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Jean-Christophe Spinosi, Director

Jean-Christophe Spinosi has been leading an atypical musical course for more than twenty years now. From the beginning he interprets a very wide repertoire extending from Baroque music to contemporary on both modern and traditional instruments.

In 1991 he created the Ensemble Matheus in Brest, an orchestra which will accompany him throughout the world.

In 2005, his enthusiasm in researching original repertoire led the Ensemble Matheus to make a series of recordings devoted to Vivaldi, a composer whose masterpieces were then absent from the discography: they produced several albums and four operas which quickly became legendary, arousing an excited following throughout the world. Simultaneously, he has continued to interpret the classical and romantic repertoire as well as many surprising and varied pieces from the 20th and 21st centuries.

Different productions have since enabled Jean-Christophe Spinosi to enjoy the privilege of musical friendships with great artists such as Cecilia Bartoli, Marie-Nicole Lemieux and Philippe Jaroussky, with whom he recorded the album Heroes for EMI-Virgin Classics, a disc whose sales achieved triple-gold status.

From 2007 and for nearly 10 years, Jean-Christophe Spinosi conducted new opera productions every season with the Ensemble Matheus at the Théâtre du Châtelet and he still regularly performs at the Théâtre des Champs-Elysées, the Theater an der Wien or the Wiener Staatsoper.

For several years he has worked with some of the most imaginative stage-directors on the international scene, among them Pierrick Sorin (for Rossini’s La Pietra del Paragone in 2007 and 2014), Oleg Kulik (for Monteverdi’s Vespers for the Blessed Virgin in 2009), or again Claus Guth (for Handel’s Messiah at the Theater an der Wien, 2009), Patrice Caurier and Moshe Leiser (for Rossini’s Otello at the Théâtre des Champs-Elysées and Salzburg Festival in 2014).

Jean-Christophe Spinosi has worked regularly with numerous orchestras including the Deutsches Symphonie-Orchester Berlin, the Orchestre de Paris, the Wiener Staatsoper, the Monte-Carlo Philharmonic Orchestra, the hr-Sinfonieorchester Frankfurt, the Orchestre National du Capitole de Toulouse, the Scottish Chamber Orchestra, the New Japan Philharmonic, the Royal Stockholm Philharmonic, the Rundfunk-Sinfonieorchester from Berlin, the Wiener Symphoniker, the Radio-Symphonieorchester from Vienna, the Orquesta de Castilla y Leon, the City of Birmingham Symphony Orchestra, the NDR Radiophilharmonie Hannover, the Mozarteum Orchester Salzburg,  the Orchestre du Festival de Verbier, the Handel and Haydn Society from Boston, the Moscow Chamber Orchestra, the Osaka Philharmonic Orchestra, the Konzerthausorchester Berlin, the Staatsoper Hamburg…

After their triumph at the Theater an der Wien in February 2013 in Le Comte Ory, Jean-Christophe Spinosi and Cecilia Bartoli continued their close collaboration with two more Rossini operas, Otello at the Théâtre des Champs-Elysées and at the Salzburg Festival and La Cenerentola at the Salzburg Festival.  The international press present in Salzburg unanimously praised their musicality and their audacious interpretation of Rossini operas. Jean-Christophe recently had the great pleasure to meet Cecilia Bartoli again in Rossini’s Le Comte Ory at Zurich’s Opernhaus.

His last two recordings for Deutsche Grammophon – Miroirs with the Ensemble Matheus and Lucifer with the Orchestre Philharmonique de Monte-Carlo – were both unanimously acclaimed by the press and received the “Choc” distinction from Classica magazine.

After joining up with Quebec-based ensemble Les Violons du Roy and contralto Marie-Nicole Lemieux, a spectacular Carmen combining the forces of the Ensemble Matheus and the Orquesta Sinfónica de Castilla y León, Rossini’s La Cenerentola at the Royal Swedish Opera, as well as three consecutive opera series at the Wiener Staatsoper (Carmen, Il Barbiere di Siviglia and La Cenerentola), 2018 also marked his comeback to the Salzburg Festival with Cecilia Bartoli, for L’Italiana in Algeri, before a one-off concert at the Prince’s Palace of Monaco with the Orchestre Philharmonique de Monte-Carlo.

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