THE ARTIST2018-09-12T16:38:36+00:00

BIOGRAPHY

His childhood icons were Callas, Nureyev & Klaus Nomi: absolute references in terms of GREATNESS, excellence and AUDACITY, who have inspired each one of his choices as an artist.

Both countertenor & contemporary dancer, with a double diploma from the Lyon Conservatoire Supérieur, Théophile Alexandre distinguished himself in major international contests (Vienna, Innsbruck, Bern, Naples, Barcelona…) before performing on the WORLD’S MOST BEAUTIFUL STAGES: Paris Philarmonie, New-York Lincoln Center, Versailles Royal Opera, Théâtre National de Chaillot, Amsterdam’s Concertgebouw, Théâtre des Champs Elysées, Maison de la danse & Opéra de Lyon, Salle Gaveau, Bern Opera, Ottawa Opera…

His ability to shine in such exceptional halls is only surpassed by his encounters with music & dance OUTSTANDING GOLDSMITHS who have shaped, sharpened and refined Théophile’s singular talent for the past ten years. Up until affirming him as ONE OF THE FEW ARTISTS IN THE WORLD who performs SINGING & DANCING at such a high level of excellence.

Under the direction of PRESTIGIOUS CONDUCTORS (Jean-Claude Malgoire, Gabriel Garrido, William Christie, Sébastien d’Hérin, Christophe Grapperon, Laurence Equilbey’s associate conductor…), he has interpreted great opera roles for countertenors (Haendel’s Orlando, Mozart’s Apollo, Monteverdi’s Speranza, Gluck’s Orfeo…) and solo Alto parts from the most sublime oratorios by Bach, Haydn, Pergolesi, Vivaldi and Scarlatti.

Parallel to that, he has collaborated with GREAT CHOREOGRAPHERS such as Jean-Claude Gallotta, a pioneer in French contemporary dance. Théophile was a member of his company for five years, travelling the world, performing in pieces such as the moving duo ‘Sunset Fratell’, and personally assisting the choreographer in creation. He also twirled in Offenbach’s ‘La Vie Parisienne’ for Laurent Pelly and Laura Scozzi, danced in Britten’s Death in Venice for Yoshi Oïda, and explored the art of daily gestures at Pina Bausch’s research workshop in Germany.

So then, is he…

A STAR SINGER? A LYRIC DANCER?

“I’m a jagged gem” he answers with a smile, proud to create A BRIDGE BETWEEN THE ARTS, daring to combine his head voice with his body-language for new emotions to emerge…

Such a hybrid performance took place for the first time in Stravinski’s ‘Pulcinella’ with the group Musiciens du Louvre – Mark Minkowski. This was followed by ‘Orphée’, a lyric ballet choreographed by Montalvo-Hervieu. Théophile also combined both art forms in ‘Shakespeare in Love’, a Purcell recital choreographed by Anne Martin, an emblematic solo dancer for Pina Bausch, and in a vibrant tribute to the star dancer Wilfride Piollet in the solo ‘En Corps Accords’, in conjunction with the Paris Opera ballet. From 2016 to 2018, he also sang and danced the role of Lancelot up to the Venice Fenice in Hervé’s opera bouffe ‘Les Chevaliers de la Table Ronde’, directed by Pierre-André Weitz, Olivier Py’s scenographer.

With this unique mastering of both arts, he creates in 2015 UP TO THE MOON, a lyric and choréographic company, and produces ADN BAROQUE, his first creation, both discographic and on stage.
Worldwide première reinventing baroque music in piano-voice, ADN BAROQUE is his first solo recording, along with the pianist Guillaume VINCENT  (ADAMI & French Music Awards revelation),  released on the Klarthe – Harmonia Mundi label in september 18.
On stage, ADN BAROQUE mixes this audacious musical reinvention with a setting in motion of the singing body, on choreographies by Jean-Claude GALLOTTA, for a unique singing & dancing performance.
Always looking for meaningfull artistic statements, Théophile co-creates this hybrid recital with the artistic producer Emmanuel GREZE-MASUREL, as a musical and choreographic fairy tale diving us into the heart of human emotional DNA.
Firstly introduced as the grand opening of the 17/18 season of the VOLCAN, Le Havre National Theater, ADN BAROQUE is now touring from the Rond-Point Theater to the Athénée Theater in Paris, and in prestigious french musical houses and festivals.

