Soprano Amel Brahim-Djelloul continues to pursue a luminous and singular path, enriched by her dual cultural heritage.

A graduate of the CNSMD de Paris, she trained at William Christie’s “Jardin des Voix” and was nominated in 2007 in the “Révélation Lyrique” category at the Victoires de la Musique Classique. She quickly took on numerous operatic roles: Susanna (Le Nozze di Figaro) at Angers-Nantes Opéra and the Opéra de Lausanne, Despina (Così fan tutte) at the Opéra de Nice, Servilia (La clemenza di Tito) at the Opéra de Paris and the Festival d’Aix-en-Provence, as well as La Princesse (L’Enfant et les Sortilèges), Ninette (L’Amour des Trois Oranges), and Suor Genovieffa (Suor Angelica) at the Opéra de Paris, the title role in Véronique by Messager at the Théâtre du Châtelet, Gabrielle (La Vie Parisienne) at Angers-Nantes Opéra, Nanetta (Falstaff) at the Théâtre des Champs-Élysées, Adina (L’Elisir d’Amore) and Pamina (Die Zauberflöte) at the Opéra d’Avignon, Andreloun (Mireille) at the Chorégies d’Orange, Hébé, Fatime, and Phani (Les Indes Galantes) at the Opéra National de Bordeaux and the Concertgebouw in Bruges, and Drusilla, Amore, and Valletto in various productions of L’Incoronazione di Poppea (Opéra de Paris, Théâtre des Champs-Élysées, Staatsoper Berlin, Théâtre de la Monnaie in Brussels, Grand Théâtre de Genève, Opéras de Lille and Dijon), to name just a few.

She is regularly invited by many orchestras (Orchestre National de France, National Symphony Orchestra of Washington, Orchestre Philharmonique Royal de Liège, National Philharmonic of Ukraine, Orchestre Philharmonique de Strasbourg, Orchestre des Concerts Pasdeloup, Orchestre National de Cannes, Orchestre Symphonique National Algérien, Orchestre National d’Île-de-France, Orchestre Philharmonique du Maroc...) and ensembles (Les Arts Florissants, Le Poème Harmonique, Les Paladins, Il Caravaggio, 2E2M, Mezwej, Les Talens Lyriques, Quatuor Debussy…), and expands each season her range of personal projects, often bridging East and West: L’Orgue du Sultan (with L’Achéron and Sultan Veld), Les 1001 Lunes de la Princesse Boudour (with Aymeric Lecerf and Nicolas Jouve), Des chants et des rives with guitarist Thomas Keck, Populaires (with Nicolas Jouve), Canciones (with Ensemble C Barré), and her Mediterranean programs with Ensemble Amedyez.

Her discography includes numerous recordings, including more personal projects: Les Chemins qui montent (a tribute to Kabyle songs), recitals with pianists Anne Le Bozec (Les 1001 nuits) and Nicolas Jouve (Populaires), as well as a program of arabo-Andalusian heritage works (Amel chante la Méditerranée) arranged by her brother, violinist and musicologist Rachid Brahim-Djelloul, and performed with Ensemble Amedyez.

Amel Brahim-Djelloul is artistic director of the association Nour, through which she develops a variety of projects ranging from education to the production of new performances and recordings.

She has been represented by RSBA since 2010.

Après des études de lettres, il entre à  l’ENSATT et à sa sortie en juin 2007, il joue Les Visionnaires de J.Desmarets de Saint-Sorlin, mis en scène par C. Schiaretti. Il travaille avec G. Gotti et A. Vassiliev dans Les Démons de F. Dostoïevski et G. Ingold dans L’Extravagant Monsieur Jourdain de M. Boulgakov.

Il intègre la troupe permanente du TNP en janvier 2008 et joue dans Par-dessus bord de M. Vinaver, Coriolan de W. Shakespeare, et les Farces et Comédies de Molière, dirigées par C. Schiaretti. Parallèlement, il met en scène Les Nuits Blanches, de F. Dostoïevski.

En mai 2010, il quitte la troupe du TNP, travaille avec C. Maltot sur les Figures de Musset, met en scène Fando et Lis de F. Arrabal, travaille avec V.Farasse sur le Passage de la comète et avec S.Theis dans Juste la fin du Monde. A partir de 2013, il joue successivement sous la direction de C. Rondelez ,Q. Defalt, Y. Lheureux. En 2015, il retravaille avec V. Farasse dans Mon oncle est reporter, en 2016 avec A. Amirante dans La Revanche et retrouve en 2017 V. Farasse pour la création de son dernier texte, Métropole.

