MARIE-EVE SIGNEYROLE
General Management
Marie-Eve Signeyrole holds a BA in Modern Literature from the Sorbonne and an MA in cinema from the Institut International de l’Image. From the beginning, her career as a director followed two distinct paths: film and the theatre stage.

Ms Signeyrole has worked as art director and stage director for Ellios Production. In 2009 she directed Alice au pays s’émerveille, her second medium-length film, with Emir Kusturica in the lead role. She has also worked with renowned directors such as Willy Decker, Peter Sellars, Laurent Pelly, Krzysztof Warlikowski, Christoph Marthaler, Stanilas Nordey and Jean-Claude Auvray.

In May 2012, she staged her first opera, Janáček’s The Cunning Little Vixen, at the National Opera de Montpellier. Other projects include Bernstein’s Mass for Radio France and L’Affaire Tailleferre for the Opéra-Théâtre de Limoges.

Most recent productions include Don Giovanni at the Opéra national du Rhin, Berlioz’ La damnation de Faust for Staatsoper Hannover (nominated for the prestigious German Faust prize 2019), Nabucco for Opéra de Lille and Opéra de Dijon, Ronja Räubertochter for Opernhaus Zürich, Carmen for the National Latvian Opera in Riga, double bills of Il Tabarro and Royal Palace and La notte di un nevrastenico and Gianni Schicchi at the Opéra national de Montpellier, Owen Wingrave for the Opéra national de Lorraine, Wolf Ferrari’s Cinderella at the Opéra national du Rhin, as well as Eugene Onegin at the Opera de Limoges. In July 2015, she directed The Monster in the Maze, a creation by Jonathan Dove, conducted by Sir Simon Rattle, at the Festival d’Aix-en-Provence. The production received much acclaim and has since been revived at Opéra de Lille, the Philharmonie in Paris, the Gulbenkian Foundation in Lisbon and the Opéra National de Montpellier.

As a librettist, Ms Signeyrole has created music theatre productions, using different musical genres and bringing together professionals and amateurs, such as Sex’y at Opéra national de Paris last season and La Soupe Pop for Opéra national de Montpellier in 2016/17.

Highlights in the season 2019-2020 include a revival of Le Monstre at the Nationale Opera & Ballet in Amsterdam and a new production called Baby Doll, based on music by Beethoven and for which Ms Signeyrole has also written the libretto, for the Orchestre de chambre de Paris in co-production with the Auditorium de Lyon, Arsenal de Metz, Opéra de Montpellier and the Gulbenkian Foundation. Future invitations include Samson et Dalila for the Opéra national du Rhin and a new production for Theater Dortmund.

Ms Signeyrole has written and staged the musical 14+18 at the Opéra National de Paris, during 'Ten Months of School and Opera', an educational project in partnership with the opera companies of Nancy, Montpellier and Limoges. She has taken part in the Académie Européenne de Musique at the Festival d'Aix-en Provence as author and stage director.
 
