The exploration of the relationship between words and music is at the heart of Marc Mauillon’s artistic approach. Exceptional vocal means have given him the possibility oftaking on both baritone and tenorrepertories, an immediately recognisable timbre, he puts his sense of colour and of diction at the service of his insatiable curiosity. From Guillaume de Machaut to contemporary repertoire, from opera to recital, his career history is a reflection of an out of the ordinary eclecticism.
His encounter with William Christie as part of the Jardin des Voix (2002), then with Jordi Savall, at first opened up for him a magnificent field of exploration of early music, which he later expanded. Passionate about chamber music, he performs in particular with Pierre Hamon, Angélique Mauillon, Guillaume Coppola, Anne Le Bozec, Vivabiancaluna Biffi, Myriam Rignol, Marouan Mankar and Thibaut Roussel, adapting the art of singing to suit the music, the repertoires and the characters that his voice portrays. In addition to numerous opera broadcasts, Marc Mauillon has made three recordings of secular music by Machaut, to which must be added a collection of melodies by Francis Poulenc on poems by Paul Éluard, two recordings on First World War musicians, a recording of Florentine monodies by Jacopo Peri and Giulio Caccini and a solo a cappella recital. Regularly praised by the critics, this discography is an assertion of his choices.
Regularly invited to performin numerous countries, Myriam Rignol has received several international prizes (including the First Prize of the Yamanashi Competition in Japan). She is a member of the Ensemble Les Timbres (First Prize at the Bruges Competition) and is also a member of Les Arts Florissants (William Christie and Paul Agnew), Pygmalion Ensemble (Raphaël Pichon) and the Ricecar Consort (Philippe Pierlot) with whom she has made numerous recordings. In 2011, she started a class for the viola de gamba at the Regional Conservatoire of Grand Besançon.
began studying the harpsichord in Limoges before perfecting himself with Elisabeth Joyé and entering the Paris Conservatoire. He completed his training with Bob van Asperen, Nicolau de Fuiredo and Pierre Hantaï. His double activity both as a concert artist and a choir master have led to him working under a number of conductors, in particular Vincent Dumestre (Le Poème Harmonique) with whom he recently performed in London, New York, Vienna, Tokyo and Moscow. As a trained conductor, he founded the ensemble La Lyre d’Orphée and is preparing a first solo recording based on the works for harpsichord by Jean-François Dandrieu (L’Encelade). He teaches at the Pantin Conservatoire and regularly leads courses and artistic projects in France and abroad. After studying the modern guitar and Sound, Thibaut Roussel started to specialise in the interpretation of early music by studying the theorbo, the baroque guitar as well as the lute at the Versailles Conservatoire in the class of Benjamin Perrot. He performs as a soloist and as a continuo player in early music ensembles such as the Ensemble Correspondances (Sébastien Daucé), Pygmalion (Raphaël Pichon), the Centre de Musique Baroque de Versailles (Olivier Schneebeli), Le Poème Harmonique (Vincent Dumestre), La Rêveuse (Benjamin Perrot and Florence Bolton). Very interested in contemporary music, he has participated in numerous creations written for original instruments.