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 director followed two distinct paths: film and the theatre stage.

Ms Signeyrole has been 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. In May 2012, her first opera staging, Janáček’s The Cunning Little Vixen, was presented at the National Opera de Montpellier. Other work include Bernstein’s Mass for Radio France and L’Affaire Tailleferre for the Opéra-Théâtre de Limoges.

Most recent productions include a double bill of Il Tabarro and Royal Palace 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 was shown at Opéra de Lille earlier this year and will be revived at the Gulbenkian Foundation in Lisbon and the Opéra National de Montpellier.

In 2016/17, Ms Signeyrole will return to the Opéra national de Montpellier as artist-in-residence. Over the season, she will continue her Puccini trilogy with Gianni Schicchi, create a music theatre piece for young artists called La soupe Pop and stage Dvorak’s Stabat Mater.
Other future engagements include Carmen for the National Latvian Opera in Riga, Nabucco for Opéra de Lille and Opéra de Dijon as well as Ronja Räubertochter for Opernhaus Zürich.

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 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.

Ms Signeyrole has worked with renowned directors such as Stanilas Nordey and Jean-Claude Auvray, Willy Decker, Peter Sellars, Laurent Pelly, Christoph Warlikowski and Christoph Marthaler.

 
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Extraordinary Royal Palace/ Il Tabarro at Montpellier opera house

“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 - Laurent Villarem, Royal Palace/Il Tabarro,
From dream to reality - An incandescent weaving between Weill and Puccini

“ 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 - Michel Le Nour, Royal Palace/Il Tabarro,
“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, Onegin,
Relevant imagination: 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 Parisier - Le Parisien, Onegin,
“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, Onegin,
“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, Onegin,
“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.”
 
Didier Hemanquier - L’Est Républicain, Owen Wingrave,
“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.” 
 
Didier van Moere - Diapason, Owen Wingrave,
“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.”
 
Laurent Bury - Forum Opera, Owen Wingrave,
“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,
“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.”
 
Christian Merlin - Le Figaro, Owen Wingrave,
“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.”
 
Jean-Guillaume Lebrun - Concert Classic, Owen Wingrave,
 “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.”
 
Opéra now, ,
“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,

Marie-Eve Signeyrole

Bio English

Marie-Eve Signeyrole

PR photo 42

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