2014 // Semi-Finalist of Pietro Antonio Cesti International Singing Contest (Innsbruck, Austria)
2014 // Finalist of Chant Lyrique de Bourgogne International Singing Contest (France)
2013 // Semi-Finalist of Belvedere Singing Contest (Vienna, Austria / Amsterdam, Netherlands)
2012 // Finalist of Froville International Singing Contest (France), directed by Paul Agnew
2012 // Semi-Finalist of Haendel Singing Contest (London, UK)
2011 // Semi-Finalist of Sacred Music & Oratorio Contest (Rome, Italy)
2011 // Semi-Finalist of Pietro Antonio Cesti International Singing Contest (Innsbruck, Austria)
2009 // Semi-Finalist of Francesco Vinas International Singing Contest (Barcelona, Spain)
2009 // 2nd Prize, next to Sabine Devieilhe of Nantes Singing Contest (France)
2009 // 3d Prize  of Vienna Lyric Contest (Austria)
2008 // Finalist of Francesco Provenzale International Singing Contest (Naples, Italy), directed by Sara Mingardo
2008 // Semi-Finalist of Montserrat Caballé International Singing Contest (Zaragoza, Spain)
2008 // Finalist of Ernst Haflinger International Singing Contest (Bern, Switzerland)
2007 // 1st Opera Prize / 2nd Oratorio Prize of Garaison European Singing Contest (France) directed by Mady Mesplé and Eve Ruggieri
2007 // Semi-Finalist of Chant de Marmande International Singing Contest  (France)
2007 // Semi-Finalist of Chimay Baroque Contest (Belgium)

BRIEF LEXICON

Théophile Alexandre /teɔfil alɛksɑ̃dʁ / Proper masculine noun

Theo-left

1. A young artist, 33 years old, who combines his talents as a countertenor singer and a contemporary dancer

2. A true story that rings like a fairy tale… “Once upon a time”, the muses of music and dance, Euterpe & Terpsichore, seemed to have bent over the young boy’s cradle. They were each to write a tale… “Once upon a voice”, was the voice of the soul, of the gods and of the angels, courting the heavens and stirring emotions among men… And “Once upon a way”, the path of the body, beast-like, visceral and infernal, invoking grace while convening the flesh…

Théophile created a single tale out of the two: that of a free and singular artist, caught between shadow and light, refusing to set the body against the soul. Instead, daring to unite them.

Countertenor /kɔ̃.tʁə.te.nɔʁ/ noun

1. A type of male voice that predominantly uses the falsetto vocal register, the range of which can go from contralto to soprano. It shouldn’t be confused with the haute-contre voice, which primarily stems from the chest and only uses the falsetto for high notes. The countertenor voice was reinstated in the twentieth century by Alfred Deller and James Bowman and, more recently, by Philippe Jaroussky, Andreas Scholl, Max-Emmanuel Cencic and Franco Fagioli.

2. A natural voice from childhood, which Théophile discovered at a tender age when he sang his favorite arias from the film Farinelli: ‘Alto Giove’, by Porpora and Handel’s  ‘Lascia ch’io pianga’.

His passion became his profession. He is now known for his warm, vibrant and recognizable delivery, in a continuum of harmonious tones: deep and full-bodied in the lower range; illuminated, fluttering and incarnated in the higher notes. His range covers nearly 2 octaves; his virtuosity is apparent in all repertoires: from baroque to contemporary, without forgetting classical and romantic pieces. His is a unique vocal signature, which great conductors appreciate for its brilliant, strong and elegant AURA as well as his BODY & SOUL incarnation, distinguishing each one of his interpretations.

Contemporary dance /kɔ̃tɑ̃pɔʁaʁi dɑ̃s  / noun

1. A branch of dance made up of various forms, born after the Second World War and following the path of post-modern dance. It was made famous in the United States by Merce Cunningham and Trisha Brown and in Europe by Jean-Claude Gallotta, Maguy Marin and Pina Bausch.
It is the glorification of free movement, the poetry of gestures, the emotion born out of an instant. This branch of dance endorses the singularity of creative approaches and appreciates experimentation. It often escapes categorizations and has dared to free itself from classical codes.

2. A body language, which Théophile discovered when he was 11, and went on to choose as his specialization at the Lyon Conservatory, as a second diploma next to his singing one. There, he trained with Anne Martin and participated in workshops led by Hervé Robbe, Thomas Lebrun, Alban Richard, Philippe Cohen, as well as Wilfride Piollet and Jean Guizerix.