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AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.
"Participatif et insolite, un "Don Giovanni" comme vous ne l'aviez jamais vu à l'opéra du Rhin [...] l'opéra de Strasbourg présente un "Don Giovanni" hors-norme [...]C'est une création originale et audacieuse."
mobilefrancetv.info.fr, Opéra national du Rhin - W.A. Mozart, Don Giovanni, June 2019
“Les deux atouts de cette production bien de son temps sont son intelligence et sa vivacité, rehaussées par une utilisation virtuose de la vidéo en temps réel [...]”
Le Figaro, Opéra national du Rhin - W.A. Mozart, Don Giovanni, June 2019
"En abolissant les frontières entre scène et public, entre théâtre et réalité, Marie-Ève Signeyrole signe un spectacle opératique coup de poing d’un nouveau genre. Projet fascinant et risqué, soutenu par des chanteurs – acteurs pleinement investis [...]"
resmusica.com, Opéra national du Rhin - W.A. Mozart, Don Giovanni, June 2019
"Les mises en scène de Marie-Eve Signeyrole réservent toujours leur lot de surprises [...] voici une proposition audacieuse, de chair, de sang et de stupre, d’une force dramatique peu commune, approche dionysiaque, orgiaque, qui s’inscrit dans la descendance de l’Enlèvement au sérail de Calixto Bieito [...]."
forumopera.com, Opéra national du Rhin - W.A. Mozart, Don Giovanni, June 2019
"Das Einzige, was man schon nach wenigen Minuten dieses Spiels ahnt: dass man einer kongenialen Umsetzung des Don-Giovanni-Mythos in die Gegenwart beiwohnt."
Badische Zeitung, Opéra national du Rhin - W.A. Mozart, Don Giovanni, June 2019
"Un tel spectacle se vit en direct, avec une exceptionnelle excitation voire jubilation quand on parvient à se laisser prendre par son ambiance. Pendant ces trois pleines heures, les trouvailles et les idées se succèdent à un rythme vertigineux, depuis la simple et excellente formule comique de théâtre [...]jusqu’à des montages d’une diabolique subtilité.[...]
On notera aussi l’extrême virtuosité scénique du traitement de l’ensemble, y compris la gestion d’une certain aléatoire du direct, en particulier la beauté d’images vidéo qui font toujours extraordinairement sens et où les acteurs supportent à la perfection (ce qui est très rare) les plans rapprochés. Aucun fléchissement, voire au contraire un étau qui se resserre encore au second acte, jusqu’à une scène d’agonie finale d’une intensité suicidaire totalement bluffante, bien qu’ici aucune statue de pierre ne soit invitée."
concertonet.com, Opéra national du Rhin - W.A. Mozart, Don Giovanni, June 2019
"Signe et tu t’enrôles. Évitant le piège metoo que la frénésie sexuelle du séducteur pouvait susciter, Signeyrole interroge le désir, notre désir. Avec violence[...]
Participer et applaudir ce Don Giovanni performance qui célèbre la vie jusque dans ses pires excès est le plus bel hommage que le public et les artistes de l’Opéra du Rhin pouvaient rendre à Eva Kleinitz, son audacieuse directrice foudroyée par le cancer alors que ce spectacle était en gestation."
concertclassic.com, Opéra national du Rhin - W.A. Mozart, Don Giovanni, June 2019
"L’Opéra de Strasbourg et Marie-Eve Signeyrole embarquent le public dans un Don Giovanni expérientiel, à la frontière entre l’opéra, le théâtre et la performance."
olyrix.com, Opéra national du Rhin - W.A. Mozart, Don Giovanni, June 2019
“Ici, c’est pour le meilleur, d’une force bouleversante, où le drama giocoso, avec ses deux versants, atteint une vérité dramatique exceptionnelle : L’opéra du désir.“
classiquenews.com, Opéra national du Rhin - W.A. Mozart, Don Giovanni, June 2019
"Die junge französische Regisseurin Marie-Ève Signeyrole hat [...] diese Oper [...] mit Präzision und überlegenen technischen Mitteln sauber in die Gegenwart geholt."
neuepresse.de, Staatsoper Hannover - Fausts Verdammnis, March 2019
"Inszeniert hat die Französin Marie-Eve Signeyrole, die die Solisten wie auch die Chormassen höchst musikalisch führte und dabei [...] jedem Sängerdarsteller spürbar Freiheiten ließ [...] eine geradezu spektakulär gut geratene Produktion dieser Saison."
Cellesche Zeitung, Staatsoper Hannover - Fausts Verdammnis, March 2019
"Die französische Regisseurin schmilzt den urdeutschen Mythos erst ein, bevor sie ihn wieder in Form gießt [...] Signeyrole spannt die einzelnen Szenen unter einen großen tiefenpsychologischen Bogen [...] Die Regisseurin schärft nicht etwa die Beziehungen zwischen Faust, Méphistophélès und Marguerite – sie verwischt vielmehr die Grenzen zwischen den Figuren."
Hannoversche Allgemeine, Staatsoper Hannover - Fausts Verdammnis, March 2019
“Marie-Eve Signeyrole’s staging gives a radical reinterpretation of a masterpiece mostly unknown to the general audience.[...] You only need to let yourself be carried away, and admire the way Marie-Eve Signeyrole dresses up instrumental interludes. For there are indeed an impressive amount of innovations here. We could even see in the booklet’s mountain lake here turned into an unrelenting ocean a process of enlargement at play in the whole show : Marie-Eve Signeyrole thinks big and stretches the limits of a somewhat minor work. With a constant vitality, the set pictures an almost Becket-like portrait in which all the characters vainly struggle with themselves in an atmosphere at once tragic and comical. We can only be charmed by the wide imagination of what we witness on stage… With the final tragic denouement  Marie-Eve Signeyrole delivers a masterstroke : the set becomes covered with blood, giving an almost cinematographic intensity to the murder. A great paradox, since this gore ending (we can still hear the steps of the boots, splashing about a scarlet pond…) has been made with no video support.”
