Curriculum Vitae
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Bachelor and Master in Music Performance - Medieval and Renaissance Voice, Harps
Singing class Kathleen Dineen, Katarina Livjlanic - Harps with Heidrun Rosenberg, Claire Piganiol
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Diploma (DEM) in Lyrical and Baroque Singing
Conservatoire d’Issy-les-Moulineaux (Daniel Petrovitch, Brigitte le Baron)
Conservatoire de Paris 6, Paris 11 (Xavier le Maréchal, Julie Hassler)
Conservatoire d’Aix-en-Provence (Monique Zanetti)
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Double Masters in History, LLCE English (Literature and Civilisation)
Thesis : “James Watt Junior (1769-1848), Youth and Education, based on his family’s private correspondance”
Performance : Shakespeare’s Macbeth, original version, direction Sophia Wise
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Exchange year, bachelor of Arts in History ; with introductory classes in anthropology and tragedy (Sophocle, Shakespeare, Tenessee Williams, Hone Kouka…)
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Bachelor in History
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Violin studies (Diplomas with distinction in La Rochelle, 2011 and Toulouse, 2012)
Ballet, Contemporary, Modern Jazz Dance (Diploma with first class honours in Paris, 2015)
Youth Choir
Why Music?
I grew up in an art loving family. My father was the graphic arts side, my mother the musical side. Music surrounded me since birth and we went to classical concerts every year. Whatever career I would choose, I have always known it would be out of passion.
I have always been curious and passionate about many different topics, and I never wanted to choose between them. I grew up playing the violin, dancing, singing, acting, drawing… When I eventually started voice lessons at 18, it filled a lot of boxes at once : music, poetry, literature, storytelling…
The act of Telling is particularly dear to me. As Oscar Wilde said “Give a man a mask and he’ll tell you the truth”. Being on stage is being more me, and more than me at the same time.
Why Early Music?
The repertoire is incredible. It should be enough reason.
As an academic, I studied History and English literature. When I resumed conservatory studies in Singing after my Masters in the Sorbonne, I was naturally driven to historical performance practice.
In classical music, there is at most two and a half centuries of repertoire ; even if it is slowly evolving, the Repertoire programmed in concerts comes very often from the same few (male) composers.
Early music offers a thousand years of written music repertoire : even by staying inside European boundaries, the opportunities to discover and share new works, new worlds, is huge.
Last but not least, the artists are very friendly. Even though the amount of music to discover is immense, the early music world is a small one, and it feels like everyone is nicer to each other. It is like a second family.
Anecdote : in 2016, I was looking for the chamber music meeting in a Paris conservatoire and I got lost : by mistake, I entered a room, which was the baroque department. They asked me if I wanted to stay. I did.
Press
Ouest France, 25/08/23
C’était magique » : le concert de Gabriel Saglio a conquis le public
"Aurore Gontard au chant, une voix soprano magnifique qui a muri et s’envole littéralement sur certains phrasés"
Vannes Maville, 31/08/21
La voix magique et envoûtante d’Aurore Gontard…
"…et le jeu subtil et délicat de Sebastian Vargas ont exprimé avec virtuosité les sentiments forts des passions du cœur, pures, douces, mais aussi mélancoliques et désespérées"
Le Télégramme, 31/08/21
La musique était baroque pour le dernier concert estival de l’église de Damgan
"La voix sublime de la chanteuse et le son délicat du musicien ont suscité des sentiments multiples chez l’assemblée.”