But, above all, he distinguished himself with Jean-Claude Gallotta – becoming a dancer in the latter’s company in 2005. By blending technique, velocity and strength – capacities which he had developed as a teenager in the French Volleyball Championships – he shined in the company. His esthetics, his flexibility and virtuosity allowed him to present body states alternating between pure-lined adagios and frenetic batteries.  He could cross the stage in long strides or make chaotic gestures. Throughout his career, he has improved upon these qualities as he came into contact with other choreographic styles, such as dance-theater at the Pina Bausch workshop, Laura Scozzi’s art of sociological derision, and Montalvo-Hervieu’s audacious fusion of styles.

MUSICAL REPERTOIRE

BAROQUE OPERAS & ORATORIOS

PASSIONS (St. John & St. Matthew)
MAGNIFICAT
MASS IN B
CHRISTMAS ORATORIO
SOLO CANTATAS BWV 35, 54, 169 & 170
C.P.E BACH / MAGNIFICAT

RODALINDA / Roles of Bertarido and Unulfo
SERSE / Role of Serse
ARIODANTE / Role of Polinesso
FARAMONDO / Role of Gernando
GIULIO CESARE / Roles of Cesare and Tolomeo
ORLANDO / Roles of Orlando and Medoro
OTTONE / Role of Ottone
RADAMISTO / Role of Radariste
RINALDO / Roles of Rinaldo and Goffredo
TAMERLANO / Roles of Tamerlano and Andronico
TOLOMEO / Role of Tolomeo
TRIONFO DEL TEMPO / Role of Disinganno
BELSHAZZAR / Role of Cyrus
SEMELE / Role of Athamas
THEODORA / Role of Didymus
SAUL / Role of David
HERCULES / Role of Lichas
Alto solo parts of the Oratorios DIXIT DOMINUS / MESSIAH / ISRAEL IN EGYPT

IL RITORNO D’ULISSE IN PATRIA / Role of Fragilita Umana

INCORONAZIONE DI POPPEA / Role of Ottone

ORFEO / Role of Speranza

VESPERS TO THE VIRGIN MARY


THE FAIRY QUEEN / Roles of the Secret and Spring
DIDO & AENEAS / Roles of the 1st Witch and Spirit
Excerpts of KING ARTHUR
FOLKSONGS / ORPHEUS BRITANNICUS

OTTONE IN VILLA / Role of Ottone
ORLANDO / Role of Orlando
GIUSTINO / Role of Giustino
JUDITHA TRIUMPHANS / Roles of Ozia and Olofernes
Alto solo parts of the Oratorios STABAT MATER  / GLORIA / MAGNIFICAT / FILIAE MESTAE


LA PASSIONE / Role of San Pietro

MADDALENA A PIEDI DI CRISTO / Role of Amor Celeste

STABAT MATER

BUXTEHUDE / MEMBRA JESU NOSTRI
CAVALLI / GIASONE, Role of Giasone
PERGOLESI / STABAT MATER
PORPORA / POLIFEMO, Role of Ulisse
ALESSANDRO SCARLATTI / MARTIRIO DI SANT’ORSOLA
DOMENICO SCARLATTI / SALVE REGINA

CLASSIC OPERAS & ORATORIOS

APOLLO & HYACINTHUS / Roles of Apollo & Zephyrus
ASCANIO IN ALBA / Role of Ascanio
MITRIDATE / Role of Farnace
THE MAGIC FLUTE / Role of Monostatos

HAYDN / STABAT MATER
GLUCK / ORFEO & EURIDICE

OPERETTAS


OFFENBACH / LA BELLE HELENE, Role of Orestes

HERVÉ / LES CHEVALIERS DE LA TABLE RONDE, Role of Lancelot of the Lake

J. STRAUSS / DIE FLEDERMAUS, Role of Prince Orlofsky

CONTEMPORARIES OPERAS & ORATORIOS

G. BENJAMIN / WRITTEN ON SKIN
L. BERNSTEIN / CHICHESTER PSALMS
L. BERNSTEIN / MISSA BREVIS
B. BRITTEN / MID SUMMER NIGHTS DREAM, Role of Oberon
B. BRITTEN / CANTICLES
B. BRITTEN / REJOICE IN THE LAMB
P. EÖTVÖS / THREE SISTERS, Role of Macha
C. ORFF / CARMINA BURANA
I. STRAVINSKY / PULCINELLA
Z. MOULTAKA / I HAD A DREAM, NON & REGARDE ICI-BAS
A. LAVANDIER / LA LÉGENDE DU ROI DRAGON
P-Y MACÉ / CANTATES

MELODIES

MELODIES OF BARBER, BEETHOVEN, BIZET, BOLCOM, BRITTEN, CACCINI, COPLAND, FALLA, DOWLAND, FAURÉ, HAHN, IVES, MASSENET, MOZART, POULENC, SCHUBERT, WOLF…