Opera Online, Royal Palace/Il Tabarro, Opéra National de Montpellier, June 2016
“The last production of Montpellier’s season, a coupling of two widely unalike tiny operas works wonders thanks to the director’s imagination, Marie-Eve Signeyrole, who manages to wrap up this whole work with consistency… successfully resorting to cinema, video and danse… A genuine alchemy where intelligence rivals with imagination.”
Classica, Royal Palace/Il Tabarro, Opéra National de Montpellier, June 2016
“Onegin through a magnifying glass : Marie-Eve Signeyrole’s visions of Tchaikovsky’s Eugene Onegin peers at the characters through the walls of a community apartment. She brings a sharp eye that will need to be taken into account from now on. The director sticks to a line which, despite what could seam like a disloyalty to those advocating a certain tradition, never gets out of the way paved by Tchaikovsky, himself a faithful interpreter of Pushkin’s novel. A new leading figure to be followed within the so uneven landscape of lyric directors.”
Altamusica, Eugene Onegin, Opéra National de Montpellier / Opéra de Limoges, January 2014, April 2016
“Marie-Eve Signeyrole delivers a striking and modern staging of the Russian opera “Eugene Onegin” by Tchaikovsky. [...] Tchaikovsky in a community apartment: the young director’s precise work in directing the actors stands out. We are seduced by the performance’s visual as well as theatrical consistency. A name to be followed closely in the staging world.”
Le Parisien, Eugene Onegin, Opéra National de Montpellier / Opéra de Limoges, January 2014, April 2016
“A first and a masterstroke ! Her transposition is dealt with brilliantly, an uncommon fact for such a young artist. So many things are outlined at the same time… And above all, bravo for the actor’s direction!”
ODB, Eugene Onegin, Opéra National de Montpellier / Opéra de Limoges, January 2014, April 2016
“The success of this work proposal lies above all in the message’s consistency that manages to make its way into the score. It also lies in the greatly precise and impressively creative work found in the actor’s direction.”
olyrix.com, Eugene Onegin, Opéra National de Montpellier / Opéra de Limoges, January 2014, April 2016
“The city of Nancy enlightens “Owen Wingrave” by Britten. Owen Wingrave is a visual enchantment in Marie-Eve SIgneyrole’s staging on the stage of the National Opera of Lorraine. It is also a strongly intense dramatic moment (…). The city of Nancy treats itself with a thrilling season opening.”
L’Est Républicain, Owen Wingrave, Opéra National de Lorraine, October 2014
“Owen Wingrave, ambitious and daring, at the Opéra National de Lorraine. A stage version was a risky gamble, that Marie-Eve Signeyrole won thanks to an ambitious movable set coupled with numerous video effects”.
toutelaculture.com, Owen Wingrave, Opéra National de Lorraine, October 2014
“Benjamin Britten, we hear, wasn’t entirely convinced by the result of an experience he had put so much into. No doubt he would have been much more excited after seeing the production Marie-Eve Signeyrole just gave at the Opera National de Lorraine.”
Concert Classic, Owen Wingrave, Opéra National de Lorraine, October 2014
 “The new Owen Opera National de Lorraine in Nancy was yet another feather in the cap of an enterprising company that focuses on good theatre… Marie-Eve SIgneyrole is now making a success of going solo.”
Opera Now, Owen Wingrave, Opéra National de Lorraine, October 2014
“Signeyrole transposes the fantastic to a psychological level. Her strong production stands not only on a refine actor’s direction but also on the successful linking of different perspectives.”
Diapason, Owen Wingrave, Opéra National de Lorraine, October 2014
“What a pleasure to attend a performance that goes way beyond a lazy illustration of the work ! It would be all too easy to place/ locate Owen Wingrave, peaceful opera inspired by a fantastic telling, in some old mansion, where the characters would only come in and out. Luckily, Nancy city’s production offers us so much more than that, and Marie-Eve Signeyrole finds herein a way to produce an admirably successful staging.”
Forum Opéra, Owen Wingrave, Opéra National de Lorraine, October 2014
“Nancy dares an Owen Wingrave for the general audience - Performed in one go, without intermission, this Owen Wingrave will make a lasting impression […].”
Resmusica, Owen Wingrave, Opéra National de Lorraine, October 2014
“The freezing atmosphere of Owen Wingrave by Marie-Eve Signeyrole on a Northern sea oilfield platform brings in something claustrophobic and cinematographic that spellbinds the audience.”
Le Figaro, Owen Wingrave, Opéra National de Lorraine, October 2014

Marie-Eve Signeyrole

Bio English

Marie-Eve Signeyrole

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