Il collabore dans les années qui suivent avec A. Michalik, S. Attard et retrouve Y. Lheureux pour Du coeur, adaptation de Husbands de Cassavetes. En 2020, il joue dans La Double Inconstance mis en scène par Galin Stoev. Il tourne aussi pour le cinéma, la télévision et enregistre régulièrement pour la radio.

 

Pianist, coach for singers, Nicolas Jouve completed his musical studies in Chambéry, Grenoble, Paris (CRR and CNSMD) then Vienna (Universität für Musik) in Walter Moore's Lied class.

Always attracted by the repertoire of ensemble music, he has been approaching the world of opera singers for about twenty years, first through the repertoire of Lied and French melody, then through opera.

Accompanist at the CNSMD of Lyon since 2003 (singing class of Françoise Pollet then clarinet class of Nicolas Baldeyrou), he is also regularly invited as a coach at the Opéra national de Lyon, for the preparation of opera productions (about twenty productions, ranging from Purcell to Thierry Escaich, via Mozart and Offenbach).

In parallel with his concert activity (recitals in Europe and Japan), he has recorded four discs, with soprano Amel Brahim-Djelloul (Album " Populaires "), mezzo-soprano Anaïk Morel, tenor Julien Behr (melodies by Charles Koechlin) and the female vocal ensemble Calliope (Album Lili Boulanger, Fauré, Debussy and album " Gustav Holst ").

Since 2014, he has also been Artistic Delegate of the RSB artists agency, which accompanies the international careers of some thirty singers and conductors of opera orchestras.

A graduate of ENSATT (Ecole Nationale Supérieure des Arts et Techniques du Théâtre), Nathalie Perrier extended her training with research into Shadow in the scenographic space, as part of a DEA (post-graduate diploma) at the Sorbonne's Institut d'Etudes Théâtrales, under the direction of Anne Surgers.

She was then invited to Rome for a residency at the Villa Médicis.

She has worked for theatre and opera with a number of directors (Pierre Audi, Marcel Bozonnet, Robert Carsen, Hans Peter Cloos, Sylvain Creuzevault, Waut Koeken, Sophie Loucachevsky, Adrian Noble, Olivier Py, Adolf Shapiro, etc.) and has also accompanied various baroque music ensembles (Amarillis, Rosasolis, Ausonia, les Lunaisiens, les Ombres).

She recently created the lighting for :

Step In, choreography by Olivier Collin, Opéra National de Montpellier

La Vie Parisienne, msc Waut Koeken, Opéra National du Rhin

The Tempest, ensemble les Ombres, Opéra National de Montpellier

Le Capital et son Singe, msc Sylvain Creuzevault, Théâtre National de La Colline

The Princess of Trebizond, msc Waut Koeken, Opéra de Limoges

Die Fledermaus, msc Waut Koeken, Opéra National du Rhin

Alongside her work as a lighting designer, and under the benevolent influence of the visual artist Christian Boltanski - together they invented the lighting for Les Limbes (Théâtre du Châtelet, Paris, 2006) and Gute Nacht (Nuits Blanches, Paris, 2008) - she creates ephemeral lighting installations such as Ciel en Demeure, presented in Lyon.

“Where there is lightness, there is also gravity”, wrote the French poet Maurice Blanchot. The mystery of Fatima Guerrout’s designs draws its deep elegance from the quest for absolute lightness and fluidness of luxury fabrics, and their harmony with the body movements. Her studies of fine arts and design have almost naturally led her towards haute couture. Thus, working with John Galliano, she developed a demand of rigour, extreme precision and mastered elegance; today they have become the signature of her talent. With this experience at the studio of John Galliano, she built on her success by collaborating with the most renowned fashion houses in Paris, both couture and prêt-à-porter, such as Christian Dior, Givenchy or Cerruti. In 2000, by joining forces with her sister Berkahem, lawyer and manager, Fatima Guerrout finally created her own “label”. She has thus gained the liberty to celebrate, with her subtle modesty and ethereal grace, the alliance of silk, silk tulle and lace. By now, her name has become the synonym of dazzling sensibility in France, Italy, Switzerland, the United States of America and Japan. Fatima Guerrout has fulfilled the will of Madeleine Vionnet: “Dressmaking should be raised to a sort of an apostolate. Since it is French par excellence, it should express the French spirit: its moderation, taste and quality. And since it is devoted to the woman, it should glorify her and make every piece of clothing as perfect as a poem.” Lucien Maillard