Mamelles by Tirésias by Poulenc, Momo in Orfeo by Rossi, Robert le Cochon by M.O. Dupin), an evil deity (the Hate in Armide by Lully, Tisiphone in Hippolyte et Aricie, Sorceress in Dido & Aeneas), a tragedian (title roles in Egisto by Cavalli, Orfeo by Monteverdi, Pelléas by Debussy, Adonis by Blow, Pélée in Alcione de Marais…) or even a tragedian (Raulito in Cachafaz by Strasnoy).

In concert, he sings court arias (Lambert, Charpentier, Bacilly…) as well as small or large French motets (Charpentier, Lully, Rameau, Desmarest, Campra, Couperin), Italian madrigal (Monteverdi, Gesualdo), sacred or secular cantatas (Bach, Handel, Vivaldi, Telemann, Monteclair, Clérambault), programmes of medieval or Renaissance music.

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He works with the conductors W. Christie (he is laureate of the first Jardin des Voix in 2002), M. Minkowski, R. Pichon, C. Rousset, A. Altinoglu, J. Savall, V. Dumestre, H. Niquet, E. Haïm, L. Campellone, M. Pascal, G. Jourdain and directors L. Hemleb, D. Warner, B. Lazar, I. Alexandre, R. Carsen, J. Mijnssen…

Recitals and chamber music play a key role in his career. Be it Machaut with Pierre Hamon, Vivabiancaluna Biffi and Angélique Mauillon, Poulenc/Eluard with Guillaume Coppola, the musicians of the Great War or Fauré and his poets with Anne Le Bozec, Peri and Caccini with Angélique Mauillon, or more recently Lambert’s Leçons de Ténèbres (published by Harmonia Mundi in 2018) with Myriam Rignol, Thibaut Roussel and Marouan Mankar-Bennis, these programmes always strongly question the relationship between music, poetry and vocality. In 2016, he creates Songline, a monodic a capella recital in movement and light.

This season, with Les Arts Florissants, he will reprise the role of Cythéron in Platée de Rameau (Theater an der Wien) and then be Eole in Titon et l’Aurore de Mondonville (Opéra Comique). He sang Pelléas in Toulouse, the Three Tales of Gérard Pesson in Rouen and finally Orfeo by Monteverdi with Jordi Savall (Opéra Comique). A new recording based on the poems of the Countess de la Suze with Angélique Mauillon and Myriam Rignol will be released by Harmonia Mundi at the beginning of 2021.

Regularly invited to give Master classes, courses or training courses in France and abroad, Marc Mauillon has been teaching since 2018 the interpretation of medieval secular music at the Sorbonne (Master of Interpretation of Ancient Music) after having been a singing teacher at the Pôle Sup’93 (Aubervilliers La Courneuve) from 2014 to 2018.

Online courses

99 €

The rhythm of the lessons will be defined together, as well as our objectives. It could be a concentrated period with several lessons in close proximity on a particular repertoire (to prepare for an audition, a competition, a recital, a role) or more regular lessons on varied repertoires, as in a traditional singing class.

Presental courses

137 €

This will be a privileged moment for a little “technical adjustment” but also to work on the more physical and scenic aspect of the singer’s art, so the work on the opera will be very welcome (but not obligatory, as the recital or concert requires just as much physical commitment and scenic presence). For those who wish to do so, this could also be an opportunity to put themselves in a concert or audition situation and to reflect on the relationship with the audience (the jury) and the transmission of the emotional message contained in the text and the music.

If you don’t see any slots available, contact info@ponsartium.com, we’ll be sure to get back to you to offer some.